Applause Jan/Feb by Strathmore

January/February 2014

Strathmore celebrates gospel traditions with an evening of powerful, energetic music

Joyful Noise inside: Baltimore Symphony Orchestra Unlocking mysteries in CSI: Mozart

The National Philharmonic Brian Ganz shares Chopinâ&#x20AC;&#x2122;s stories

Washington Performing Arts Society Hilary Hahn answers cries for more

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prelude

On The Cover Soprano Beverly Flagg from the James E. Jordan, Jr. Adult Choir. Photo by Margot I. Schulman

Applause at Strathmore january/february 2014

program notes

features

Jan. 2 22 / BSO: The Blue Danube & More

Feb. 13 48 / Strathmore: Guitar Passions

8 The Fierce Factor

Jan. 4 and 5 26 / The National Philharmonic: Sounds of Central Europe

Feb. 14 50 / Strathmore: Marcus Johnson and the Urban Jam Band

10 Wiggling at the Symphony? It’s OK!

Jan. 10 29 / BSO: Off the Cuff— Dvořák’s New World Symphony

Feb. 15 52 / BSO: Tchaikovsky’s Pathétique

Brian Ganz showcases Chopin’s gift for musical narrative

Jan. 16 31 / BSO: Beethoven & Mozart Jan. 18 34 / The National Philharmonic: Three Great Classics Jan. 23 37 / BSO SuperPops: Marvin Hamlisch—One Singular Sensation Feb. 1 38 / BSO: Chaplin’s Back! Feb. 8 41 / Strathmore: Make a Joyful Noise—Best of Maryland Gospel Feb. 9 43 / Strathmore: Chucho Valdés & the Afro-Cuban Messengers Feb. 12 45 / WPAS: St. Petersburg Philharmonic Orchestra

Feb. 16 55 / Strathmore: Newport Jazz Festival: Now 60 Feb. 19 57 / Strathmore: Krasnoyarsk National Dance Company of Siberia Feb. 20 59 / BSO SuperPops: Sci-Fi Spectacular! Feb. 21 61 / Strathmore: Josh Turner Punching Bag Tour Feb. 22 62 / The National Philharmonic: Brian Ganz Chopin Project—Chopin, the Storyteller Feb. 23 66 / Strathmore: The Legendary Count Basie Orchestra directed by Scotty Barnhart Featuring New York Voices Feb. 26 67 / Strathmore: Pilobolus Feb. 28 69 / BSO: CSI: Mozart

2 applause at Strathmore • january/february 2014

Sweet Honey in the Rock celebrates its 40th anniversary Music Box concert series caters to the littlest patrons

12 The Musician and the Storyteller 14 Lift Every Voice and Sing Area gospel choirs will rattle the rafters in Make a Joyful Noise

16 All in the Family Violist’s twins have an extended family of relatives and musicians

17 Unraveling Mozart’s Mysteries Will CSI: Mozart reveal what killed the Austrian composer?

18 Leave Your Mark Patrons can support The National Philharmonic in several ways

19 New Name, Same Pledge Levine Music’s name is different, but its commitment endures

20 Just One More Thing . . . Hilary Hahn’s not saving encores for last

departments

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

musician rosters

24 Baltimore Symphony Orchestra 28 National Philharmonic Orchestra and Chorale

M US ING S from Strathmore

Eliot Pfanstiehl CEO | Strathmore

a note from the BSO Dear Friends, Happy New Year! I can’t imagine how 2014 can possibly top 2013! Last year ended with an incredibly successful run of Britten’s War Requiem in November, followed by the BSO’s first-ever performance at Baltimore Ravens’ Stadium for the nationally televised Thanksgiving night halftime show! Running onto the field with our musicians and OrchKids was such an incredible thrill. November was a particularly busy month for OrchKids, as it was one of 12 after-school programs that received the 2013 National Arts and Humanities Youth Program Award. I couldn’t be prouder of all their accomplishments. That was 2013. But 2014 boasts quite a few highlights of its own! I’m particularly looking forward to our performance of Edward Berkeley’s adaptation of Shakespeare’s A Midsummer Night’s Dream (May 29). We’ve assembled a sensational cast of film and TV stars, thanks to our partnership with The Folger Theatre. So cheers to you and the BSO for many more reasons to celebrate in 2014!

Marin Alsop

Music Director | Baltimore Symphony Orchestra

STRATHMORE

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● Strathmore: 301-581-5100, www.strathmore.org ● Baltimore Symphony Orchestra: 301-581-5215, www.bsomusic.org ● The National Philharmonic: 301-493-9283, www.nationalphilharmonic.org ● Washington Performing Arts Society: 202-785-9727, www.wpas.org ● CityDance Ensemble: 301-581-5204, www.citydance.net ● Maryland Classic Youth Orchestras: 301-581-5208, www.mcyo.org ● Levine Music: 301-897-5100, www.levinemusic.org ● interPLAY: 301-229-0829, www.interplayband.org 4 applause at Strathmore • january/february 2014

5301 Tuckerman Lane, North Bethesda Applause at Strathmore Publisher CEO Eliot Pfanstiehl Music Center at Strathmore Founding Partners Strathmore Baltimore Symphony Orchestra Resident Artistic Partners The National Philharmonic Washington Performing Arts Society Levine Music Maryland Classic Youth Orchestras CityDance Ensemble Affiliates interPLAY Published by

Editor and Publisher Steve Hull Associate Publisher Susan Hull Senior Editor Cindy Murphy-Tofig Design Director Maire McArdle Art Director Karen Sulmonetti Advertising Director Sherri Greeves Advertising Account Executives Paula Duggan, Penny Skarupa, LuAnne Spurrell 7768 Woodmont Ave., Suite 204 Bethesda, MD 20814 301-718-7787 Fax: 301-718-1875 Volume 10, Number 3 Applause is published five times a year by the Music Center at Strathmore and Kohanza Media Ventures, LLC, publisher of Bethesda Magazine. Copyright 2010 Kohanza Media Ventures. All rights reserved. Reproduction in whole or part without permission is prohibited.

strathmore photo by jim morris

What do you do after you’ve built a place like Strathmore? Where and when does the future begin? Kevin Plank, founder of Under Armour, was recently quoted as saying, “What I find myself doing more often than not is ensuring we have enough runway in front of us—ensuring that we are thinking about things big enough.” Someone must look ahead and plan for a new takeoff to the next stage of growth. “Strathmore 2020” is that runway and our new Beyond Walls campaign is our flight path to the future. It envisions covering the Bou Family Terrace for 200 more dining seats and a new beautiful glass enclosed function space for the Music Center, as well as a new escalator that will parallel the main staircase and ease access to the Concert Hall. The stately, century old Strathmore Mansion will also get some loving attention. All of this is in celebration of our 10th anniversary of the Music Center on Feb. 5, 2015. But the Strathmore 2020 runway also envisions an expanded program endowment that can take Strathmore’s artistic and educational assets into every community in Montgomery County. Think of it as Strathmore 3.0: Out and About! Stay tuned, or better yet, join in. We need your help to keep the plane flying to new and exciting destinations.

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calendar MARCH SAT., MARCH 1, 8 P.M. Strathmore presents Sweet Honey in the Rock 40th Anniversary Celebration: Forty and Fierce!

SUN., MARCH 2, 7 P.M. Strathmore presents Michael Bolton The legendary singer/songwriter seduces with his soulful four-octave range and a repertoire that spans from soft rock to Sinatra and Motown. TUES., MARCH 4, 8 P.M. Washington Performing Arts Society Murray Perahia, piano “One of the most satisfying, illuminating, and all-around impressive pianists of any generation.” (Los Angeles Times) Made possible by Betsy and Robert Feinberg THURS., MARCH 6, 8 P.M. Baltimore Symphony Orchestra Nadja Salerno-Sonnenberg Plays Shostakovich Marin Alsop, conductor Nadja Salerno-Sonnenberg, violin Rachmaninoff: Vocalise Shostakovich: Violin Concerto No. 1 Rachmaninoff: Symphonic Dances Violinist Nadja Salerno-Sonnenberg plays Shostakovich’s moving Violin Concerto No. 1. Also, Marin Alsop conducts Rachmaninoff’s luxuriant Symphonic Dances and the Russian master’s touching Vocalise.

WED., MARCH 19, 8 P.M. Strathmore presents Estrella Morente

FRI., MARCH 7, 8 P.M. Strathmore presents Celtic Nights: The Emigrants Bridge Direct from Ireland, this thrilling ensemble intertwines beautiful ballads and striking choreography to form a vivid link with Celtic heritage. SAT., MARCH 8, 8 P.M. SUN, MARCH 9, 3 P.M. The National Philharmonic Chopin Piano Concerto No. 1 Brian Ganz, piano Michal Dworzyński, conductor Moniuszko: Bajka (Fairytale) Overture Chopin: Piano Concerto No. 1 Mozart: Symphony No. 39 Imagine a story beginning with the words, “Once upon a time” as you listen to the dynamic musical narrative of the Fairytale Overture of Stanislaw Moniuszko. Sponsored by Ameriprise Financial THURS., MARCH 13, 8 P.M. Strathmore presents Olympia Dukakis in a Concert Reading of Rose Oscar winner Olympia Dukakis creates an indelible performance in the story of a feisty Jewish woman who, with humor, guile and spirit, survived some of the major events that shaped the 20th century.

This flamenco singer’s fan base grew after her appearance on the soundtrack of Pedro Almódovar’s film, Volver. Presented in conjunction with G.W. Lisner Auditorium’s 11th Annual Flamenco Festival. FRI., MARCH 21, 8 P.M. Strathmore presents Pat Metheny Unity Group With Chris Potter, Antonio Sanchez, Ben Williams and Giulio Carmassi Winner of 20 Grammy Awards, Metheny brings his new supergroup of jazz masters to Strathmore, hot on the heels of its 2014 album release. SAT., MARCH 22, 8 P.M. Baltimore Symphony Orchestra Mendelssohn’s Violin Concerto John Storgårds, conductor Baiba Skride, violin Vaughan Williams: Fantasy on a Theme by Thomas Tallis Mendelssohn: Violin Concerto Sibelius: Symphony No. 1 “A throwback to the golden age of Heifetz,” raves BBC Music Magazine of Baiba Skride, who performs Mendelssohn’s Violin Concerto.

SAT., MARCH 15, 8 P.M. Baltimore Symphony Orchestra Bach’s Brandenburgs Jonathan Carney, leader & violin Madeline Adkins, leader & violin BSO soloists Bach: Brandenburg Concertos Nos. 1-6

6 applause at Strathmore • january/february 2014

Baiba Skride

Skride photo by Marco Borggreve, Salerno-Sonnenberg photo by Christian Steiner

This internationally renowned a cappella ensemble performs a repertoire steeped in the sacred music of the African-American church.

Experience all six of Bach’s supreme Brandenburg Concertos with soloists drawn from the BSO.

[March/April]

THURS., MARCH 27, 8 P.M. BSO SuperPops: Stayin’ Alive: One Night of the Bee Gees Matt Catingub, conductor Join the BSO for a tribute featuring every Saturday Night Fever smash, performed live in concert. FRI., MARCH 28, 8 P.M. Strathmore presents Lily Tomlin The comedic icon returns to Strathmore with her memorable cast of characters, caricatures and musings on the everyday. SAT., MARCH 29, 3 P.M. AND 8 P.M. Strathmore presents Bring It On: The Musical The Tony-nominated Broadway musical takes audiences on a journey through friendship, forgiveness and determination, set in the extreme competition of high school cheerleading.

Watts’ triumphant BSO appearance two seasons ago left audiences standing and cheering. Now, he returns for Grieg’s beloved Piano Concerto. SUN., APRIL 6, 7 P.M. Strathmore presents Buika Spanish singer Concha Buika is one of a kind. A poet-musician with a distinctively beautiful voice, Buika blends the traditions of Moorish Spain, the tropics and Northern Africa into a genre-defying sound. Her deeply emotional lyrics and vocal stylings make her a world music favorite. WED., APRIL 9, 8 P.M. Strathmore presents Cirque Zíva The Golden Dragon Acrobats bring amazing feats of balance, gravitydefying stunts, gymnastics and choreography to the energetic program. THURS., APRIL 10, 8 P.M. Baltimore Symphony Orchestra Itzhak Perlman Itzhak Perlman, conductor & violin

Keb Mo APRIL THURS., APRIL 3, 8 P.M. Strathmore presents Keb’ Mo’ The Strathmore favorite returns to perform tracks off his new album, as well as fan favorites. SAT., APRIL 5, 8 P.M. Baltimore Symphony Orchestra André Watts Returns! Jakub Hrůša, conductor André Watts, piano Janáček: Suite from The Cunning Little Vixen Grieg: Piano Concerto Dvořák: Symphony No. 7

Beethoven: Romance No. 1 & No. 2 Mozart: Symphony No. 27 Berlioz: Symphonie fantastique Itzhak Perlman leads from the violin as the soloist in Beethoven’s elegant Violin Romances, and then expertly conducts the fiery Symphonie fantastique.

Itzhak Perlman

SAT., APRIL 12, 8 P.M. SUN., APRIL 13, 3 P.M. The National Philharmonic Bach’s Mass in B minor Stan Engebretson, conductor Rosa Lamoreaux, soprano Magdalena Wór, mezzo-soprano Matthew Smith, tenor Christopheren Nomura, baritone

National Philharmonic Chorale Bach: Mass in B minor The magnificent Mass in B minor glorifies voice and instruments with brilliant harmonies and a depth of sound. WED., APRIL 23, 8 P.M. Washington Performing Arts Society Hilary Hahn, violin Cory Smythe, piano Hilary Hahn “will knock you dead with the dexterity of her technique and the emotional depth of her interpretations.” (Los Angeles Times)

Hillary Hajn

FRI., APRIL 25, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: Mahler’s “Titan” Marin Alsop, conductor Mahler: Symphony No. 1, “Titan” In his first symphony, we hear Mahler’s love for nature and influences from popular waltzes to funeral marches, and folk songs to Klezmer music. SAT., APRIL 26, 9 P.M. Strathmore presents 2014 Spring Gala at Strathmore Julio Iglesias This is your opportunity to see one of the world’s finest performers live in concert. Julio Iglesias, the best-selling Latin music artist in history, comes to Strathmore for an incredible evening of music. The Madrid-born crooner is a favorite in every corner of the globe, and when he takes command of the Strathmore stage it will be a night to Julio Iglesias remember.

applause at Strathmore • january/february 2014 7

strathmore

The Fierce

Factor Decades after forming, Sweet Honey in the Rock is still singing with passion and purpose By Chris Slattery

8 applause at Strathmore â&#x20AC;˘ january/february 2014

Strathmore presents Sweet Honey in the Rock 40th Anniversary Celebration Saturday, March 1, 8 P.M.

Dwight Carter

arol Maillard is gonna break it down for you. “We’ve been here for 40 years,” says Maillard, one of the founding members of Sweet Honey in the Rock, “and we are still fierce.” Which is really all anyone needs to know about the Grammy-winning, allfemale, African American a cappella music ensemble. The group—formed by Maillard and fellow founding members Bernice Johnson Reagon, Louise Robertson and Mie—was born in Washington, D.C., at the zenith of the struggle for civil rights and has continued its focus on contemporary issues over the decades. The current lineup features Maillard and Robinson, plus Nitanju Bolade Casel, Aisha Kahlil and Shirley Childress interpreting in American Sign Language. The ensemble is gearing up for a birthday blowout: a March 1 concert at the Music Center at Strathmore that celebrates Sweet Honey’s four decade-long journey of artistry and activism through music. “I think the fact that the group still exists is so major,” says Maillard. “I think there are people who see Sweet Honey up there—and out there—and they have so much love for us, for all we represent.” What they represent is a unique and powerful genre of music that Richard Harrington, former popular music reporter for The Washington Post, describes as “purpose-driven.” “What people take away from their art is their purpose,” he says. “They’re illuminating the road to freedom and justice that came out of the civil rights movement, expanding those ideals to a universal palette, and embracing other struggles along the way.” For Harrington the group is iconic, and Bernice Johnson Reagon is “an absolute American heroine: a cultural historian, scholar and activist. I think you

have to go back to Bernice and her experiences in the civil rights movement down in Albany [Georgia], her buoyant spirit. “That was the beginning of Sweet Honey’s purpose … and it continues, even now,” Harrington says. “No one is singing, ‘We have overcome.’” Because the ensemble shows life’s joys as well as struggles, he adds, Sweet Honey in the Rock is able to showcase the powerful, unifying force of music. Back in 1973, Maillard was a recent graduate of Father Gilbert Hartke’s the-

wasn’t it; despite the fact that Maillard (an actor who has appeared on and off-Broadway and on film and television) and all the other members saw Sweet Honey in the Rock as a sideline, the group found a way to endure. The American Folklife Festival was next, in 1974. Sweet Honey made its first record in 1975 (with Maillard on violin) and year after year, tour after tour, concert after concert and lineup after everchanging lineup, the ladies became part of the American musical landscape, with 23 albums and a fan base that includes

“I think there are people who see Sweet Honey up there—and out there—and they have so much love for us, for all we represent.” Carol Maillard ater program at the Catholic University of America and met Reagon, who was teaching a vocal workshop with the Washington, D.C., Black Repertory Company. “Bernice would write music for the show, teach us a children’s song, help us to sing something atmospheric,” recalls Maillard, who had switched her major from violin to theater in college. “After a while she said, ‘OK, I’ll work with you guys.’” And though the ensemble started off with eight or 10 men and women from the repertory group, Maillard explains that “people had things to do, they couldn’t always come to rehearsals.” The group eventually boiled down to four, and appeared for the first time in public at the W.C. Handy Blues Festival at Howard University in 1973 under a name derived from Psalms 81:16. “We did a handful of blues songs and that was it,” she says. Except that

actress Kerry Washington and First Lady Michelle Obama. “People feel like they’re on a journey with Sweet Honey in the Rock, not just at a Sweet Honey in the Rock concert,” says Maillard. “Instead of ‘introducing’ the songs we tell a personal story: ‘my son, or my aunt, or my grandmother…’ It makes everything a little more personal, more emotional.” And while a lot of the Sweet Honey in the Rock repertoire focuses on serious issues and the struggle to overcome adversity, Maillard says that everything isn’t deep and profound all the time. “We laugh a lot!” she insists. “We like to have fun, to tell stories, to tease each other.” And while some of the members seem irreplaceable—such as Reagon and Ysaye Maria Barnwell, a member from 1979 until 2013—Maillard says Sweet Honey will “never stop doing songs that have depth and meaning. And, hopefully, this year will bring more people to us.” 

applause at Strathmore • january/february 2014 9

Baltimore Symphony ORchestra

Wiggling at the symphony?

It’s OK!

Music Box, a new BSO concert series for babies, encourages the orchestra’s littlest patrons to interact with the music pieces By Phyllis McIntosh

s the musicians begin to play, many in the audience listen with rapt attention. Some clap their hands, bounce up and down or squeal with delight. A few wander happily around the hall. This is perfectly natural behavior for these concertgoers, who range in age from 6 months to 3 years. They and their parents are gathered in the foyer of Joseph Meyerhoff Symphony Hall for a Music Box concert, the Baltimore Symphony Orchestra’s newest children’s program. The series, which debuted in Baltimore a year ago, has proved so popular that the BSO is expanding it to the Music Center at Strathmore this spring. The series will open at Strathmore on Saturday, April 5 with Bugs! Music by Mendelssohn and Debussy will evoke scenes of flitting butterflies and busy bees. Other performances will feature music by Mozart, Joplin and Handel. Like many orchestras, the BSO has long offered concert series for preschoolers and elementary school children. Reaching out to babies and toddlers, however, is a novel concept. “A lot of research being done by scientists and educators is proving the effect of music on brain function, eyehand coordination and speech development,” says Carol Bogash, the BSO’s vice president of education and community engagement, who spearheaded the Music Box Series development. “The attention, clapping and swaying in rhythmic time that we see in our programs are amazing skills for babies to acquire. When families go home and play music,

10 applause at Strathmore • january/february 2014

which is what we hope they do, even 6-month-olds may spontaneously start to clap. It begins to connect the synapses, and this is what the development of brain function is all about.” BSO Director of Education Annemarie Guzy plans each concert around a theme—such as Teeny, Tiny Critters or Cars, Trucks, Trains & Boats—and different orchestral instruments, such as strings, winds or brass. A small ensemble of BSO musicians plays a mix of short classical pieces, traditional children’s songs and some original arrangements. The 30-minute concerts are hosted by Maria Broom, an actress, dancer, storyteller and instructor at the Baltimore School for the Arts, who leads children and parents in singing, clapping, bouncing and dancing to the music. During a Meet the Instruments segment, the musicians introduce their in-

KENNETH ADAM

Ellen Troyer with Music Box patrons

struments and play a brief selection to demonstrate how a viola or cello, for example, sounds different than a violin. Each Music Box event encourages parents to engage with their children during 30 minutes of preconcert activities designed in partnership with Ready at Five, a Maryland nonprofit whose mission is to prepare children to enter school. Families circulate among a Musical Soundscape, where children clang toy cymbals and hammer on drums and xylophones; experience a play station with blocks and giant Legos for the very young; and enjoy a reading station and arts table, where books and crafts highlight the day’s theme. At the end of each concert, Ready at Five provides handouts with tips about parent-child interaction and activities to do at home. At the Teeny, Tiny Critters concert at the Meyerhoff, Anne and Philip Ober, who brought their granddaughter Margaret, “almost 3,” and great-grandma Anne Hickey, were carrying on a family tradition that began when they brought their own kids to the BSO’s Tiny Tots concerts back in the 1980s. Learning that they are reaching several generations of potential music lovers is music to the ears of orchestra staff. “In addition to the benefits to the child, we’re discovering that these concerts are engaging young parents who hadn’t seen a pathway to come and attend the orchestra at this point in their lives,” Bogash says. “So, if we’re making new friends, which I believe we are, this is wonderful for the fu-

ture of the orchestral world.” As for the youngsters themselves, some are amazingly well on their way to a full appreciation of what the BSO has to offer. At a recent concert, when the musicians began playing a selection from Eine Kleine Nachtmusik, one little boy exclaimed, “It’s Mozart!” 

Music Box Series at Strathmore

Performances take place on select Saturdays at 10 a.m. and 11:30 a.m., in the Music Center at Strathmore’s main lobby. Come 30 minutes early for pre-concert activities. Tickets are $15 per person (including children) and are available through the Strathmore box office and the BSO’s website, www.bsomusic.org. April 5, 2014 Bugs! The music of Debussy and Mendelssohn, presented by a piano trio, soars like bees, ladybugs and butterflies. May 3, 2014 Moo, Baa, Neigh A clarinet quintet uses Mozart to celebrate the barnyard noises of pigs, horses, cows and sheep. June 7, 2014 Summertime Movin’ and Groovin’ Joplin, Handel and a brass quintet share what makes summertime great.

applause at Strathmore • january/february 2014 11

THE National Philharmonic

The musician and the storyteller

The National Philharmonic presents Brian Ganz: Chopin, the Storyteller Saturday, Feb. 22, 8 P.M.

Pianist Brian Ganz illustrates Chopin’s skills with musical narrative in the latest Chopin Project recital By Virginia Myers

rian Ganz is ticking off the nocturnes, the mazurkas, the preludes and waltzes. One by one, he is playing each of the 250 pieces Frédéric Chopin composed for piano. And every time he plays, he is more intrigued. “It’s endlessly fascinating and nourishing,” says Ganz, who has been immersed in Chopin since he began his project in 2010, to celebrate Chopin’s 200th birthday. “There’s always a new layer of depth to be probed.” Ganz’s Chopin Project continues on Feb. 22 at the Music Center at Strathmore with Chopin, the Storyteller, a solo recital showcasing the composer’s skill with musical narrative. “I think all great music tells a story in one way or another,” explains Ganz, but Chopin was particularly adept at the enthralling narrative arc, soaring pathos and, often, mystery. “He knows how to pace a story in waves of greater and greater intensity, building sometimes to an almost unbearable high pitch of intensity of expressiveness,” says Ganz, who has long been moved by the Polish composer’s work. He speaks of Chopin in the present tense, as if he’s just dropped off a score for them to explore together. “I consider him something of a friend, spending so much time thinking about his music, and … thinking

about him.” He keeps a favorite biography of the composer handy at all times. Ganz’s own story begins when he was a small boy sitting under his grandfather’s grand piano, hoping to make such music himself one day. He grew up with piano lessons in Chevy Chase and Columbia, Md., then studied at the Peabody Conservatory under Leon Fleisher. He won prizes at the Queen Elisabeth of Belgium and the Marguerite Long Jacques Thibaud (Paris) International Piano Competitions, and has played at the Kennedy Center and La Salle Pleyel and Salle Gaveau in Paris, among other venues. He is artist-in-residence at St. Mary’s College of Maryland and also teaches at Peabody Conservatory. The National Philharmonic will join

12 applause at Strathmore • january/february 2014

Ganz for Chopin’s concertos and orchestral music. Music Director and Conductor Piotr Gajewski is a particularly kindred spirit: the two enjoy comparing notes and musical inspiration. Ganz, Gajewski and the orchestra will collaborate for the first time in Ganz’s Chopin Project with Chopin’s Piano Concerto No. 1 on March 8 and 9, 2014. The Chopin Project was Gajewski’s idea. “I am thrilled that the concept of Brian’s Chopin quest has caught on,” says Gajewski. Many fans return year after year, he says. In fact, the shows have nearly sold out. Apparently, audiences are as committed to hearing all of Chopin as Ganz is to playing it. 

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strathmore

Lift Every Voice & Sing Strathmore showcases the most spirited local choirs with Make a Joyful Noise: Best of Maryland Gospel By Chris Slattery

James E. Jordan, Jr. Adult Choir

Strathmore presents Make a Joyful Noise: Best of Maryland Gospel Saturday, Feb. 8, 8 P.M. this huge arena.” Javor thought it would be interesting for audiences to experience gospel music outside of a church, and choir representatives agreed. “To sing outside the four walls of the church is an awesome opportunity,” says Courtney King, choir directress of the James E. Jordan, Jr. Adult Choir at Refreshing Spring Church of God in Christ. “We love what we do, we are very passionate—and we want to share that. We want the joy of the Lord to be spread.” Though Strathmore last season hosted the gospel-themed performance Under-

14 applause at Strathmore • january/february 2014

Tribe of Judah Choir

ground Railroad: An Evening with Kathleen Battle featuring the Heritage Signature Chorale, Javor says Make a Joyful Noise will be a new experience for many. “I think we’re going to introduce people to Strathmore who have never been here before,” she says. “Gospel music is such a shared community experience that bringing it to this world-class venue will only highlight the excellence of the performers and the passion of the audience.” Ogunsuyi concurs. “Gospel music is for everybody,” Ogunsuyi says. “Its message of love and hope transcends denominations.” 

James E. Jordon, Jr. Adult Choir photo by Margot I. Schulman

t’s Sunday morning in Bowie, Md., and the Tribe of Judah Choir is on. Small but mighty, the ensemble sways as its gospel harmonies wash over the congregation. Those harmonies will resonate throughout the Music Center at Strathmore Saturday, Feb. 8 when the Tribe of Judah Choir—along with the James E. Jordan, Jr. Adult Choir of Riverdale and the Baltimore City College High School Choir—perform as part of the arts center’s Make a Joyful Noise: Best of Maryland Gospel concert. “We are very excited,” says Mobolaji Ogunsuyi, general secretary and choir representative for Tribe of Judah Choir at Victory Temple of the Redeemed Christian Church of God. “Our music will reach a diverse audience, and we can bring the gospel through contemporary American and African healing songs to bless and lift up all people from different backgrounds.” Though they all come from different walks of life, members of the choirs are united by their devotion to music and to the Lord, and by the gospel competition that led them to Strathmore. Georgina Javor, Strathmore’s director of programming, saw the choirs at a regional gospel music competition in Washington, D.C., and was amazed by their infectious energy. The audience was engaged and the Verizon Center was electric. “I’ve never seen anything like it,” Javor says. “They blew the roof off of

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Baltimore Symphony ORchestra

All in the Family Assistant Principal Viola Karin Brown got plenty of love and help—from relatives and her BSO family—after she and her husband had twins By Laura Farmer

ny mother can tell you that no matter how much you prepare, you are never quite ready for that moment: labor pains shooting through your core, bringing a new soul into the world and meeting the new love of your life for the first time. For BSO Assistant Principal Viola Karin Brown, that moment came on July 19, 2013, when she and her husband of 13 years, cellist Daniel Levitov, welcomed not one, but two, new loves of their lives into the world: Arabella Agnes and Imogen Smith. “It was the scariest moment of my life!” recalls the new mom. “I woke up at 3 a.m. because I was having pains that felt like someone was squeezing my ribs.” At 36 weeks pregnant, Brown had already beaten the average term for carrying twins by one week, so her doctor decided that it was time to bring her babies into the world. Little Arabella, a.k.a. “Ara,” was born first, with “Immy” tagging along behind. “I was in complete shock. I couldn’t believe how beautiful and tiny they were. When they handed Ara to me, there was a huge love that came over me … and a sense of accomplishment. I thought that this is the best thing I’ve ever done.” Since the twins’ arrival, the new parents have started to adjust to the new normal, thanks to a small army of helpers. “We were fortunate to have family help for the first nine weeks of this adventure,” she says. “It is truly a staggering amount of work even for four adults, what with the feeding, changing diapers, cuddling, washing bottles and doing baby laundry.” And if it takes a village to raise one child, it takes an orchestra to raise twins. Brown has been overwhelmed by the affection that her BSO family has poured on the BrownLevitov family since it doubled in size. “I have had so many colleagues stop by bearing gifts of food,” she said of her fellow musicians, whom she rejoined in December. “We moved into our new house about three

16 applause at Strathmore • january/february 2014

weeks before the twins were born, but I’ve barely been able to use my beautiful new kitchen. I feel so blessed by all of the love and support from my BSO family.” 

Christian Colberg

Baltimore Symphony ORchestra

Unraveling Mozart’s mysteries With CSI: Mozart, BSO builds a case for what may have killed the Austrian composer By M.J. McAteer

What killed Wolfgang Amadeus Mozart?

Balle photo by Michael Stadler

hat’s been a mystery ever since the composer died in 1791. But on Feb. 28 at the Music Center at Strathmore, playwright and stage director Didi Balle and Baltimore Symphony Orchestra Music Director Marin Alsop will delve into the case in their Off the Cuff offering CSI: Mozart. CSI: Mozart follows in the steps of Balle’s acclaimed CSI: Beethoven, which premiered with the BSO in 2008. Balle, the BSO’s new playwright-in-residence, talks about what went into the creation of CSI: Mozart. Q: You and Marin Alsop have joined forces successfully several times before, last season on A Composer Fit for a King, your symphonic play about Richard Wagner and King Ludwig II. How do these collaborations work? A: Marin comes up with an idea, and we refine it. I interview her about what music for her is central to the story. I research and return with an outline of the symphonic play—music and scenes. After discussion, I draft scenes and monologues and then weave them seamlessly with the music. To find the dramatic plot line, I listen for the music within the story and for the stories beneath the music. Q: What surprises did your research hold? A: I was surprised by the number of theories—and the lack of real evidence—as to what killed Mozart. Unlike with Beethoven, there was no autopsy, hence, no postmortem findings, and no body to be exhumed because Mozart’s grave was unmarked. I also was surprised and inspired by the last two years of Mozart’s life. In 1790, he struggled with debt and suffered from melancholia. But 1791 was an extraordinarily prolific year for him—creatively and financially. In 10 months, Mozart wrote and conducted the premiere of two fulllength operas, a piano concerto, a clarinet concerto, the Requiem and 48 dance compositions. He was on his way to renewed fame and fortune when illness struck.

Baltimore Symphony Orchestra presents CSI: Mozart Friday, Feb. 28, 8:15 P.M. Q: In the play and film Amadeus, Antonio Salieri is implicated in Mozart’s death. Did your research bear this out? A: Playwright Peter Shaffer’s dramatic theory of Salieri as poisoner was first introduced in 1830 in a play by Russian poet Alexsandr Pushkin called Mozart and Salieri, which was turned into an opera by RimskyKorsakov … But to learn once and for all what really killed the world’s greatest musical genius, I hope you’ll join me, Marin and the BSO as we tackle the case in CSI: Mozart. 

Didi Balle

applause at Strathmore • january/february 2014 17

THE National Philharmonic

Leave Your Mark Naming program gives patrons a chance to support National Philharmonic activities that resonate with them By M.J. McAteer

Naming Opportunities Campaign

n references to the National Philharmonic Orchestra and Chorale of Montgomery County, the last three words generally get dropped. But the “of Montgomery County” part of the organization is key. Without its local supporters, the Philharmonic never would have been able to present its many seasons of fine music in the Music Center at Strathmore. Yet the need for financial support never stops for any organization, no matter how robust, and within the next five years, National Philharmonic President Kenneth A. Oldham, Jr. expects that public funding from the state and the county will decrease from a third of his organization’s budget to just 20 percent. The National Philharmonic’s naming program—which gives donors a personal way to show their support—was instituted to help address that worrisome gap. The program, started in 2012, works a bit like an endowment of a chair at a university. The Philharmonic has attached a value to each position in the orchestra and chorale from the podium down to the section leaders, such as second chair viola or tenor section leader. It also has placed a value on its core activities, such as its guest artists fund and its All Kids, All Free, All the Time program. So far the naming program has brought in pledges of more than $150,000—all from residents of Montgomery County. Robert M. Hazen was an early responder. Until recently, the renowned research

The Naming Campaign, assists in achieving long-term financial commitments from friends seeking to sustain a bright future for generations of musicians and audiences, enriching their community with great classical music and educational initiatives. Patricia Haywood Moore & Roscoe M. Moore, Jr. for the Guest Artist Fund Tanya & Albert Lampert for the Guest Artist Fund Ann & Todd Eskelsen for the Chorale Music Fund Anne Claysmith for the Chorale Chair - Soprano II Fund Paul & Robin Perito for the Vocal Guest Artist Fund Robert & Margaret Hazen for the Second Chair Trumpet Fund Dieneke Johnson for the All Kids Free Fund

scientist had a second career as a professional trumpet player, and his history with the Philharmonic stretches back 30 years to when he played with the Montgomery Chamber Orchestra under the direction of current Philharmonic Music Director and Conductor Piotr Gajewski. Hazen is lending his name to the second trumpet chair. “I jumped at the chance,” he says. “The Philharmonic is a treasure for Montgomery County and the surrounding area.” Like Hazen, Anne Claysmith also considers the Philharmonic an essential part of her life. She has sung second soprano with the chorale for 16 seasons, so it was only natural that she would choose that particular seat for her naming donation. “It’s a wonderful fit,” she says of the gift-

18 applause at Strathmore • january/february 2014

ing program. “It is a mechanism for people to contribute to something they really love themselves.” Donors to the naming program make an up-front pledge of a specific amount and their contribution then is spread across several years. Their gifts are acknowledged both in Applause and on a wall in the Strathmore lobby. With the value of seats placed at $15,000 for section chairs and up to $1.5 million for the conductor’s podium, Oldham knows that he can’t expect “hundreds of gifts.” Nevertheless, he hopes that the naming campaign will help ensure that the harmonic convergence of the Philharmonic and community will continue for many years to come. 

levi ne music

New name, same pledge Change reflects Levine’s continuing vow to offer students diverse musical experiences By Molly Shapiro

he new year is bringing several events and changes to Levine, including a new name. Formerly known as the Levine School of Music, the organization is now called Levine Music. The change reflects the full array of activities that Levine offers. Not only is Levine the Washington, D.C., region’s pre-eminent center for music education, it also supports a range of musical activities for both students and the public. Levine gives its students the opportunity to participate in individual and group instruction, jazz ensembles, chamber music groups, choruses, musical theater companies, rock bands and music therapy. Members of the community are also encouraged to attend performances, lectures, community sings and jams, master classes and other events. “Levine nurtures a strong sense of community between our students, faculty, staff and music appreciators,” said Maria Mathieson, Levine’s director of education. “We’re committed to giving our students valuable learning experiences through opportunities to perform. But we also want to reach out to the general public and music aficionados of all types through our Levine Presents series and other musical offerings.” For example, Levine students and members of the community can explore jazz music together at the Jazz Jam on Jan. 18. Facilitated by Levine’s jazz faculty, participants will improvise on wellknown jazz standards. Musicians of all

skill levels are welcome to join the jam session, which will provide both a fun and structured collaborative experience. Levine Presents, Levine’s performance series featuring faculty artists, will hold its next performance, “Instruments of Song,” on Jan. 26. Levine faculty member and pianist Grace Cho will play alongside members of the New Orchestra of Washington, presenting the power and beauty of music based on Jewish themes. Instructor Carl Yaffe will give a brief pre-concert lecture entitled, “What Makes Music Sound Jewish?” and will provide commentary during the concert to highlight specific Jewish themes. “Levine values all musical styles and showcases the many types of music that transform our lives,” said Mathieson. “Classical music might touch one person, while jazz and rock might resonate with others. We endeavor to provide top-level instruction for all

genres of music.” Levine’s spring semester classes will begin Feb. 1. To learn more about Levine Music, visit www.levinemusic.org. 

Jazz Jam Saturday, Jan. 18, 6:30 p.m.

Instruments of Song Sunday, Jan. 26, 7 p.m. A pre-concert lecture will begin at 6:30 p.m. Both Jazz Jam and Instruments of Song take place in Room 309 of the Education Center at the Music Center at Strathmore.

applause at Strathmore • january/february 2014 19

Washington Performing Arts Society

Just One More

Thing… Violinist Hilary Hahn’s latest album features new encore pieces—including two that will be performed in the Music Center By Roger Catlin

20 applause at Strathmore • january/february 2014

peter miller

ncore! Encore! Hilary Hahn has heard it a lot in her career. Whatever the performance by the eminent 34-yearold violinist, who will perform in recital April 23 at the Music Center at Strathmore, there is always a cry for more. But the pieces available for violinists to play in encores were usually the same ones—short, flashy and familiar. Brevity is a hallmark of such a piece, but so is its ability to wow or, conversely, end a show on a more calming note. Still, the same names came up: Paganini, Debussy, Ravel. And Hahn made it her goal to come up with something new to play in encores. Hence, her latest recording, In 27 Pieces: The Hilary Hahn Encores. “Violinists have been playing the same encores for hundreds of years,” says Samantha Pollack, director of programming at Washington Performing Arts Society, which is presenting Hahn’s recital. “While new repertoire has come into the concert world, there is very little in encores. So she commissioned 26 composers, many of whom are very recognizable names, to write new encores.” Among the 26 commissioned composers were Anton Garcia Abril, Richard Barrett, Max Richter, James Newton Howard, Valentin Silvesrov, David Lang, Nico Muhly, Du Yun, Soren Nils Eichberg, David Del Tredici, Jennifer Higdon, Elliott Sharp and Gillian Whitehead. For the 27th commission, Hahn held an online competition open to anyone. The winner, from 400 submissions, was “The Angry Birds of Kauai” by Jeff Meyers. The pieces are not entirely the flashy, virtuosic works audiences might expect. “A lot of composers in this project wanted to redefine the term ‘encore,’” Hahn said in an interview with NPR. “They wanted to create a different kind of virtuosity, or they wanted to create a lyricism or thoughtfulness that they had missed in certain kinds of encores in the past.” “An encore is supposed to be a treat for the audience,” Pollack says. “It either encompasses what the program meant to them, or sometimes it’s just meant as a little flashy treat, which is fine. They serve different purposes. But they’re meant to be just a standalone piece, and they’re usually shorter; it’s rare to find an encore that’s more than five minutes or so.” “In the past when someone was asked to do an encore, it would be a movement of a piece the artist played in the program that they felt was especially good,” Pollack says. “That’s how encores officially

started. When you hear ‘encore’ you literally want to hear ‘again.’ ‘We not only want to hear you again, we want to hear that again.’” To commission new encore pieces “was a really unique thing for her to do,” Pollack says of Hahn. “It encapsulates for me what Hilary embodies. She’s a very intellectually curious person. She’s very thoughtful. She takes a holistic look at music, and not just the performance side of it: she’s very interested in communication with her audience.” Two of the newly commissioned encore pieces will be part of Hahn’s Strathmore recital—“Three Sighs” by Abril and “Shade” by Barrett. They will cap a program that begins with Schoenberg’s Phantasy for Violin and Piano, Op. 47 and continues with a sonata to be determined by Mozart, Schubert’s Fantasia in C Major for Violin and Piano, D. 934 (Op. posth. 159), and Telemann’s Fantasia No. VI in E minor for solo violin, TWV 40:19.

“[Hilary Hahn] takes a holistic look at music, and ... she’s very interested in communication with her audience.” Samantha Pollack The performance continues Hahn’s long relationship with WPAS. “This is our seventh time presenting her since we debuted her as an 18-year-old in recital at the Kennedy Center,” Pollack says. “And this will be her second time at Strathmore in recital, though she has appeared there before with the Baltimore Symphony.” Hahn’s April 23 recital, though, leads to a question: In concert tradition, encores are usually not listed as part of the printed musical program (though two works from In 27 Pieces are). What, then, would she play as an encore? Pollack offers a guess: “You just might hear more of the encores from the Encores project.” 

Washington Performing Arts Society presents Hilary Hahn Wednesday, April 23, 8 P.M. applause at Strathmore • january/february 2014 21

Thursday, January 2, 2014, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

The Blue Danube & More Andrew Grams, conductor Lauren Snouffer, soprano

Acceleration, Waltzes, Op. 234 Johann Strauss Jr. (1825-1899)

Annen Polka, Op. 117

Johann Strauss Jr.

“Mein Herr Marquis” from Die Fledermaus Lauren Snouffer

Gold and Silver Waltzes Franz Lehár (1870-1948)

“Batti, batti o bel Masetto” Wolfgang Amadeus Mozart from Don Giovanni (1756-1791) Lauren Snouffer

Elgen a Magyar Polka, Op. 332

Johann Strauss Jr.

Overture to Die Fledermaus

Johann Strauss Jr.

INTERMISSION

Overture to The Abduction from the Seraglio, K. 384

Wolfgang Amadeus Mozart

“Deh, vieni non tardar” from The Marriage of Figaro Lauren Snouffer

Wolfgang Amadeus Mozart

“Vilja-Lied” from The Merry Widow Lauren Snouffer

Franz Lehár

“Voices of Spring” Waltzes, Op. 410 Lauren Snouffer

Johann Strauss Jr.

On the Beautiful Blue Danube, Waltzes, Op. 314

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

Andrew Grams, conductor

Newly appointed music director of the Elgin Symphony Orchestra of Illinois and one of America’s most promising and talented young conductors, Andrew Grams has already appeared with many of the great orchestras of the world, including the Toronto, Montreal and Vancouver symphonies; Orchestre National de France; BBC Symphony Orchestra and the Royal Scottish National Orchestra. This season, Grams began his tenure with the Elgin Symphony and debuts with the Hong Kong Philharmonic Orchestra and the Oregon Symphony. Andrew Grams last performed with the BSO in December 2013, conducting The Nutcracker at the Patricia & Arthur Modell Performing Arts Center at The Lyric in Baltimore.

Lauren Snouffer, soprano

A recent graduate of the Houston Grand Opera Studio, American soprano Lauren Snouffer has bowed at the Company as Elvira in L’italiana in Algeri, Ellie in Show Boat and Lucia in The Rape of Lucretia. During the 2013-2014 season, she sings the role of Pamina in The Magic Flute for a company debut at the Lyric Opera of Kansas City conducted by Gary Wedow, and joins the roster of the Lyric Opera of Chicago in productions of Rusalka and La clemenza di Tito. Lauren Snouffer is making her BSO debut.

Program Notes Johann Strauss, Jr.

The Music Center at Strathmore Marriott Concert Stage

(1825–1899)

Franz Lehár

(1870–1948)

Wolfgang Amadeus Mozart

(1756–1791) 22 applause at Strathmore • JANUARY/FEBRUARY 2014

PHOTO BY CLAIRE MCADAMS

Thursday, JANUARY 2, 2014, 8 P.M.

Thursday, January 2, 2014, 8 p.m.

Part fantasy and part reality, Old Vienna was the city devoted to the pleasure principle—a feast for all the senses. And for over a century, if you loved music you were in paradise: Mozart, Beethoven, Schubert, Brahms and the Strauss family all made their careers in Vienna between the 1780s and the 1890s. Above all, Vienna was Europe’s premier ballroom. In 1807, Vienna’s first grand dance hall, the Sperl, was opened. In the following decade, Johann Strauss I rapidly became one of Vienna’s most popular dance conductor-composers, and when in 1829 he took over the orchestra at Sperl’s, he became the undisputed king. He reigned unchallenged until 1844, when his 18-year-old son Johann II began leading the rival orchestra at Dommayer’s Casino. Worn out by overwork, Johann I died in 1849 at the premature age of 45. Johann II then reigned as Vienna’s “Waltz King” until the end of the century, and his mastery and innovation of the waltz form far exceeded his father’s.

The earliest of the Strauss waltzes we will hear is the “Acceleration” Waltz, written for the Engineering Students Ball in 1860. Viennese professional and social clubs gave balls each year during the Carnival season before Lent. The title for this waltz comes from the rapid acceleration of tempo with which the spinning first waltz melody begins; there is also an acceleration built into the piece’s slow introductory passage. The “Voices of Spring” Waltz began its life as a waltz song in praise of the coming of spring and the beauty of the songs of the lark and nightingale, composed for the soprano Bianca Bianchi to sing at a charity event in Vienna in 1882. Like the “Blue Danube,” it won popularity only after it was transformed into a purely instrumental work. Trilling flutes evoke those birds. Of all Strauss’ waltzes, none is more popular than “On the Beautiful Blue Danube,” composed in 1867. However, its first performance in Vienna in February of that year was hardly auspicious. It

originally contained a part for male chorus set to an inane text not about the Danube at all, but rather a paean to the up-to-date electric-arc streetlights just being introduced in Vienna! But just a few months later, Strauss needed a new waltz for the official Viennese ball at the Paris World Exposition; throwing out the choral part, he unveiled the purely instrumental “Blue Danube.” From then on, this dance became the most popular of all waltzes; today it is always featured as the encore to Vienna’s New Year’s Day concert. In contrast to the leisurely waltz, the other popular dance form glorified by the Strauss family was the usually brisk twobeat polka, a dance of Bohemian/Czech origin. The Annen Polka or “Anna Polka” was composed for the celebration of the Festival of Saint Anne, which took place on July 26, 1852, in Vienna’s amusement park, the Prater. It is a very refined, moderate-tempo polka in the French style, rather than the more robust German style. By contrast, the Elgen a Magyar (“Long Live the Magyar!”) is a very fast,

applause at Strathmore • JANUARY/FEBRUARY 2014 23

Thursday, January 2, 2014, 8 p.m.

boisterous polka representing the German approach to this two-beat dance. Just before the end, listen for a tiny quotation from the famous Hungarian tune the Rákóczy March, so memorably set by Hector Berlioz. Johann II also became the father of the Viennese operetta: a lighter form of opera based on the waltz and using spoken dialogue between the musical numbers. Today his Die Fledermaus (“The Bat”) of 1874 remains the most popular of them all: a tale of how a philandering Viennese husband gets his comeuppance. Die Fledermaus’ effervescent Overture is filled with many of the operetta’s most winning melodies. We will also hear the popular aria “Mein Herr Marquis.” Franz Lehár and the Revival of Viennese Operetta At the turn of the 20th century, a generation after Johann Strauss II flourished, the Viennese waltz-operetta was fading away. Its savior was the Hungarian-born Franz Lehár, who possessed a gift for sweeping Romantic melody and an ability to conjure even richer and more imaginative colors from an orchestra than did Strauss. Lehár’s father was a military bandleader, and for a time, the son earned his living in the same way. But after he moved to Vienna in 1899, he began also to conduct at the Theater an der Wien, one of Vienna’s principal operetta houses. A big break came when one of the leaders of Viennese society, Princess Pauline von Metternich, asked him to create a waltz for her Gold and Silver Ball in January 1902. This became the gorgeous Gold and Silver Waltz, which teases us with a very prolonged slow introduction before finally launching its glorious, warm-toned main waltz melody. In 1905, the Theater an der Wien commissioned an operetta from Lehár: Die Lustige Witwe or The Merry Widow. After a slow start due to a skimpy production with recycled sets and costumes, it became a runaway success in Vienna and beyond and made Lehár a very wealthy man. If Strauss had led the “Golden Age” of Viennese operetta, Lehár was now said

Baltimore Symphony Orchestra Marin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair Jack Everly, Principal Pops Conductor Yuri Temirkanov, Music Director Emeritus Alexandra Arrieche, BSO-Peabody Conducting Fellow First Violins Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair Igor Yuzefovich* Assistant Concertmaster Rui Du Acting Assistant Concertmaster James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto Gregory Mulligan Rebecca Nichols E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko Second Violins Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic Assistant Principal Angela Lee Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya Minsun Choi** Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Karin Brown Acting Assistant Principal

24 applause at Strathmore • JANUARY/FEBRUARY 2014

Rebekah Newman Peter Minkler Sharon Pineo Myer Delmar Stewart Jeffrey Stewart Mary Woehr Cellos Dariusz Skoraczewski Acting Principal, Joseph and Rebecca Meyerhoff Chair Chang Woo Lee Associate Principal Bo Li Acting Assistant Principal Seth Low Susan Evans Esther Mellon Kristin Ostling Paula Skolnick-Childress Pei Lu** Basses Robert Barney Principal, Willard and Lillian Hackerman Chair Hampton Childress Associate Principal Owen Cummings Arnold Gregorian Mark Huang Jonathan Jensen David Sheets Eric Stahl Flutes Emily Skala Principal, Dr. Clyde Alvin Clapp Chair Marcia Kämper Piccolo Laurie Sokoloff Oboes Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Michael Lisicky English Horn Jane Marvine Kenneth S. Battye

and Legg Mason Chair Clarinets Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken

James Wyman Principal Christopher Williams Assistant Principal Percussion Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl

E-flat Clarinet Christopher Wolfe

Harp Sarah Fuller**

Bassoons Fei Xie Principal Julie Green Gregorian Assistant Principal Benjamin Greanya**

Piano Lura Johnson** Sidney M. and Miriam Friedberg Chair

Contrabassoon David P. Coombs Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Lisa Bergman Mary C. Bisson Bruce Moore Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Nathaniel Hepler Trombones Joseph Rodriguez** Acting Principal, Alex Brown & Sons Chair James Olin Co-Principal John Vance Bass Trombone Randall S. Campora Tuba David T. Fedderly Principal Timpani

Assistant Personnel Manager David George Librarians Mary Carroll Plaine Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate Stage Personnel Ennis Seibert Stage Manager Todd Price Assistant Stage Manager Charles Lamar Sound Mario Serruto Electrician *on leave ** Guest musician

Thursday, January 2, 2014, 8 p.m.

to be the creator of the “Silver Age,” and his operettas dominated the Viennese stage until the 1940s. In its sophisticated yet heartwarming plot, the fabulously rich widow Hanna Glawari of the mythical Balkan kingdom of Pontevedro is being courted by many suitors in Paris. The Pontevedrian ambassador fears she will marry a Frenchman and thus take her money away from her tiny native land. He connives to make her fall in love instead with another Pontevedrian, Count Danilo. But many complications ensue before his plot succeeds. The second act takes place at a lavish Parisian ball, hosted by Hanna. Here she entertains her guests with a song from her country, the “Vilja-Lied,” which tells of a beautiful enchanted forest maiden, the Vilja, who entices then abandons a young huntsman. Sentimental and hauntingly melodic, it is one of this operetta’s best-loved selections. Mozart and Viennese Opera A century before Strauss and Lehár,

Mozart also tried his hand at the theninfant waltz form. But, instead, we will hear three selections from his Viennese operas, the musical genre in which he perhaps excelled above all others. In 1782, soon after he had settled in the Austrian capital, he unveiled his opera The Abduction from the Seraglio, which was one of the greatest successes of his career. Abduction follows the contemporary Viennese fashion for stories set in exotic Turkey and especially the titillating possibility that some innocent European lady might end up in an evil pasha’s harem. In this case, the Spanish noblewoman Constanze has been kidnapped by pirates and is languishing in the harem of Pasha Selim. Her fiancé, Belmonte, takes ship to rescue her and eventually succeeds, but only because of the clemency of the noble Pasha. The Overture is a charmer that exploits the parallel 18th-century fashion for “Turkish” music—actually a vivacious musical style from Hungary that uses a colorful ensemble of piccolo, triangle, cymbals

and kettle and bass drums. We hear this Turkish music ringing merrily in the Overture’s loud passages. This program’s two Mozart arias come from his great Italian-language comedies with Lorenzo da Ponte: Don Giovanni and The Marriage of Figaro. In Don Giovanni, the peasant girl Zerlina has infuriated her fiancé, Masetto, by flirting with Giovanni. Trying to pacify him, she sings the charming aria “Batti, batti o bel Masetto.” In the last act of Figaro, the maid Susannah, Figaro’s fiancée, is engaged in a sly plot to stop her employer, the philandering Count Almaviva, from exercising the “droit du seigneur” with her on her wedding night. At night in the palace garden, she sings one of Mozart’s most beautiful arias “Deh, vieni non tardar.” Not privy to the plot, the listening Figaro thinks she is singing this to the Count, but in fact, she is expressing her genuine love to him, as this wonderfully sincere and touching music reveals. Notes by Janet E. Bedell copyright 2013

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applause at Strathmore • JANUARY/FEBRUARY 2014 25

Saturday, January 4, 2014, 8 p.m. and Sunday, January 5, 2014, 3 p.m.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Sounds of Central Europe Piotr Gajewski, conductor Nurit Bar-Josef, violin Symphony No. 29 in A Major, K. 201 Allegro moderato Andante Menuetto: Allegretto; Trio Allegro con spirito

Wolfgang Amadeus Mozart (1756-1791)

Concerto for Violin and Orchestra No. 5 in A Major, K. 219 Allegro aperto Adagio Rondo: Tempo di menuetto

Wolfgang Amadeus Mozart

INTERMISSION

Serenade for String Orchestra in E Major, Op. 22 Moderato Tempo di valse Scherzo: Vivace Larghetto Finale: Allegro vivace

Antonín Dvořák (1841-1904)

Sponsored by Ameriprise Financial All Kids, All Free, All the Time is sponsored by The Gazette The Music Center at Strathmore Marriott Concert Stage

Piotr Gajewski, conductor

Piotr Gajewski is widely credited with building the National Philharmonic to its present status as one of the most respected ensembles of its kind in the region. The Washington Post recognizes him as an “immensely talented and insightful conductor,”

whose “standards, taste and sensitivity are impeccable.” In addition to his appearances with the National Philharmonic, Gajewski is much in demand as a guest conductor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the Karlovy Vary Symphony in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States. Gajewski attended Carleton College

26 applause at Strathmore • JANUARY/FEBRUARY 2014

and the University of Cincinnati, College-Conservatory of Music, where he earned a bachelor’s and master’s of music in orchestral conducting. Upon completing his formal education, he continued refining his conducting skills at the 1983 Tanglewood Music Festival in Massachusetts, where he was awarded a Leonard Bernstein Conducting Fellowship. His teachers there included Leonard Bernstein, Seiji Ozawa, André Previn, Gunther Schuller, Gustav Meier and Maurice Abravanel. Gajewski is also a winner of many prizes and awards, among them a prize at New York’s prestigious Leopold Stokowski Conducting Competition.

Nurit Bar-Josef, violin

Nurit Bar-Josef, who made her solo debut with the National Symphony Orchestra in February 2001, joined the orchestra as concertmaster in September 2001. She previously spent three years as assistant concertmaster of the Boston Symphony Orchestra and the Boston Pops and one year as assistant principal second violin with the Saint Louis Symphony. In 1997, she made her New York debut with the Juilliard Orchestra in Avery Fisher Hall. An active chamber musician, she has performed piano quartets with André Previn at his Rising Stars Festival at Caramoor, and diverse repertoire at Tanglewood Music Center; and the festivals of Taos, Garth Newel (Virginia), Portland (Maine), Steamboat Springs (Colo.) and in Philadelphia, New York City, Israel and Boston.

Program Notes Symphony No. 29 in A Major, K. 201

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

Gajewski PHOTO BY Michael Ventura, Bar-Joseph photo by teve Wilson

SATURDAY, JANUARY 4, 2014, 8 P.M. SUNDAY, JANUARY 5, 2014, 3 P.M.

Saturday, January 4, 2014, 8 p.m. and Sunday, January 5, 2014, 3 p.m.

For two months of the summer of 1773, Mozart left provincial Salzburg for the capital city, Vienna, a great artistic center that was then crowded with important composers. There, he undoubtedly encountered the new kind of symphony that Joseph Haydn had been writing recently, the passionate music of a time of storm and stress. Sturm und Drang (“storm and stress”), a movement then flourishing in German literature, based on strong emotions, was revolutionary in its emphasis on subjectivity and on man’s discomfiture in contemporary society. On his return home from Vienna, Mozart composed a series of symphonies; he completed No. 29 on April 6, 1774, with a fullness and freedom of expression that he had only rarely approached before then. Even before he wrote this symphony, Mozart had often included the lyricism and texture that he had gleaned from Italian opera, and the historical origins of the symphony as a form can be found in the Italian opera. His new work was also influenced by the poetic strain in the compositions of Michael Haydn, Joseph’s younger brother, who was Mozart’s colleague in Salzburg. Leopold, the composer’s father, disapproved of what he considered to be Michael’s dissolute ways, but Mozart enjoyed his company and his music, and he loosely modeled this symphony after one of the younger Haydn. This symphony is one of young Mozart’s most advanced orchestral works, a composition he liked so much that he revived it 10 years later at the concerts he gave in Vienna. It is a high-spirited yet serious symphony in four movements, and it and the symphony he composed just before it, No. 25 in G minor, written after the ones numbered 26 to 28, are considered Mozart’s finest symphonies before his last 10, even though he was still a teenager when he wrote them. In the first theme of the first movement, Allegro Moderato, Mozart’s use of appoggiaturas may be understood as evocative of a vocal gesture, although the counterpoint evident throughout the symphony does not come from

opera. In this movement, Mozart was also innovative: He introduced a new theme in the development section and composed a longer than usual coda. The orchestration, however, is more typical of his earlier symphonic works, emphasizing the strings with contributions by oboe and horn. Mozart’s love of the viola, an instrument he played very well, is evident here, and he gives the viola section a larger and more interesting role than was usual. The lyrical second movement, Andante, distinguished by its grace and refinement, is quite operatic in style. It seems almost as if he had written a melody with accompaniment, especially as the strings are muted. In the coda, with which the movement ends, the violins recapitulate the theme, this time without their mutes. In the Menuetto, Mozart creates many contrasting dynamic effects. The movement is rhythmically unusual, with a use of dotted rhythms, and the trio has atypical emotional depth, especially in the beginning of the second half. This vigorous and brief minuet is very different from the stately court dance; its energy and humor clearly show the influence of Joseph Haydn. The spirited finale, Allegro con spirito, in sonata-allegro form, like the opening Allegro, contains numerous imitative passages, where one section of the orchestra takes up a figure that has been heard in another. The protracted and rather dramatic development section in the movement’s center is one of the most complex Mozart had written until that time. Overall, the movement has a Rococo lightness, but Mozart also makes use of a popular device known as the “Mannheim rocket,” a rapidly ascending scale that here leads to an “explosion” in the final two chords of the symphony. Concerto for Violin and Orchestra No. 5, in A Major, K. 219

Wolfgang Amadeus Mozart At the height of his career, during his mature years in Vienna, Mozart was admired at least as much for his bril-

liant piano playing as for his compositions (which were then thought to be only incidental to a virtuoso’s work as a performer). When he no longer could be a featured child artist, Mozart’s first regular position was, surprisingly enough, as a violinist at the Archbishop’s court orchestra in Salzburg, where he was hired as concertmaster. He was encouraged to compose as well as to perform, and during his years in this position, while he was still a teenager, Mozart composed five violin concertos. He probably composed these concerti for one of his colleagues, Antonio Brunetti, who would succeed him as concertmaster, although he may have also written them for himself to play. Concerto No. 5 is a work of great beauty and originality, especially rich in surprises for the listener of the time, who expected concerti to be cast in a familiar, conventional form. At the point in the first movement, Allegro aperto, where the soloist is expected to make his entrance with the main theme with which the orchestra begins the concerto, he plays instead a free introductory slow solo passage, Adagio. When he does get to the Allegro, the soloist announces a new theme over the orchestral reiteration of what the listener might have expected was the original theme. The soloist, instead, introduces an elegant melody that elaborates part of the formal orchestral opening. The protracted second movement, Adagio, is one of Mozart’s most beautiful and most expansive slow movements. The accompanying violins are muted throughout the movement. In the finale, a Rondeau written in a supremely gracious Tempo di Minuetto, Mozart inserts, for amusing contrast, an episode in a new tempo in what used to be called “the Turkish style.” He uses a quotation from his own music taken from the seraglio scene of his opera, Lucio Silla, written two years earlier. It is this boisterous dance section with its cello and basses hitting the strings with the wood of their bows that gives the title of the work its nickname: “Turkish.” The concerto ends with a return to the rondo. The concerto is scored for two oboes, two horns and strings

applause at Strathmore • january/february 2014 27

Saturday, January 4, 2014, 8 p.m. and Sunday, January 5, 2014, 3 p.m.

Serenade for String Orchestra in E Major, Op. 22

Antonín Dvořák

Born Sept. 8, 1841, in Nelahozeves, Bohemia (now Czech Republic); died May 1, 1904, in Prague

This Serenade for String Orchestra is one of the earliest compositions that Dvořák retained in his permanent repertoire. Written in 11 days, between May 3 and 14, 1875, it was first performed on Dec. 10, 1876, at a musicians’ pension fund concert in Prague. Dvořák was in his early 30s when he composed the Serenade, a young composer still struggling desperately to earn a living. He worked on this score with renewed confidence in his creative powers because he had recently won a government competition designed to discover and assist promising young creative artists in the Austrian Empire. The “serenade” takes its name from the word sera, which means “late” in Latin and “evening” in Italian, and was originally the name given to street songs sung at night. In the middle of the 18th century, a serenade was a composition in several movements that mixed symphonic structures with marches and dances, and was played by an instrumental ensemble at evening entertainments. In the late 19th century, composers used the term serenade as a catch-all title for almost any composition that was light in tone and not rigid in structure. Dvořák wrote two serenades, of which this is the first. The E-Major Serenade has five movements. The first movement, Moderato, is simple and smooth. The second consists of a graceful Tempo di Valse, with a lyrical contrasting middle trio section. Next comes a scherzo, Vivace, with another lovely trio, and the fourth movement, Larghetto, is an extended song. Near its conclusion, the vigorous finale, Allegro vivace, recalls both the Larghetto and the opening measures of the first movement. Program notes are ©Susan Halpern, 2013

National Philharmonic Orchestra and Chorale First Violins Jody Gatwood, Concertmaster emeritus Brenda Anna Michael Barbour Eva Cappelletti-Chao Maureen ConlonDorosh Laura Tait Chang Claudia Chudacoff Lisa Cridge Doug Dubé Lysiane GravelLacombe Jennifer Kim Regino Madrid Kim Miller Jennifer Rickard Benjamin Scott Leslie Silverfine Chaerim Smith Olga Yanovich Second Violins Mayumi Pawel, Principal Katherine Budner Arminé Graham Justin Gopal June Huang Karin Kelleher Alexandra Mikhlin Laura Miller Joanna Owen Jean Provine Rachel Schenker Jennifer Shannon Ning Ma Shi Hilde Singer Cathy Stewart Rachael Stockton Violas Julius Wirth, Principal Judy Silverman, Associate Principal Phyllis Freeman Nicholas Hodges Leonora Karasina Stephanie Knutsen Mark Pfannschmidt Margaret Prechtl Jennifer Rende Sarah Scanlon Chris Shieh Tam Tran Cellos Lori Barnet, Principal April Chisholm Danielle Cho Ken Ding Andrew Hesse Philip von Maltzahn Todd Thiel Kerry Van Laanen Basses Robert Kurz, Principal Kelly Ali Shawn Alger Barbara Fitzgerald William Hones Ed Malaga Michael Rittling Mark Stephenson Flutes David Whiteside, Principal Nicolette Oppelt David LaVorgna Piccolo David LaVorgna

28 applause at Strathmore • JANUARY/FEBRUARY 2014

Oboes Mark Hill, Principal Kathy Ceasar-Spall Fatma Daglar English Horn Ron Erler Clarinets Cheryl Hill, Principal Carolyn Alvarez-Agria Suzanne Gekker Bass Clarinet Carolyn Alvarez-Agria Bassoons Erich Hecksher, Principal Benjamin Greanya Sandra Sisk Contrabassoon Nicholas Cohen French Horns Michael Hall, Principal Mark Wakefield Justin Drew Mark Hughes Ken Bell Trumpets Chris Gekker, Principal Robert Birch, Robert & Margaret Hazen Chair Carl Rowe John Abbraciamento Trombones David Sciannella, Principal Jim Armstrong Jeffrey Cortazzo Tuba William Clark Timpani & Percussion Tom Maloy, Principal Aubrey Adams Curt Duer Robert Jenkins Bill Richards Harp Rebecca Smith Elizabeth Blakeslee Keyboard William Neil Jeffery Watson Theodore Guerrant Sopranos Marietta R. Balaan Kelli Bankard Mary Bentley* Jocelyn Bond Cheryl Branham Rosalind Breslow Kristin Brown Rebecca Carlson** Cheryl Castner Anne P. Claysmith Nancy A. Coleman** Eileen S. DeMarco Lauren Drinkwater Lisa Edgley Amy Ellsworth Sarah B. Forman Caitlin A. Garry Denise R. Harding Etahjayne J. Harris Debbie Henderson Julie Hudson Robyn Kleiner Jessica Holden Kloda

Joanna Lam Maria Lostoski Kaelyn Lowmaster Sharon MajchrzakHong Anaelise Martinez Kathryn McKinley Sara W. Moses Katherine Nelson-Tracey* Mary Beth Nolan Juliana S. O’Neill Britany Poindexter Lynette Posorske Maggie Rheinstein Carlotta Richard Lisa Romano Theresa Roys Aida L. Sánchez Katherine Schnorrenberg Shelly A. Schubert Carolyn J. Sullivan Cathlin Tully Ellen van Valkenburgh Susanne Villemarette Julia E. Vollmers Amy Wenner Emily Wildrick Lynne Woods Sara Zoeller Altos Helen R. Altman Toni Barrett Carol Bruno Erlinda C. Dancer Sandra L. Daughton Jenelle M. Dennis Corinne Erasmus Deirdre Feehan Robin Fillmore Shannon Finnegan Elissa Frankle Francesca Frey-Kim Maria A. Friedman Julia C. Friend Andrea Frisch Elizabeth Bishop Gemoets Jeanette Ghatan Sarah Gilchrist Lois J. Goodstein Jacque Grenning Stacey A. Henning Jean Hochron Debbi Iwig Sara M. Josey* Marilyn Katz Casey Keeler Irene M. Kirkpatrick Martha J. Krieger** Sandy Lederman Melissa J. Lieberman* Julie S. MacCartee Nansy Mathews Caitlin McLaughlin Susan E. Murray Daryl Newhouse Martha Newman Elizabeth Owen Brianna Peterson Patricia Pillsbury Beryl M. Rothman Lisa Rovin Jan Schiavone Deborah F. Silberman Lori J. Sommerfield Carol A. Stern Pattie Sullivan Bonnie S. Temple Virginia Van Brunt Christine Vocke Sarah Jane Wagoner** Wendy J. Weinberg

Tenors Kenneth Bailes Philip Bregstone J.I. Canizares Colin Church Paul J. DeMarco Ian Elder Ruth W. Faison** Carlos A. Herrán Don Jansky Curt Jordan Paul Legrady Tyler A. Loertscher Jane Lyle David Malloy Michael McClellan Chantal McHale Eleanor McIntire Wayne Meyer* Tom Milke Rolf Moeckel Tom Nessinger Steve Nguyen Shawn Pederson Joe Richter Drew Riggs Jason Saffell Robert T. Saffell Zachary Schwalbach Dennis Vander Tuig Basses Russell Bowers Albert Bradford Ronald Cappelletti Pete Chang Stephen Cook Clark V. Cooper Bopper Deyton Charles G. Edmonds J. William Gadzuk Robert Gerard Mike Hilton John Iobst William W. Josey** Peter Kadeli Allan Kirkpatrick Ian Kyle Jack Legler Larry Maloney Ian Matthews Alan E. Mayers Dugald McConnell David J. McGoff Richard McMillan David G. Medland Kent Mikkelsen* John Milberg** Oliver Moles Mark Nelson Leif Neve Tom Pappas Anthony Radich Harry Ransom, Jr. Edward Rejuney* Frank Roys José Luis Sánchez Harold Seifried Charles Serpan Carey W. Smith Jason James Smoker Charles Sturrock Alun Thomas Donald A. Trayer Michael Turnblom Roberto Villeda Wayne R. Williams Theodore Guerrant, Accompanist, Theodore M. Guerrant Chair * section leader ** asst. section leader

Friday, January 10, 2014, 8:15 p.m.

friday, january 10, 2014, 8:15 P.M.

recording ventures and its education and outreach activities. In the summer of 2011, Alsop served her 20th season as music director of the acclaimed Cabrillo Festival of Contemporary Music in California. Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.”

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Morgan State University Choir

Off the Cuff: Dvořák’s New World Symphony Marin Alsop, conductor

“Steal Away” American Spiritual Arr. Bob Chilcott “Goin’ Home” Antonín Dvořák Morgan State University Choir (1841-1904) Eric Conway, Director Words and adaptation by William Arms Fisher Symphony No. 9 in E minor, Op. 95, Antonín Dvořák “From the New World” Adagio - Allegro molto Largo Molto vivace Allegro con fuoco Support for today’s performance is provided by the Governing Members of the BSO. The concert will end at approximately 9:20 p.m. The Music Center at Strathmore Marriott Concert Stage

ALSOP photo by DeaN Alexander

Marin Alsop, conductor

Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vision and distinction who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. Alsop made history with her appointment as the 12th music director

of the Baltimore Symphony Orchestra. With her inaugural concerts in 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. Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry. Additionally, her success was recognized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming,

The Morgan State University Choir has performed around the world to critical acclaim. Named “Best College Choir” in 2004 by Reader’s Digest magazine, the choir has performed with several major symphony orchestras, including The Philadelphia Orchestra, Chicago Symphony, New York Philharmonic and the National Symphony Orchestra. For more than 30 years, Nathan Carter was the conductor of this ensemble. Eric Conway is currently the director of the choir and chairperson of the university’s Fine Arts department. Conway has led the choir to many acclaimed performances, including a special performance at a service honoring Rosa Parks, the first woman to lie in honor in the U.S. Capitol rotunda. The choir has performed in Russia, South Africa, Colombia, China, Brazil, Jamaica and Italy.

Program Notes Symphony No. 9 in E minor, “From the New World”

Antonín Dvořák

Born Sept. 8, 1841, in Nelahozeves, Bohemia (now Czech Republic); died May 1, 1904, in Prague

applause at Strathmore • january/february 2014 29

Friday, January 10, 2014, 8:15 p.m.

At its premiere in the newly opened Carnegie Hall on Dec. 16, 1893, Dvořák’s last symphony, “From the New World,” was perhaps the greatest triumph of the composer’s career, and it has continued to rank among the most popular of all symphonies. Yet from its first reviews, commentators have asked the question: “Is this symphony really American?” In other words, how much is it “from the new

world” and how much “from the old world?” In 1892, Jeannette Thurber, a devoted music patron and wife of an American multimillionaire businessman, had lured Dvořák to New York City to become director of her new National Conservatory of Music. A man who drew on his Czech peasant roots both for personal values and artistic inspiration, Dvořák

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found much to treasure in American folk traditions. While white Americans were inclined to undervalue the spirituals of black Americans, Dvořák was enraptured by them. One of his students was Harry T. Burleigh, an African American with a fine baritone voice who was to become an important arranger of spirituals and writer of American art songs. As Burleigh remembered, Dvořák “literally saturated himself with Negro song. ... I sang our Negro songs for him very often, and before he wrote his own themes, he filled himself with the spirit of the old Spirituals.” It was those songs and the very sound of Burleigh’s voice that inspired the great English horn melody in the “New World’s” second movement. The first movement’s slow introduction hints at the principal theme, which, as the tempo quickens to Allegro molto, is introduced by the horns. Motto-like, this optimistic theme will recur in all movements. Listen for the hints of the spiritual “Swing Low” in the second theme. The Largo slow movement is one of the most beautiful Dvořák ever wrote. Here is the yearning melody for English horn, an instrument chosen by the composer because it reminded him of Burleigh’s baritone voice. A poignant middle section in the minor presents two hauntingly wistful melodies for woodwinds above shuddering strings. It is far easier to detect European influences in the spirited third movement, which summons memories of the composer’s greatest idols, Beethoven and Schubert. The finale boasts a proudly ringing theme for the brass that propels its loose sonata form. But its development section brings back the first movement “motto” theme, as well as the Largo’s English horn melody and a snatch of the scherzo. At the end, the home key of E minor brightens to E major. Dvořák’s final magical touch in a loud, exuberant close is a surprise last chord that fades to silence. Notes by Janet E. Bedell copyright 2013

Thursday, January 16, 2014, 8 p.m.

thursday, january 16, 2014, 8 P.M.

Adelaide Symphony. He has appeared with many major orchestras, including the New York, Los Angeles and Hong Kong philharmonics; the Chicago, Milwaukee, St. Louis, Toronto and Sydney symphony orchestras; the Cleveland and Philadelphia orchestras; and the Northern Sinfonia and Scottish chamber orchestras. Nicholas McGegan last appeared with the BSO in February 2012, conducting Bach’s Brandenburg Concerto No. 1, Rameau’s Naïs Ballet Suite, Haydn’s Trumpet Concerto and Mozart’s Symphony No. 39.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Beethoven & Mozart Nicholas McGegan, conductor Jeremy Denk, piano Fei Xie, bassoon

Jeremy Denk, piano

ymphony No. 30 in C Major, “Alleluja” Franz Joseph Haydn S Allegro (1732-1809) Andante Tempo de menuetto più tosto allegretto Piano Concerto No. 25 Wolfgang Amadeus Mozart in C Major, K. 503 (1756-1791) Allegro maestoso Andante Allegretto Jeremy Denk

McGegan Photo by Steve J. Sherman, DENK PHOTO BY SAMANTHA WEST,

INTERMISSION Bassoon Concerto in B-flat Major, K. 186e [191] Allegro Andante ma adagio Rondo: Tempo di menuetto Fei Xie

Wolfgang Amadeus Mozart

Symphony No. 8 in F Major, Op. 93 Allegro vivace con brio Allegretto scherzando Tempo di menuetto Allegro vivace

Ludwig van Beethoven (1770-1827)

The concert will end at approximately 9:55 p.m. The Music Center at Strathmore Marriott Concert Stage

Nicholas McGegan, conductor

In his fourth decade on the podium, Nicholas McGegan is hailed as “one of the finest baroque conductors of his generation” (London

Independent), and is increasingly recognized for his probing and revelatory explorations of music of all periods. He has been music director of Philharmonia Baroque Orchestra for 27 years, and was artistic director of the International Handel Festival Göttingen for 20 years (1991–2011). Beginning in the 2013-2014 season, he became principal guest conductor of the Pasadena Symphony and in 2014 becomes artist-in-association with Australia’s

Jeremy Denk has established himself as one of America’s most thought-provoking, multi-faceted and compelling artists. He is the recipient of a 2013 MacArthur Genius Award and has appeared as soloist with the Los Angeles Philharmonic, The Philadelphia Orchestra and the symphony orchestras of Boston, Chicago, San Francisco and London. He regularly gives recitals in New York, Washington, Boston, Philadelphia and throughout the United States. Denk opened this season with performances of the Goldberg Variations in Boston, Chicago and Washington. He returns to Carnegie Hall on tour with the San Francisco Symphony and Michael Tilson Thomas, performing Mozart’s Piano Concerto No. 25, which he will also perform with the Cincinnati Symphony and with the St. Paul Chamber Orchestra, conducting from the keyboard. Jeremy Denk is making his BSO debut.

applause at Strathmore • january/february 2014 31

Thursday, January 16, 2014, 8 p.m.

Fei Xie, now principal bassoon of the Baltimore Symphony Orchestra, joined the BSO as second bassoonist in January 2008. A native of China, Xie comes from a musical family—his parents are renowned Peking Opera musicians. He started studying piano at age 3 and at 13 began bassoon studies at the middle school attached to the Central Conservatory of Music, where he studied with YunHua Dai and Jun Zhu. Xie graduated in 2004 with a bachelor’s degree in music from Oberlin College, where he studied with George Sakakeeny. While still a student at Oberlin, he performed with the Akron Symphony and the Canton Symphony, and served as principal bassoonist of Mansfield Symphony in the 2003-2004 season. Xie also holds a master’s degree in music from Rice University (2006), where he was a student of Benjamin Kamins, the former principal bassoonist of the Houston Symphony.

Program Notes Symphony No. 30 in C Major, “Alleluia”

Franz Joseph Haydn Born March 31, 1732, in Rohrau, Austria; died May 31, 1809, in Vienna, Austria

When we hear one of Haydn’s 104 symphonies, we usually encounter later works such as the “Paris” symphonies of the 1780s or the “London” symphonies of the 1790s when Haydn was established as Europe’s most celebrated composer. But until 1761 when he joined the household of the fabulously wealthy and passionately musical Esterházy family of Hungary, Haydn spent more than a decade eking out a living as a freelance musician in Vienna.

In 1758 or 1759, Haydn had the good fortune to be hired as Kapellmeister by Count Ferdinand von Morzin, a Bohemian nobleman. When Count Morzin squandered his fortune and had to disband his orchestra in 1761, the composer was scooped up by Prince Anton Esterházy, who had been greatly impressed by Haydn’s music when he visited Morzin’s household. Haydn was originally appointed to the junior position of Vice Kapellmeister, but his talent soon eclipsed that of the Kapellmeister Gregor Werner, who became extremely jealous. When Werner died in 1766, it was a foregone conclusion that Haydn would rise to the top job, which he held for nearly three decades. During this first decade of his tenure at the Esterházy court, Haydn was extremely prolific in his production of symphonies for the prince’s virtuoso orchestra. Dating from 1765, No. 30 in C Major is nicknamed “Alleluia” because Haydn, a devout Catholic all his life, used the beginning of the plain chant melody for singing the “Alleluia” at Easter mass for the first movement’s opening motive. And he worked this do-re-mi ascending idea hard, for it is later transformed and decorated with trills to make a mincing second theme led by the violins. And the lower instruments repeat it insistently throughout the middle development section. In G major, movement two is a stately, well-bred charmer, prancing on dainty dotted-rhythm shoes. Here a bright, agile flute plays a prominent role, sometimes answered by the tart sound of two oboes. Haydn thriftily sets his finale as a 3/4-time minuet, thus combining two movements into one. A pair of horns answered by oboes gives this movement a warm, earthy sound. The middle trio section features two distinct melodies: the first one flowing and colored by the flute on top, the second a prim theme for the violins that is occasionally tripped up by some rude forte intrusions.

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Piano Concerto No. 25 in C Major, K. 503

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

In the middle 1780s, Mozart was at the peak of his popularity with the piano-mad audiences of Vienna. Between 1784 and 1786, his need for new material for his appearances produced 12 magnificent piano concertos. Tonight we will hear the last of these concertos: Piano Concerto No. 25 in C Major, which he completed on Dec. 4, 1786. Together with its immediate predecessor, the daring Piano Concerto No. 24 in C minor, it represents the twin summits of this mountain range of masterpieces. The year 1786 had been a remarkable one even by Mozart’s prolific standards: he had earlier composed the richly humane operatic comedy The Marriage of Figaro, and simultaneously with this concerto, he wrote one of his finest symphonies, the “Prague.” But already his popularity with the Viennese public was beginning to wane, for he insisted on challenging his audiences, not simply entertaining them. There would be no more solo appearances for him in Vienna after 1786. The opening of the sonata-form first movement is a striking example of the transfiguration of the commonplace. Instead of a true theme, we hear just a series of imperial fanfares and outlines of chords. Violins gently introduce a Beethoven-esque five-note motive that will grow bolder and pervade the whole movement. After a brief pause, a real theme grows out of this pattern: a wry military march in the minor mode that haunts the memory. When it repeats in the major, Mozart adds a beautiful countermelody in the flute. Now the pianist enters very modestly and slowly with a decorated version of the five-note rhythmic motive. Then he proposes a new lyrical theme: a winsomely appealing Mozart melody that has nothing to do with grandeur. This solo exposition closes with the orchestra thundering the

XIE PHOTO BY Christian Colberg

Fei Xie, bassoon

Thursday, January 16, 2014, 8 p.m.

rhythmic motive, now reduced to just four notes. The piano launches the development section with the theme it had avoided earlier: the wonderful minormode march. This builds into one of Mozart’s greatest developments in which feisty woodwinds collaborate on equal terms with the piano in ingenious contrapuntal play. For the slow movement, the orchestra creates an atmosphere of silvery nocturnal serenity much like the final act of Figaro. Listen to the gorgeous woodwind parts—flutes, oboes, bassoon, horns—weaving their magic along with the soloist. Earlier in 1786, Mozart had revised his 1781 opera Idomeneo for its Viennese premiere. So it’s not surprising that he borrowed a melody from its ballet music to become the appealing repeated-note refrain for his rondoform finale. However, it is surprising that the orchestra, rather than the soloist, introduces this theme. As trumpets and timpani enter, this refrain takes on a grandeur we wouldn’t expect from its modest opening. The finale’s dramatic, harmonically questing middle episode brings a beautiful surprise: a rapturous Mozartean melody sung by the piano and woodwind soloists that is perhaps the concerto’s most sublime moment. Concerto for Bassoon in B-flat Major, K. 191

Wolfgang Amadeus Mozart Throughout his too-short career, Mozart contributed generously to the concerto literature. Only the viola and cello and the brass instruments were excluded. But the woodwinds, including their honorary brass member the French horn, were richly endowed with four horn concertos, two concertos for flute, and one each for oboe, clarinet and bassoon. The Bassoon Concerto is the earliest of these, dating from June 1774 when Mozart was only 18. Although not aiming at profundity, the Bassoon Concerto is a charming and accomplished showpiece for the

basso of the wind section. Mozart sets off his dark-toned soloist with a bright orchestra of strings, oboes and horns playing in high register to clear them out of the way of the bassoon’s range. And he exploits the instrument’s best qualities: its burbling flexibility in playing fast notes and Superman-like ease in leaping tall intervals—two octaves or more—at a single bound. The gracious slow movement is an aria over muted strings in which the smoky-voiced singer shows off both his warm high register and his sepulchral low tones. In the finale, Mozart follows the inspiration of his youth, Johann Christian Bach—youngest son of the great Johann Sebastian—in fashioning a movement that combines the courtly 3/4-time dance the minuet with the recurring-refrain structure of the rondo. Symphony No. 8 in F Major

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

In his respected and entertaining guide to Beethoven’s symphonies, British musicologist George Grove said of the Eighth Symphony: “The hearer has before him not so much a piece of music as a person.” That person, of course, is Beethoven himself, but not the serious, brooding artiste of his portraits. No, the Eighth is a musical image of the composer in the mood he called “aufgeknöpft”— “unbuttoned.” In his “unbuttoned” state, Beethoven was given to explosive pranks—once up-ending a bowl of pasta over a waiter’s head at a favorite restaurant—silly puns and practical jokes on his friends accompanied by howls of laughter. And in the summer of 1812, when much of this symphony was written, he was often in this antic mood. The lighter side of Beethoven’s wild personality shifts animates the Eighth. The composer doesn’t waste a second, immediately hurling his terse principal theme at us as the Allegro vivace first movement begins. This sonata form is

an extraordinary mixture of grace and bluster: a bull in a china shop. The grace appears in a second theme for violins, but the bluster upsets its flow with barking dotted rhythms, rude sforzando jabs and ungainly octave pogo jumps. Instead of a slow movement, Beethoven offers a merry second movement, which lives up to its expressive marking “scherzando”— “joking.” This is a send-up of the marvelous mechanical devices of his friend Johann Nepomuk Maelzel, inventor of the metronome. To the ticktick-tick of the woodwinds, the violins play like little automatons, periodically pausing to rewind themselves in a whir of 64th-notes. In the final seconds, the machine breaks down altogether in a rattle of B-flats. Because he has already played his Scherzo card, Beethoven reverts to the old courtly minuet for his third movement. But its aggressive, heavyfooted accents wouldn’t be welcome in a proper court and remind us that this composer was reputedly a clumsy dancer. Even though it is less than eight minutes long, Donald Francis Tovey rightly calls the finale “one of Beethoven’s most gigantic creations.” The violins open with a nervously scurrying theme that is soon ambushed by a loud, dissonant C-sharp, definitely not part of the key. Soon with a startlingly sudden shift to Aflat major, a beautiful second theme leaps in. After a thundering F-major chord has restored us to the home key, the nervous theme is extremely reluctant to venture out again. The movement’s most remarkable feature is its lengthy coda. Here the nervous theme is whipped from pillar to post and eventually chased by an angry chorus of nasty C-sharps into the distant key of F-sharp minor. Trumpets yell at it in F major until it scrambles home. Beethoven completes his pranks with the most hilariously overextended final cadence in the symphonic repertoire. Notes by Janet E. Bedell, copyright 2013

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Saturday, January 18, 2014, 8 p.m.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Three Great Classics Victoria Gau, conductor Gabriela Martinez, piano Julie Keim, soprano Robert Petillo, tenor Kerry Wilkerson, bass National Philharmonic Chorale Divertimento in D Major, K. 136 Wolfgang Amadeus Mozart Allegro (1756-1791) Andante Presto Concerto for Keyboard and Strings, Johann Sebastian Bach No. 1, in D minor, BWV 1052 (1685-1750) Allegro Adagio Allegro INTERMISSION

Mass No. 2 in G Major, D. 167 Franz Schubert (1797-1828) Kyrie Chorus and Soprano Gloria Chorus, Soprano and Bass Credo Chorus Sanctus Chorus Benedictus Soloists and Chorus Agnus Dei Chorus, Soprano and Bass All Kids, All Free, All the Time is sponsored by The Gazette The Music Center at Strathmore Marriott Concert Stage

Victoria Gau, conductor

Lauded by critics for her “strong sense of style and drama” and her “enthusiastic and perceptive conducting,” National Philharmonic Associate Conductor Victoria Gau is artistic director and conductor of the Capital City

Symphony and former conductor and music director of the Richmond Philharmonic Orchestra. She is also artistic director of the newly formed Takoma Ensemble. Gau is a familiar face in the Washington, D.C., area, having conducted such groups as The Other Opera Company (which she co-founded), The Washington Savoyards, the IN-Series and the Friday Morning Music Club Orchestra. Other guest conducting engagements

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include the Akron (Ohio) Symphony and The Kennedy Center Messiah Sing-Along. Gau has served on the opera faculty at George Mason University and worked as a pianist for the Cleveland, Baltimore, Annapolis and Washington opera companies.

Gabriela Martinez, piano

Lauded by The New York Times as “compelling, elegant and incisive,” Venezuelan pianist Gabriela Martinez has performed as orchestral soloist, chamber musician and recitalist in venues ranging from Carnegie Hall to the Grosses Festspielhaus in Salzburg to the Tokyo International Music Festival. She has appeared with such renowned orchestras as the Chicago and San Francisco symphonies and Germany’s Stuttgarter Philharmoniker.

Julie Keim, soprano

Nationally recognized soprano Julie Keim is known for her outstanding musicality and vital vocal quality. Keim’s concert repertoire includes Carmina Burana, Ein deutsches Requiem, Poulenc’s Gloria, Duke Ellington’s Sacred Concert and the virtuoso solo cantatas “Exsultate, jubilate,” “Jauchzet Gott in allen Landen” and Vivaldi’s “In furore.”

Robert Petillo, tenor

Robert Petillo is the first tenor section leader for the United States Army Chorus, an element of the United States Army Band (Pershing’s Own) stationed at Ft. Myer, Va. Petillo also has performed with the Washington Bach Consort and

Gau PHOTO BY Christopher Moscatiello, Martinez PHOTO BY Monica Trejo, Keim PHOTO BY Devon Cass

SATURDAY, january 18, 2014, 8 P.M.

Saturday, January 18, 2014, 8 p.m.

numerous choral groups, including the Washington Singers, Cantate Chamber Singers, the Masterworks Chorus, the Fairfax Choral Society and the Maryland Choral Society.

Kerry Wilkerson, bass

Kerry Wilkerson has sung with the professional choruses of the United States Air Force, United States Army, Carnegie Hall Choral Workshops and the critically acclaimed Robert Shaw Festival Singers. He currently serves as assistant director of Music Ministries at Vienna Presbyterian Church. As a military musician, he has sung extensively throughout the United States and Canada in some of our nationâ&#x20AC;&#x2122;s finest performance halls.

Program Notes Divertimento in D Major, K. 136

Wolfgang Amadeus Mozart

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

Two years after the 14-year old Mozart had written his very first string quartet, he wrote three light quartets, K. 136-138, in 1772. Since he did not number them among his quartets, a larger ensemble with at least two or more instruments playing each part has often performed these works that have, instead, become known as Divertimenti. The Divertimento, K. 136 shows the influence that the Italian style had on Mozart. Returning to Germany from a trip to Italy with his father, Leopold, Mozart, the precocious 16-year old, demonstrated in this and the other divertimenti exactly how formative his travel experience had been in shaping his musical sensibility. The work is in three movements: the first, Allegro, has virtuoso opportunities for violins who carry on a dialogue much like those found in the concer-

MASS NO. 2 IN G MAJOR KYRIE Chorus and Soprano Kyrie eleison, Christe eleison Kyrie eleison.

Lord, have mercy upon us, Christ, have mercy upon us, Lord, have mercy upon us. GLORIA Chorus, Soprano and Bass

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam Domine Deus, Rex coelestis, Pater omnipotens, Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, filius Patris, Qui tollis peccata mundi, miserere nobis, Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, cum sancto spiritu in gloria Dei Patris, Amen.

Glory be to God on high, and on earth, peace to men of good will. We praise thee, we bless thee, we adore thee, we glorify thee. We give thanks to thee for thy great glory. Lord God, heavenly king, Father almighty, Lord the only begotten son, Jesus Christ, Lord God, Lamb of God, Son of the Father, Who takest away the sins of the world, have mercy upon us. For thou only art holy, thou only art the Lord, thou only art the most high, with the Holy Ghost in the glory of God the Father, Amen.

CREDO Chorus Credo in unum Deum, I believe in one God, Pater omnipotentem, Father Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium and of all things visible et Invisibilium, and invisible, in unum Dominum, Jesum Christum, in one Lord, Jesus Christ, Filium Dei unigenitum, the only begotten Son of God, ex Patre natum, born of the Father ante omnia saecula, before all ages, Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, Very God of Very God, genitum non factum, begotten, not made, con substantialem Patri, of one substance with the Father, per quem omnia facta sunt, by whom all things were made, qui propter nos homines who for us men et nostram salutem and our salvation descendit de coelis. came down from heaven. Et incarnatus est And became incarnate de spiritu sancto by the Holy Ghost ex Maria Virgine of the Virgin Mary et homo factus est. and was made man. Crucifixus etiam pro nobis And was crucified also for us sub Pontio Pilato, under Pontius Pilate, passus et sepultus est suffered and was buried. Et resurrexit tertia die And the third day he rose again, secundum scripturas, according to the scriptures, et ascendit in coelum, and ascended into heaven, sedet ad dexteram Patris, and sitteth on the right hand of the Father, et iterum venturus est and he shall come again cum gloria with glory judicare vivos et mortuos, to judge the living and the dead, cujus regni non erit finis. whose kingdom shall have no end. Et in spiritum sanctum, And in the Holy Ghost, Dominum et vivificantem. the Lord and life giver, qui ex Patre Filioque procedit, who proceedeth from the Father and the Son, qui cum Patre et Filio who with the Father and the Son simul adoratur et conglorificatur, together is adored and glorified, qui locutus est per prophetas. who spake by the prophets. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum, for the remission of sins, mortuorum, of the dead, et vitam venturi seeculi, and the life of the world to come, Amen. Amen.

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Saturday, January 18, 2014, 8 p.m.

tantes that feature two solo groupings. The slow and graceful second movement, Andante, the most Italianate of the three movements, is lush and eloquent. The last, a fast movement, Presto, bears musical reference to a work the young Mozart had studied in Italy, Giovanni Martini’s Art of the Fugue. Concerto for Keyboard and Strings, No. 1, in D minor, BWV 1052

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

Between 1729 and 1737, Bach was director of the Collegium Musicum, an organization of university students as well as professionals and amateur musicians that met every Friday evening in the Leipzig coffeehouse of Gottfried Zimmermann. Bach performed a great deal of his own music at Zimmermann’s, and it was there that his keyboard concertos were played for the first time. Bach adapted his D-minor Keyboard Concerto from a violin concerto that may even have been his adaptation of an oboe or violin concerto by another composer, possibly Alessandro Marcello (1684-1750) yet Bach made the music his own, reworking and revising it for the keyboard and resetting parts of it for radically different forces. It was most likely created sometime in the late 1720s or early 1730s. In the end, it has the kind of clarity, vigor and richness for which his music is unmatched. In this form, the concerto has become one of his most admired works and is the most frequently played of his keyboard concerti. The concerto’s three movements, in a typical fast-slow-fast pattern, are a rhythmic and forceful Allegro, followed by an Adagio that is a melancholy and introspective aria for the soloist contrasting with the orchestra’s repetitions of the opening figure, and a lively, dancing Allegro finale. Throughout, the soloist has many places to demonstrate his virtuosity in cadenza-like passages.

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Benedictus qui venit in nomine Domini. Osanna in excelsis.

Agnus Dei, qui tollis peccata mundi, miserere nobis, done nobis pacem.

SANCTUS Chorus

BENEDICTUS Chorus and Soloists

AGNUS DEI Chorus, Soprano and Bass

Mass No. 2, in G Major, D. 167

Franz Schubert

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

Eighteen-year-old Franz Schubert composed this melodic and direct setting of the Mass in the six days from March 2 to 7, 1815, to be sung by his young friends in the choir of his home parish church. This early homophonic work has an extraordinary lyrical and compact structure, almost like a series of songs. Perhaps for no other reason than to tighten the musical structure, Schubert dropped a few words from the liturgical text here and there, an act that seems to have been considered of little importance at the time, but later church authorities found troubling. Now the mass is often performed with the missing words restored, and they appear in the text, in brackets. Characterized by its directness and clarity, the Mass in G displays the legacy it gained from Viennese Classical composers Haydn, Mozart and Beethoven. The original score called for soprano, tenor and bass soloists, four part mixed chorus, strings and organ. Schubert’s older brother, Ferdinand, helped copy the instrumental parts for the first performance, and when the Mass was later sung at Klosterneuburg, he added parts for trumpets and timpani, almost certainly with the composer’s approval. In 1847, Ferdinand took the score up again

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Holy, holy, holy, Lord God of hosts, heaven and earth are full of thy glory. Hosanna in the highest.

Blessed is he that cometh in the name of the Lord. Hosanna in the highest.

Lamb of God, who takest away the sins of the world, have mercy upon us, give us peace.

and added parts for pairs of oboes (or clarinets) and bassoons. The alternate versions of the accompaniment and the text can make this Mass vary greatly from performance to performance. Additionally, in the 1980s in Klosterneuburg, a set of parts for the mass was uncovered, dated later than Schubert’s full score. They include minor changes throughout the work, which may represent Schubert’s final decisions regarding the work, and they also include both trumpet and timpani. Nineteen years after his brother died at the age of 31, Ferdinand returned to this score because one of the small number of manuscript copies in circulation had fallen into the hands of a plagiarist. This impostor, Robert Führer published it as his own composition, complete with the added trumpet and timpani parts. In December 1847, a Viennese musical journal published an angry letter it had received from Ferdinand on the matter. This incident earned the dishonorable Führer a degree of immortality he probably would not have attained otherwise. According to contemporary accounts, he was a musician of talent, and in 1839, appointed to the important post of organist of the Prague Cathedral. However, he no longer held that position at the time of publication. He had lost it some years before on account of what was called his “irregular life,” and left Prague in 1843. Program notes are ©Susan Halpern, 2013

Thursday, January 23, 2014, 8 p.m.

Thursday, JANUARY 23, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director Jack Everly, Principal Pops Conductor

presents

Marvin Hamlisch: One Singular Sensation Jack Everly, conductor Featuring Marissa McGowan, vocalist This program will be announced from the stage. The Music Center at Strathmore Marriott Concert Stage

Michael Tammaro

Jack Everly, conductor Jack Everly is the principal pops conductor of the Baltimore and Indianapolis symphony orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and the music director of the National Memorial Day Concert and A Capitol Fourth on PBS. He has been on stage with the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. His frequent guest conducting engagements include the orchestras of Pittsburgh, Edmonton, Oklahoma City and this season with The Philadelphia Orchestra at The Mann Center. Everly is the music director of Yuletide Celebration, now a 26-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concertgoers. He led the Indianapolis Symphony Orchestra in its first pops recording, Yuletide

Celebration, Volume One, that included three of his own arrangements. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, he teamed with the late Marvin Hamlisch in Broadway shows that Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Everly has conducted the songs for Disney’s animated classic The Hunchback of Notre Dame and led the Czech Philharmonic on the recordings In the Presence, featuring tenor Daniel Rodriguez, and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Everly created the Symphonic Pops Consortium, serving as music director. The consortium, based in Indianapolis, produces new theatrical pops programs. In the past 13 years, more than 250 performances of SPC programs have taken place across the U.S. and Canada. applause at Strathmore • JANUARY/FEBRUARY 2014 37

Saturday, February 1, 2014, 8 p.m.

SATURDAY, FEBRUARY 1, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Chaplin’s Back! Marin Alsop, conductor Charlie Chaplin’s THE IDLE CLASS and THE KID Music composed by Charles Chaplin Music Associate Eric James Orchestrated by Eric Rogers Scores arranged and adapted for live performance by Carl Davis The Idle Class © Roy Export S.A.S Music for The Idle Class Copyright © Roy Export Company Establishment and Bourne Co. All rights reserved. The Kid © Roy Export S.A.S Music for The Kid Copyright © Roy Export Company Establishment and Bourne Co. All rights reserved.

The concert will end at approximately 9:30 p.m. The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor For Marin Alsop’s biography see page 29.

Program Notes The Idle Class The Kid

Charles Spencer Chaplin, Jr. Born April 16, 1889, in London; died Dec. 25, 1977, in Vevey, Switzerland

When Charles Spencer Chaplin, Jr. was born in a working-class South London neighborhood in 1889, his situation hardly suggested a glorious future. His father, Charles Sr., was a handsome, modestly successful singer/actor in the London music halls of the day, but he was also an alcoholic who abandoned Charlie and his mother soon

after the boy was born. His mother, Hannah, was also a variety performer, but her singing voice gave out early and she was barely able to support Charlie and his older half-brother Sydney. The family spent several periods living in soul-destroying workhouses for the indigent, and the mentally unstable Hannah Chaplin was committed more than once to an asylum. Young Charlie’s budding performing talent provided the way out of these miserable circumstances. At age 9, he became a singing member of The Eight Lancashire Lads, which appeared in London and on tours around England. Soon he was in demand as a child actor, specializing in the cheeky role of Billy the Messenger in several Sherlock Holmes plays. Chaplin’s big break came in 1908, when the 18-year-old

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became a featured performer with the very popular Fred Karno Company, soon becoming one of its stars. In 1910, the Karno Company toured America, and Chaplin got his first glimpse of New York City and California. After another Karno American tour, Chaplin decided to try his luck in the very young world of silent film. In 1913, he signed a contract with Mack Sennett’s Keystone Film Co. and moved to Hollywood. Renowned for their hyperkinetic Keystone Cops, Sennett’s films were hastily shot one-reelers sometimes lasting as little as five minutes; Chaplin appeared in 35 of them before moving on to the Essanay studios in 1915. Now directing his films as well as acting in them, he introduced the world to his signature character in The Tramp, released in 1915. Chaplin recalled that his beloved gentleman tramp with the inimitable rolling walk, originally invented for Sennett in 1914, was a sudden inspiration, undoubtedly based on down-andout characters he had observed growing up on London’s meaner streets. “I had no idea of the character,” he wrote in My Autobiography, “but the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked onto the stage, he was fully born. When I confronted Sennett, I assumed the character and strutted about, swinging my cane and parading before him. Gags and comedy ideas went racing through my mind.” Audiences loved the Little Tramp, and by 1917, Chaplin had signed an annual million-dollar contract with First National Exhibitors Circuit and was able to build his own Los Angeles studios, designed to look like a little English Cotswolds village. Here he exercised nearly complete control over his films: writing his scenarios, casting his actors, directing and editing his films, as well as starring in them. The Idle Class One of the last of Chaplin’s two-reelers, The Idle Class was actually shot after The Kid in 1921 and represented a

Saturday, February 1, 2014, 8 p.m.

throwback to the antic slapstick comedies that had made him famous. Having succeeded with a longer, more complex form in The Kid, he still owed First National four more short films and his heart was not in them. In his autobiography he recalled: “In a state of quiet desperation, I wandered through the property room in the hope of finding an old prop that might give me an idea: remnants of old sets, a jail door, a piano or a mangle. My eye caught a set of old golf clubs. That’s it! The tramp plays golf—The Idle Class. “The plot was simple. The tramp indulges in all the pleasures of the rich. He goes south for the warm weather, but travels under the trains instead of inside them. He plays golf with balls he finds on the gold-course. At a fancy-dress ball he mingles with the rich, dressed as a tramp, and becomes involved with a beautiful girl. After a romantic misadventure he escapes from the irate guests and is on his way again.” Chaplin added a new twist to The Idle Class: here he would play not one character, but two. Not only is he the Little Tramp, he also takes the role of the rich man who is sending his beautiful wife (Edna Purviance again) into despair with his addiction to alcohol. One of his more intriguing conceits is to stage a fight between the two characters: Chaplin vs. Chaplin! The film’s most delicious sequence, however, is the Little Tramp’s anarchic behavior on the golf course featuring his double pirouette of a swing. Frustrated with First National’s control over his creativity, Chaplin decided to leave the organization and found United Artists Corp. with the film stars Mary Pickford and Douglas Fairbanks and the legendary director D. W. Griffith. From now on, there would be no one restraining his imagination. The Kid Filmed in 1920 and released in 1921, The Kid was an ambitious leap for Chaplin into feature-length films after a career of one- and two-reelers. Moreover, it was the first time he

risked combining serious drama with his patented slapstick comedy. The film came at a particularly low moment in Chaplin’s life: he had just lost his first child, a son who’d died in infancy, and his marriage was headed to the divorce courts. Depressed and unable to come up with any ideas for a new film, he attended a theater performance featuring an exotic dancer, which burst into life when the dancer’s 4-year-old son, Jackie Coogan, Jr., tripped onto the stage to do a few dance steps of his own. The audience was enchanted by the little boy, and an equally dazzled Chaplin had found his next film subject. In the film, a young unwed mother (played by Edna Purviance, who appeared in many of Chaplin’s films) leaves her infant son in the backseat of a luxury car parked outside a mansion, hoping to give him a better future. When thieves steal the car, they abandon the child on a filthy slum street, and he is found and raised with loving devotion by the Little Tramp. The mother’s efforts to find the child, and the Tramp’s determination to keep him despite the persecution of police and child welfare officials, form the movie’s bittersweet story. And the Tramp’s chase over the rooftops to rescue the Kid became one of Chaplin’s greatest sequences, with his gift for physical stunts enlarged into a moment of heartbreaking pathos. Chaplin’s Musical Scores The arrival of sound gave Chaplin a delightful new possibility: he could now not only write, direct and act, but also create the music for his films. City Lights in 1931 was his first film score, and from then on, he composed the music for all his films. Though not a trained musician, Chaplin adored music and even taught himself to play violin left-handed; a pipe organ and a Steinway grand, where he would pick out tunes for hours on end, were among his prized possessions. Composer David Raksin, who worked with him on the score for Modern Times, remembered Chaplin as a musical magpie who pulled ideas from everything

he’d heard, whether the music-hall songs of his youth or the classical music he preferred as an adult. Because he lacked the musical training to note down his ideas, Chaplin relied on a series of arrangers to elaborate and orchestrate the themes he sang or played on the piano for them. His collaborators for the scores for The Kid and The Idle Class were Eric James and orchestrator Eric Rogers. Always the perfectionist, Chaplin devoted many weeks or even months creating his scores. For the orchestrations, he preferred the strings above the other instruments, and James wrote that he had to be restrained from using his favorite instrument, the cello, for all his serious or romantic themes. The scores for The Kid and The Idle Class were written in 1971, a halfcentury after the films were made, for their re-release. In keeping with its lighter, less complex character, the music for The Idle Class utilizes just a few simple themes for its slapstick-oriented scenes, with the most memorable being the mischievous music used for the golfing sequence. Much more ambitious is the score for The Kid’s mixture of humor and pathos, and in fact, it is one of the finest scores Chaplin ever created. It draws on his lifelong passion for classical music (you’ll detect some borrowings from Tchaikovsky here), and its themes enhance the poignancy of the situations without lapsing into excessive sentimentality. With his instinctive dramatic and musical sensibility, Chaplin knew exactly what sort of music his films needed. “I tried to compose elegant and romantic music to frame my comedies in contrast to the tramp character, for elegant music gave my comedies an emotional dimension. Musical arrangers rarely understood this. They wanted the music to be funny. But I would explain that I wanted no competition, I wanted the music to be a counterpoint of grace and charm, to express sentiment, without which, as Hazlitt says, a work of art is incomplete.” Notes by Janet E. Bedell, copyright 2013

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e t a r b e l e

your milestones at Strathmore! Birthdays, graduations, anniversaries, rehearsal dinners, bar/bat mitzvahs, all of the events that make up your life.

No matter how big or how small, we take care of every detail to ensure your celebration reflects your individual style and leaves you with memories to last a lifetime.

The Music Center at Strathmore The Mansion at Strathmore Bethesda, MD Please Contact Niiyo Madison at 301.581.5225 or nmadison@restaurantassociates.com

Saturday, February 8, 2014, 8 p.m.

SATURDAY, FEBRUARY 8, 2014, 8 p.m.

Courtney Michelle King

Courtney Michelle King has been a member of Refreshing Spring Church of God in Christ for nearly 40 years. She became a member of the church’s music ministry at a very young age as a singer in the Sunshine Band children’s choir. She later became a member of the church’s Joint Youth Choir and the Young Adult Choir, which was renamed The James E. Jordan, Jr. Adult Choir. She began directing the Young Adult Choir in 1998 and became the choir’s co-director along with the late Felicia Martin. After Martin’s death, King became the director of the James E. Jordan, Jr. Adult Choir. Under her leadership and direction, the choir has won numerous awards and performed throughout the United States. King earned her undergraduate and graduate degrees in education from Howard University. She is a middle school principal for Prince George’s County Public Schools.

● Strathmore Presents

Make a Joyful Noise: Best of Maryland Gospel James E. Jordan, Jr. Adult Choir Courtney Michelle King, director Tribe of Judah Choir Bayo Babajide, music director Baltimore City College High School Choir Marcus D. Smith, director The Music Center at Strathmore Marriott Concert Stage

Tribe of Judah Choir

James E. Jordan, Jr. Adult Choir

The James E. Jordan, Jr. Adult Choir of Refreshing Spring Church of God in Christ, in Riverdale, Md., was originally known as the church’s Young Adult Choir. The choir was later renamed after the church’s current pastor, James E. Jordan, Jr. Known for its high energy, rich sound and enthusiasm, the choir has won the People’s Choice Award, Best Large Choir Award and the East Coast Regional Choir Award in Verizon’s

How Sweet the Sound church choir competition held at the Verizon Center in Washington, D.C. (2010). The choir has performed in the Staples Center in Los Angeles and the Kennedy Center, on the steps of the Lincoln Memorial during the 50th anniversary celebration commemorating the March on Washington, and in several other venues throughout the United States. The mission of the choir is to spread the love and gospel of Jesus Christ through the ministry of song.

The Tribe of Judah Choir, of Victory Temple of the Redeemed Christian Church of God in Bowie, Md., is a group of inspired, anointed and talented worshippers raising the praise to the Almighty. The church is led by Pastor Bayo Adeyokunnu. In 2010 the choir released its debut CD, Exalt, which consisted of the tracks “Exalt You” and “Jesus Is the Same.” The choir was among the top 10 finalists for the Gospel Music Channel 2011 Power Awards. The Tribe of Judah Choir also has been nominated for the Best Gospel Group USA by the African Gospel Music Awards in the United Kingdom. In September 2011, the choir won the Best Small Choir Award in the 2011 Verizon How Sweet the Sound gospel choir competition in Washington, D.C. In December 2011, the choir was invited to sing at the White House for President Barack Obama’s Christmas Tree Lighting event.

Bayo Babajide

Pastor Bayo Babajide is a seasoned instrumentalist, an accomplished singer,

applause at Strathmore • JANUARY/FEBRUARY 2014 41

Saturday, February 8, 2014, 8 p.m.

an experienced music teacher, a celebrated worship leader and a music director. He started his music ministry at The Redeemed Christian Church of God at the Headquarters, Ebute Metta, Nigeria, in 1992. There he served as the pianist until he relocated to the United States in 1999. As the resident music director of Victory Temple of the Redeemed Christian Church of God, he successfully transformed the choir, Tribe of Judah, into a household name in the community, with accolades such as the How Sweet the Sound Award and a performance for President Barack Obama at the White House. He is a renowned music consultant to many churches, and a multi-instrumentalist whose passion is to create an environment for God’s presence wherever he is. Babajide holds a bachelor of arts degree in music from the University of Nigeria, Nsukka.

Baltimore City College High School Choir

Marcus D. Smith

The Baltimore City College High School Choral Program consists of more than 100 students in grades 9 through 12. The choir performs music from the classics of Handel and Praetorius to the spirituals and works of Dawson, Hogan, Ellington and Smallwood. The chorus is divided into several groups and ensembles, including the Concert Choir, an auditioned group of about 50 students. The Baltimore City College High School Choir has shared the stage with the Baltimore Symphony Orchestra and Yo-Yo Ma, the Morgan State University Choir and the Baltimore Choral Arts Society. The choir has recorded four CDs: Vision for the Millennium; Living the Vision: The Europe Tour; A New Vision: Great Things; and Live in Milan.

Music & Arts su pports your local schoo ls!

Marcus D. Smith has studied music under various renowned musicians including the late Nathan Carter, Robert Jordan, William Patrick Alston, Linda R. Hall and Renaldo Reyes. While in high school, Smith played for the Baltimore City College High School Choir under the tutelage of Hall. Smith received his high school diploma from Baltimore City College High School and a bachelor’s degree in piano performance from Morgan State University. In 2011, Smith graduated with a master’s degree in music education from Towson University. In addition to serving at Baltimore City College High School, Smith also is employed as the minister of music for the Ark Church in Baltimore. In 2008, Smith recorded a project with his current church choir, Divine Voices of Praise, entitled, Be Still and Know.

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Sunday, February 9, 2014, 7 p.m.

sunday, february 9, 2014, 7 p.m.

contemporary Cuban Latin jazz. The daughter of the late Cuban jazz painist Bebo Valdés and sister of Chucho Valdés, Mayra Caridad Valdés studied at the National Art School in Cuba and graduated with a degree in choral music. In 1980, Harry Belafonte invited her to perform with him at his concert in Cuba, launching her career as a vocalist. She toured Japan and Europe as a solo vocalist and as a member of numerous groups including Irakere, and also in Chucho Valdés’ quartet. She has shared the stage with international figures such as Gladys Knight, Flora Purim and Tania María.

● Strathmore Presents

Chucho Valdés & the Afro-Cuban Messengers Chucho Valdés, pianist and bandleader Mayra Caridad Valdés, vocals Lázaro Rivero Alarcón, bass Juan Carlos Rojas Castro, drums Yaroldy Abreu Robles, percussion Dreiser Durruthy Bambolé, batá drum and vocals Carlos Manuel Miyares Hernandez, tenor saxophone Reinaldo Melián Álvarez, trumpet

Lázaro Rivero Alarcón

The Music Center at Strathmore Marriott Concert Stage

Chucho Valdés With more than a half-century of innovation behind him, Chucho Valdés would be forgiven if he chose to sit back and relax. But that’s precisely what the renowned Cuban pianist, composer and bandleader is not doing. Instead, Valdés—winner of five Grammy Awards and three Latin Grammys—has been touring almost constantly. Valdés’ new, more contemporary sound is apparent on the 2013 studio recording Border-Free, released on the Jazz Village label. The release is the follow up to 2010’s Chucho’s Steps, which won a Grammy Award for Best Latin Jazz Album. Border-Free, featuring the new quintet of Valdés (piano), Yaroldy Abreu Robles (percussion), Dreiser Durruthy Bombalé (bata drum, vocals), Rodney Yllarza Barreto (drums) and Angel Gaston Joya Perellada (bass), expands

Valdés’ stylistic palette beyond the realm of Latin jazz. The record moves closer to the roots of Afro-Cuban music (including Yoruba chanting) and incorporates elements of flamenco and Arab-Andalusian music (reflecting his recent years spent in Spain) and Native American music, especially Comanche rhythms. Valdés started out by taking piano lessons from his father, the late pioneering Cuban bandleader Bebo Valdés. Chucho Valdés’ natural affinity for the instrument led him to the Municipal Music Conservatory of Havana, where he graduated at age 14. After achieving success with various bands, Valdés formed the ensemble Irakere in 1973. The multifaceted group became an international success, winning a Grammy in 1979. Turning solo in the 1980s, Valdés has remained one of the most popular exponents of Latin jazz in the world, recently receiving an honorary degree from the Berklee College of Music.

Mayra Caridad Valdés

Mayra Caridad Valdés is one of the more intense and versatile voices in

Lázaro Rivero Alarcón was born in Manicaragua, Cuba in 1966. In 1982, he entered the National Art School of Music, where he studied clarinet and contrabass. In 1996, he joined the group Otra Vision directed by the flautist and composer Orlando Valle Maraca and performed in numerous jazz festivals throughout Europe. Since 2000, as a member of the Chucho Valdés Jazz Quartet, he has toured more than 20 countries.

Juan Carlos Rojas Castro

Juan Carlos Rojas Castro graduated with honors with a degree in percussion from Cuba’s National Art School of Music in 1982. Castro has toured the U.S., Europe and Canada together with Wynton Marsalis and his orchestra. In 2006, he joined the Chucho Valdés Jazz Quartet and appeared at such prestigious musical events as the Sevilla International Festival (Spain), Cape Town Jazz Festival (South Africa), The Blue Note Jazz Festival (Italy), Orleans Jazz Festival (France) and Canaries Jazz Festival (Spain), among others.

Yaroldy Abreu Robles

Yaroldy Abreu Robles started his professional career in Holguin in 1995 with the group Agua and then went on to form the experimental percussion ensemble Cinco Puntos. He graduated with honors from the Higher Institute of Art in 2001. While Robles was still a student, Chucho Valdés

applause at Strathmore • JANUARY/FEBRUARY 2014 43

Sunday, February 9, 2014, 7 p.m.

invited him to join his group Irakere and in 2001, the Chucho Valdés Jazz Quartet. Robles has shared the stage and recorded with many musicians inside and outside of Cuba, including Muñequitos de Matanzas, Roberto Vizcaino, Wynton Marsalis, Arturo Sandoval and Tania Maria. In 2003, Robles was nominated for a Grammy Award in the category of Best Traditional Tropical Album for Amadito Valdés’ Bajando Gervasio; in 2004 he won a Latin Grammy in the Latin jazz category for Chucho Valdés Jazz Quartet’s New Conceptions.

Dreiser Durruthy Bambolé

Dreiser Durruthy Bambolé has toured France with the French Young Ballet as part of an exchange program between Cuba and France. Bambolé appeared on the CD Afrocuban Jazz Project with Orlando Maraca Valle and with the Cuba Jazz Sanchez in the CD Semos. In 2007, he worked with

 

Lady Salsa Company and toured Russia, Estonia, Lithuania, Japan, England, South Africa, Germany, Belarus and Australia. In 2009, Bambolé joined Valdés’ Afro-Cuban Messengers Band and recorded the CD Chucho’s Steps, where he both sings and plays the batás.

Austria. His selected discography includes Chucho’s Steps (Chucho Valdés), Puertas Liuba (Maria Hevia), Full Time (Jorge Chicoy), Columpio (Coro Diminuto), Amaray (Ricardo Amaray), Sentimiento (Francis del Río) and Beat Cubano (Manolito Simonet).

Carlos Manuel Miyares Hernandez

Reinaldo Melián Álvarez

Carlos Manuel Miyares Hernandez was born in 1980 in Santiago de Cuba, Cuba, and started his music studies at age 7 at the Vocational School of Arts, where he initially studied piano, but then switched to saxophone. He went on to study with Julio Cesar Gonzalez at the Esteban Salas Conservatory, graduating in 1999. Hernandez has appeared at various festivals throughout the world and has toured Jamaica, Mexico, Guatemala, Costa Rica, Venezuela, Brazil, Switzerland, France, Spain, Portugal, Italy, England, Scotland, Luxemburg, Belgium, The Netherlands, Ireland and

Reinaldo Melián Álvarez was born in 1960 and graduated from Cuba’s National Art School of Music in 1982. In 1985, he joined Gupo Proyecto, a jazz band directed by pianist Gonzalo Rubalcaba. Working with the band until 1997, he traveled worldwide to various festivals including the Montreal Festival, the Vancouver Festival, the North Sea Jazz Festival (The Netherlands), San Sebastián Festival (Spain) and Mount Fugi Festival (Tokyo). From 1997 to 2009 he worked with Orlando Maraca Valle´s Band Otra Vision. In 2009, he joined Chucho Valdés and the Afro-Cuban Messengers and recorded Chucho’s Steps with the band.

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3 Bethesda Metro Ctr., Suite 460, Bethesda, MD 20814 (301) 986-1300 www.lerchearly.com 44 applause at Strathmore • JANUARY/FEBRUARY 2014

90 YEARS

As Washington, DC’s only nonprofit film center, The Avalon brings the community the best in commercial, independent and foreign film. Our beautifully restored historic theater is located at 5612 Connecticut Ave., near Chevy Chase Circle. Visit www.theavalon.org for showtimes and tickets.

Wednesday, February 12, 2014, 8 p.m.

WEDNESDAY, FEBRUARY 12, 2014, 8 P.M.

● Washington Performing Arts Society Celebrity Series presents

St. Petersburg Philharmonic Orchestra Yuri Temirkanov, music director Sayaka Shoji, violin

Overture to Il barbiere di Siviglia Gioacchino Rossini (1792-1868) Violin Concerto No. 2 in G minor, Sergei Prokofiev Op. 63 (1891-1953) Allegro moderato Andante assa Allegro, ben marcato INTERMISSION Symphony No. 2 in E minor, Op. 27 Largo; Allegro moderato Allegro molto Adagio Allegro vivace

Sergei Rachmaninoff (1873-1943)

This performance is made possible through the generous support of the Dallas Morse Coors Foundation. The Music Center at Strathmore • Marriott Concert Stage

Yuri Temirkanov, conductor

Since 1988 Yuri Temirkanov has been the artistic director and chief conductor of the St. Petersburg Philharmonic

Orchestra. Born in the Caucasus city of Nal’chik, Temirkanov began his musical studies at age 9. When he was 13, he attended the Leningrad School for Talented Children, where he continued his studies in violin and viola. Upon graduation, he attended the Leningrad Conservatory where he completed his studies in viola and later returned to study conducting,

graduating in 1965. Temirkanov made his debut with the St. Petersburg Philharmonic Orchestra (formerly the Leningrad Philharmonic) in early 1967 and was then invited to join the orchestra as assistant conductor to Yevgeny Mravinsky. Temirkanov also has served as principal conductor of the Leningrad Symphony Orchestra and music director of the Kirov Opera and Ballet. Temirkanov is a frequent guest conductor of major orchestras in Europe, Asia and the United States. He holds the distinction of being the first Russian artist permitted to perform in the United States after cultural relations were resumed with the Soviet Union at the end of war in Afghanistan in 1988. He has appeared with leading European orchestras including the Berlin Philharmonic,

Vienna Philharmonic, Dresden Staatskapelle, London Philharmonic, London Symphony, Philharmonia Orchestra, Royal Concertgebouw Orchestra, Accademia di Santa Cecilia, Rome and La Scala, Milan. In the United States, he has conducted the major orchestras of New York, Philadelphia, Boston, Chicago, Cleveland, San Francisco and Los Angeles. He was the music director of the Baltimore Symphony Orchestra from 2000 until 2006, and principal guest conductor of the Bolshoi Theatre until 2009.

St. Petersburg Philharmonic Orchestra

The St. Petersburg Philharmonic Orchestra, Russia’s oldest symphonic ensemble, began life in 1882 as a choir. On the Order of Alexander III, the Court musical choir was established to perform in the royal presence at receptions and official ceremonies. The pinnacle event for the choir was in 1896, the coronation of Nicholas II. In 1897 the Court Choir became the Court Orchestra and its musicians were transferred from the military department and given the same rights as other actors of royal theaters. In the early 20th century the orchestra was entitled to perform at commercial concerts for the general public and by 1917 the orchestra became the State Orchestra. Its incorporation into the newly founded Petrograd Philharmonic was the first of its kind in the country and instigated many unprecedented tours with western conductors, including Otto Klemperer, Bruno Walte and Felix Weingartner. As soloists, Vladimir Horowitz and Sergei Prokofiev (with his piano concertos) performed with the orchestra. Evgeny Mravinsky joined the orchestra in 1938 and during his half century there he created one of the best orchestras in the world. The next 50 years saw the orchestra collaborating with many international conductors and soloists, conquering masterpieces of composers throughout the ages including Soviet premier performances of works by Honneger, Hindemith, Bartók, Penderecki, Schönberg, Britten and Poulenc.

applause at Strathmore • JANUARY/FEBRUARY 2014 45

Wednesday, February 12, 2014, 8 p.m.

Program Notes Violin Concerto No. 2 in G minor, Op. 63

Sergei Prokofiev

Born April 23, 1891, in Sontsovka, Ukraine; died March 5, 1953, in Moscow, Russia

Like many other Russian musicians, Prokofiev fled to the West in the aftermath of the Communist Revolution of 1917. He eventually made his home in Paris, where he wrote brilliant—and often abrasive—music. As the years went by, though, Prokofiev began to feel homesick for Russia. He made the first of many return visits in 1927, and after 1933 he kept an apartment in Moscow and divided his time between that city and Paris. Prokofiev knew that if he returned to Russia, he would have to relax his style. Socialist Realism demanded music that was lyric and attractive to a mass audience, and the Soviet government would not for an instant have tolerated some of the music he had written in the West. Perhaps Prokofiev himself was ready to relax his style, but as the composer made the decision to return to Russia (which he did in 1936), his music grew more lyric and accessible: among the first works he wrote after his return were Peter and the Wolf and the ballet Romeo and Juliet. The Second Violin Concerto also dates from these years and from this evolution toward a more lyric style. In 1935 friends of the French violinist Robert Soetens asked Prokofiev to write a violin concerto for him. Prokofiev had already been thinking of writing a new work for the violin when the commission arrived, and he noted how the unsettled circumstances of his life caused this music to be written in many different places: “the principal theme of the first movement was written in Paris, the first theme of the second movement in Voronezh, the orchestration I completed in Baku, while the first performance was given in Madrid, in December 1935.” Prokofiev and Soetens then took the concerto on

an exotic tour, performing it in Portugal, Morocco, Algeria and Tunisia. The intimate scale and lyric nature of this concerto are evident from the first instant of the Allegro moderato, where the solo violin—all alone—lays out the opening theme. This concerto veers between extremes—it can be murmuring and muted one instant, full of steely energy the next—and such a contrast arrives with the bittersweet second subject, also announced by solo violin. The development of this sonata-form movement is extremely energetic, and the movement finally snaps into silence on abrupt pizzicatos. Pizzicato strings also open the second movement, where they provide a pointillistic accompaniment to the violin’s long cantilena. This melody, which changes meters smoothly between 12/8 and 4/4, evolves through a series of variations until a pair of clarinets introduces the singing central episode. The opening material returns, and Prokofiev closes with an imaginative touch: he has the solo violin take over the pizzicato figure from the opening and “accompany” the orchestra to the quiet close. Briefest of the movements, the concluding Allegro, ben marcato demands virtuoso playing from both soloist and orchestra, who must solve complex problems of coordination and balance. This is the most exotic sounding of the movements, for here Prokofiev makes distinctive use of his percussion instruments, particularly the castanets. The closing pages—which alternate measures of 7/4, 5/4, 2/2 and 3/2 with the basic pulse of 3/4—are particularly exciting, and Prokofiev drives the concerto to a saucy close. Symphony No. 2 in E minor, Op. 27

Sergei Rachmaninoff

Born April 1, 1873, Semyonovo, Russia; died March 28, 1943, Beverly Hills

In the fall of 1906, the 33-year-old Rachmaninoff moved from Moscow to Dresden, taking his wife and young daughter with him. There were many reasons for this move. Professional

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commitments in Russia, where he was a conductor at the Bolshoi, had begun to dominate his time, and so had the social demands that accompanied such a position. And the increasingly tense political situation in Russia—the previous year had seen the massacre in St. Petersburg of 500 demonstrators by the czar’s troops—doubtless drove the composer to look for more peaceful surroundings. In Dresden he found a quiet apartment and over the next few years composed what would be his finest orchestral works: the Second Symphony, the tone poem The Isle of the Dead and the Third Piano Concerto. Rachmaninoff began work on the new symphony in October 1906, had a rough sketch complete by the following January, but then worked slowly and laboriously on the orchestration through the following year. He led the successful premiere in Moscow in February 1908. The Second Symphony is Rachmaninoff’s longest orchestral work, and it shows all his virtues: soaring melodies darkly tinged with Slavic intensity, sumptuous writing for full orchestra and careful attention to orchestral color (such as important parts for solo oboe and English horn, solo strings and glockenspiel). This is a very long symphony, and in the Bad Old Days it was customary to perform it with numerous cuts, which had been officially sanctioned by a reluctant composer in the name of making the music more “compact” (and also to help get the symphony recorded in the era of 78rpm records). Today it is almost always played in its uncut version, which stretches out to about an hour. The stereotype of Rachmaninoff as the gloomy composer of wonderful melodies has led us to overlook the discipline that underlies his finest music. Much of the Second Symphony is derived directly from the seven-note motif announced at the very beginning by the lower strings. This shape will reappear both as theme and rhythm in many ways throughout the symphony. It opens the Largo introduction and is soon transformed into a flow-

Wednesday, February 12, 2014, 8 p.m.

ing melody for violins. This in turn evolves into the true first theme, a pulsing violin melody at the Allegro moderato, and attentive listeners may take particular pleasure in following the evolution of this seemingly simple figure across the span of the symphony. The lengthy first movement (nearly 20 minutes) contrasts this flowing main idea with a gentle clarinet tune, and Rachmaninoff builds the movement to a massive climax. The second movement, a scherzo marked Allegro molto, is dazzling. Over pounding accompaniment (the ring of the violins’ open E-strings is an important part of this sound), the entire horn section punches out the exciting main theme; Rachmaninoff sets this in high relief with a gorgeous second subject, a violin tune derived from the symphony’s opening motif. The fugal trio section, a tour de force of contrapuntal writing for the strings, demands virtuoso playing from all sections, and as a countertheme Rachmaninoff creates an ominous little march built on a series of distant brass fanfares. Instead of thundering to its close, this movement vanishes in a wisp of smoke. The Adagio soars on two melodies that seem to sing endlessly: the violins’ melting first theme (derived once again from the opening motto) and the solo clarinet’s wistful tune, marked espressivo e cantabile. Once again, Rachmaninoff spins these simple tunes into a climax of impressive power before the movement falls away to end quietly. Out of this calm, the boisterous finale leaps to life, propelled by the wild triplet rhythms of its opening. Again, Rachmaninoff uses secondary material that may sound familiar—an ominous little march for winds and yet one more soaring melody for violins— and gradually he begins to re-introduce material from earlier movements. The motto appears in several forms, the main theme of the Adagio returns in all its glory, and finally the symphony whips to a brilliant close on the dancing rhythms that opened the finale. Program notes by Eric Bromberger

St. Petersburg Philharmonic Orchestra First Violins Lev Klychkov, Concertmaster Pavel Popov Alexander Zolotarev Yury Ushchapovsky Valentin Lukin Sergey Teterin Olga Rybalchenko Natalia Sokolova Olga Zarapina Ksenia Petrash Grigory Sedukh Alexey Vasilyev Alexander Rikhter Tatiana Makarova Maria Irashina-Pimenova Nikolay Tkachenko Mikhail Alexeev Second Violins Ilya Kozlov, Principal Igor Zolotarev Tatiana Shmeleva Dmitrii Petrov Liubov Khatina Zhanna Proskurova Dmitry Koryavko Veronika Dygodyuk Irina Sukhova Nikolay Dygodyuk Ruslan Kozlov Konstantin Basok Anatoly Babitsky Elizaveta Petrova Olga Kotlyarevskaya Violas Andrey Dogadin, Principal Yury Dmitriev Alexey Bogorad Denis Gonchear Dmitry Kosolapov Konstantin Bychkov Tatiana Gromova Iosif Nurdaev Aleksandr Chizhov Leonid Lobach Yury Anikeev Alexey Koptev Elena Panfilova Cellos Dmitry Khrychev, Principal Nikolay Gimaletdinov Taras Trepel Sergey Chernyadyev Nikita Zubarev

Mikhail Slavin Yaroslav Cherenkov Nikolay Matveev Alexander Kulibabin Stanislav Lyamin Evgenii Kogan Double Basses Artem Chirkov, Principal Rostislav Iakovlev Oleg Kirillov Mikhail Glazachev Nikolay Chausov Alexey Ivanov Alexey Chubachin Nikolay Syray Arseny Petrov Flutes Marina Vorozhtsova, Principal Dmitry Terentiev Olga Viland Olesia Tertychnaia

Trumpets Igor Sharapov, Principal Vyacheslav Dmitrov Mikhail Romanov Alexey Belyaev Trombones Maxim Ignatyev, Principal Dmitry Andreev Denis Nesterov Vitaly Gorlitsky Tuba Valentin Avvakumov Percussion Dmitry Klemenok Mikhail Lestov Valery Znamensky Konstantin Solovyev Ruben Ramazyan Alexander Mikhaylov Harps Anna Makarova

Flute/Piccolo Ksenia Kuelyar-Podgaynova

Piano and Celesta Maxim Pankov

Oboes Ruslan Khokholkov, Principal Artsiom Isayeu Artsiom Trafimenka

Librarian Leonid Voronov

English Horn Mikhail Dymsky

Technician Alexander Vinogradov

Clarinets Andrey Laukhin, Principal Valentin Karlov Denis Sukhov Nikita Lyutikov

Executive Director Ilya Teplyakov

Bass Clarinet Vitalii Rumiantcev Bassoons Aleksei Dmitriev Sergey Bazhenov Mikhail Krotov Contrabassoon Aleksei Siliutin Horns Igor Karzov Oleg Skrotsky Anatoly Surzhok Anatoly Musarov Nikolay Dubrovin Kirill Miron

Stage Manager Alexander Novikov

For Opus 3 Artists David V. Foster, President & CEO Earl Blackburn, Senior Vice President, Manager, Artists & Attractions Leonard Stein, Senior Vice President, Director, Touring Division Tania Leong, Associate Irene Lönnblad, Associate, Touring Division John Pendleton, Tour Manager Nadia Mokhoff, Assistant Tour Manager Gerald Breault, Stage Manager

The St. Petersburg Philharmonic Orchestra’s North American tour is sponsored by Gazprom Neft. applause at Strathmore • JANUARY/FEBRUARY 2014 47

thursday, february 13, 2014, 8 p.m.

● Strathmore Presents

Guitar Passions: Sharon Isbin, Stanley Jordan & Romero Lubambo Porro Gentil Montaña (1942-) arr. Gustavo Colina Sonidos de aquel dia Quique Sinesi (1960-) arr. Stanley Jordan ‘Adagio’ from Concierto de Aranjuez Joaquin Rodrigo (1901-1999) arr. Laurindo Almeida Asturias Isaac Albéniz (1860-1909) Transcribed by Andrés Segovia Allegro Agustín Barrios Mangoré (1885-1944) arr. Steve Vai Alfonsina y el Mar Ariel Ramírez (1921-2010) arr. Jorge Cardoso-Isbin Chovendo na Roseira Antonio Carlos Jobim (1927-1994) arr. Carlos, Barbosa-Lima, Romero Lubambo Carinhoso Alfredo Vianna (Pixinguinha) (1897-1973) gtr. accomp. arr. Rosa Passos, guitar solo arr. Carlos Barbosa-Lima O Presidente Gaudencio Thiago de Mello (1933-2013) arr. Daniel Wolff

La Catedral Andante religioso Allegro solemne

Agustín Barrios Mangoré

The Music Center at Strathmore Marriott Concert Stage

Sharon Isbin

Acclaimed for her extraordinary lyricism, technique and versatility, multiple Grammy Award winner Sharon Isbin has been hailed as the pre-eminent guitarist of our time.

The first guitarist to win the Munich Competition, Isbin has given sold-out performances in New York’s Carnegie and Avery Fisher halls, Boston’s Symphony Hall, Washington D.C.’s Kennedy Center, London’s Barbican

48 applause at Strathmore • JANUARY/FEBRUARY 2014

and Wigmore halls, Amsterdam’s Concertgebouw, Paris’ Châtelet, Vienna’s Musikverein, Munich’s Herkulessaal, Madrid’s Teatro Real and many other venues. She has served as artistic director/ soloist of festivals she created for Carnegie Hall and the Ordway Music Theatre (St. Paul), her own series at New York’s 92nd Street Y, and the acclaimed national radio series Guitarjam. She also is a frequent guest on national radio programs including All Things Considered and Garrison Keillor’s A Prairie Home Companion. Isbin’s catalogue of more than 25 recordings—from Baroque, Spanish/ Latin and 20th century to crossover and jazz-fusion—reflects remarkable versatility. Her latest recording, Sharon Isbin & Friends: Guitar Passions (Sony) became a No. 1 bestseller on Amazon.com, and includes guest rock guitarists Steve Vai, Steve Morse and Nancy Wilson, jazz guitarists Stanley Jordan and Romero Lubambo, Brazilian artists Rosa Passos and Thiago de Mello, and saxophonist Paul Winter. Her 2010 Grammy-winning CD, Journey to the New World, includes guests Joan Baez and Mark O’Connor in the world premiere of his folk-inspired suite for violin and guitar. As a chamber musician, Isbin has performed with Mark O’Connor, Steve Vai, Nigel Kennedy, Denyce Graves, Susanne Mentzer, the Emerson String Quartet and the Chamber Music Society of Lincoln Center, among others. She performed a “Guitar Summit” tour with jazz greats Herb Ellis, Stanley Jordan and Michael Hedges, and has made trio recordings with Larry Coryell and Laurindo Almeida, and duo recordings with Carlos Barbosa-Lima. She collaborated with Antonio Carlos Jobim and has shared the stage with luminaries from Aretha Franklin to Muhammad Ali.

PHOTO BY J. Henry Fair

Thursday, February 13, 2014, 8 p.m.

Romero Lubambo

In 1985, Romero Lubambo left Rio de Janeiro and came to the United States, bringing with him a new sound in jazz guitar. Lubambo’s guitar playing unites the styles and rhythms of his native Brazilian musical heritage with his fluency in the American jazz tradition to form a distinctive new sound. From the cool, sophisticated rhythms of his native Brazil to hard bop, Lubambo is a guitarist who is comfortable in any musical setting. After arriving in New York City, Romero quickly established himself as a “first call” session and touring guitarist who was in demand not only for his authentic Brazilian sound, but also for his command of a variety of styles. Lubambo has performed and

recorded with Dianne Reeves, Michael Brecker, Yo-Yo Ma, Diana Krall, Wynton Marsalis, Herbie Mann, Gal Costa, Leny Andrade, Cesar C. Mariano, Paquito D’Rivera, Paula Robison and Ivan Lins, among many others. He is also a composer and performer on his own critically acclaimed recording projects, as well as on those of Trio da Paz, a Brazilian jazz trio Lubambo formed with Nilson Matta and Duduka da Fonseca.

Stanley Jordan

In a career that took flight in 1985 with immediate commercial and critical acclaim, guitar virtuoso Stanley Jordan has consistently displayed a chameleonic musical persona. Be it bold reinventions of classical masterpieces or soulful explorations through

Lubambo PHOTO BY Gerard BYRNE, Jordan PHOTO BY Keith Major

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pop-rock hits, to blazing straight ahead jazz forays and ultramodern improvisational works, Jordan can always be counted on to take listeners into the unexpected. On his latest Mack Avenue recording, Friends, Jordan performs with guitarists Bucky Pizzarelli, Mike Stern, Russell Malone and Charlie Hunter; violinist Regina Carter; saxophonists Kenny Garrett and Ronnie Laws; trumpeter Nicholas Payton; bassists Christian McBride and Charnett Moffett; and drummer Kenwood Dennard. The album’s songs range from a Béla Bartók piece to a Katy Perry pop smash, a heady original blues and three jazz classics spanning swing, cool and modern. “This collection truly speaks to my belief in the integrationist spirit of music,” Jordan says. “I’d like to move beyond ‘fusion’ and explore the concept of ‘integration.’ When you integrate styles, you combine them into something new while still remaining true to the original sources.”

Lunch outing @ noo n Sign u p to vo luntee for lit r eracy progra m Stra th more c oncert Frida y

Call 301-637-8132 to learn about the Strathmore Society at Asbury, with special programming for Asbury residents and guests.

AsburyMethodistVillage.org 201 RUSSELL AVENUE, GAITHERSBURG, MARYLAND 20877 applause at Strathmore • JANUARY/FEBRUARY 2014 49

Friday, February 14, 2014, 8 p.m.

friday, february 14, 2014, 8 p.m.

● Strathmore Presents

Marcus Johnson and the Urban Jam Band Marcus Johnson, piano Chris Bynum, drums Stanley Cooper, guitar Antoine Caldwell, bass Marcus Mitchell, saxophone DonVonte McKoy, trumpet Marcus Moore, violin Greg Boyer, trombone Eddie Montalvo, percussion Co-Presented with Blues Alley The Music Center at Strathmore Marriott Concert Stage

Marcus Johnson

An independent Billboard-ranked musician and NAACP Image Awardnominated jazz keyboardist and pianist, Marcus Johnson is also the CEO and founder of FLO Brands, LLC and more recently, FLO Wine, LLC. Over the past decade, Johnson has released 15 studio albums. On Pandora, Marcus receives 5.1 million spins per year with 2,000 new stations added each month. Johnson is the owner of a music label, Three Keys Music, and has emerged as one of the young lions of the “DIY” music world. His self-taught style of piano play has earned him distinction among his peers, praise from the media and accolades across the music industry. He also has formed JURIS, a musical collaboration with acclaimed Parisian DJ and producer Young Pulse. Johnson’s FLO Brands, LLC began as a musical publishing, production and lifestyle branding company to house all of Johnson’s musical and

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entrepreneurial ventures. The scope and reach of the company have expanded into winemaking, and FLO Wines, LLC was launched in March 2012. Johnson’s “Sips & Sounds” performances marry music and wine in a concept called For the Love Of. A graduate of Howard University, Johnson went on to simultaneously earn both his MBA and juris doctorate degrees at Georgetown University. During that time he also decided to independently produce and distribute his first jazz album, Lessons in Love, which sold more than 40,000 units. One year later, he released Inter Alia, and the two albums led to Johnson signing with N2K Encoded Music, with whom he released several CDs until the label was sold in 1998. Johnson’s success caught the attention of Black Entertainment Television founder and businessman Robert L. Johnson, who invested in Marcus Johnson and his newfound company, Marimelj Entertainment Group. Under this partnership, Three Keys Music established its own full service recording studio, Studio 8121, and two music publishing companies, Marimelj Music Publishing and Three Keys Music Publishing. Johnson was responsible for releasing and producing CDs on the Three Keys label for national jazz artists Michael Lington, Jaared Arosemena, Bobby Lyle, Nick Colionne, R&B singer Alyson Williams, neo-soul songstress Yahzarah and smooth jazz saxophonists Phillip Martin and Brian Lenair. Johnson also released several critically acclaimed albums: Inter Alia; Chocolate City Groovin’; Coming Back Around; Urban Groove; In Person: Live at Blues Alley; Just Doing What I Do; Smooth Jazz Christmas and In Concert for a Cause. Johnson’s next Top 20 Contemporary jazz releases, Poetically Justified (2009) and This Is How I Rock (2011), solidified him as heir apparent to the George Duke and Herbie Hancock style of funky urban groove music. With the release of his 2012 FLO: Holiday CD and the ongoing collaboration with DJ Pulse, Johnson has managed to maintain his traditional jazz roots while also remaining on the forefront of the expanding “Euro Jazz” movement.

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IN COLLABORATION WITH

Saturday, February 15, 2014, 8 p.m.

SATURDAY, FEBRUARY 15, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Tchaikovsky’s Pathétique Gilbert Varga, conductor Jonathan Carney, violin

Roman Carnival Overture Hector Berlioz (1803-1869) Camille Saint-Saëns (1835-1921)

Jonathan Carney, violin

INTERMISSION

Symphony No. 6 in B minor, Op. 74, “Pathétique”

Piotr Ilyich Tchaikovsky (1840-1893)

Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso Presenting Sponsor: M&T Bank The concert will end at approximately 9:50 p.m. The Music Center at Strathmore Marriott Concert Stage

Gilbert Varga, conductor

Gilbert Varga, son of the celebrated Hungarian violinist Tibor Varga, studied under three very different and distinctive maestros: Franco Ferrara, Sergiu Celibidache and Charles Bruck. A commanding and authoritative figure on the podium, Varga is renowned for his elegant baton technique, and has held positions with and guest-conducted

many of the major orchestras across the world. In North America, Varga regularly guest conducts the symphony orchestras of Houston, St. Louis, Atlanta, Baltimore, Milwaukee, Minnesota, Utah and Nashville, among others, and in 2013-2014, he makes his debut with the orchestras of Kansas City and San Diego. In Europe, Varga works regularly with the major orchestras of Berlin, Leipzig, Frankfurt, Cologne, Budapest, Porto, Brussels and Glasgow, among others.

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BSO Concertmaster Jonathan Carney is in his 12th season with the Baltimore Symphony Orchestra after 12 seasons in the same position with London’s Royal Philharmonic Orchestra. Born in New Jersey, Carney hails from a musical family with all six members having graduated from The Juilliard School. After completing his studies with Ivan Galamian and Christine Dethier, he was awarded a Leverhulme Fellowship to continue his studies at the Royal College of Music in London. After enjoying critically acclaimed international tours as both concertmaster and soloist with numerous ensembles, Carney was invited by Vladimir Ashkenazy to become concertmaster of the Royal Philharmonic Orchestra in 1991. He was also appointed concertmaster of the Bournemouth Symphony Orchestra in 1994 and the Basque National Orchestra in 1996. Carney has performed with many

Varga photo by Felix Broede, Carney Photo by Grant Leighton

Violin Concerto No. 3 in B minor, Op. 61 Allegro non troppo Andantino quasi allegretto Molto moderato e maestoso Allegro non troppo Jonathan Carney

In May 2013, Varga was appointed principal conductor of the Taipei Symphony Orchestra. He previously was chief conductor of the Hofer Symphoniker from 1980 to 1985. He was chief conductor of the Philharmonia Hungarica in Marl from 1985 to 1990, and from 1997 to 2008 he was music director of the Basque National Symphony Orchestra. Varga’s discography includes recordings with various labels including ASV, Koch International and Claves Records, with his most recent being concertos by Ravel and Prokofiev with Deutsches Symphonie-Orchester Berlin and Anna Vinnitskaya on Naïve Records. Gilbert Varga last performed with the BSO in April 2013, conducting Brahms’ Symphony No. 1 and Bartok’s Violin Concerto No. 2, performed by Midori.

Saturday, February 15, 2014, 8 p.m.

of the world’s great conductors, including Maestri Haitink, Abbado, Solti, Tennstadt, Maazel, Gergiev and Sawallisch. He has made a number of recordings, including concertos by Mozart, Vivaldi and Nielsen, sonatas by Brahms, Beethoven and Franck, and a disc of virtuoso works by Sarasate and Kreisler with his mother Gloria Carney as pianist. Carney is an avid music educator and currently serves on the board of the Baltimore School for the Arts, as well as being the school’s artist-in-residence. He is also the artistic director of the Maryland Classic Youth Orchestra at Strathmore. Carney’s violin is a 1687 Stradivarius, the Mercur-Avery on which he uses “Vision” strings by ThomastikInfeld. His string sponsor is Connolly & Co., exclusive U.S. importer of Thomastik-Infeld strings. Jonathan Carney last appeared as a soloist with the BSO in December 2013, leading and performing Vivaldi’s Four Seasons and Piazzolla’s Four Seasons of Buenos Aires at the Music Center at Strathmore.

Program Notes Roman Carnival Overture

Hector Berlioz

Born Dec. 11, 1803, in La Côte-SaintAndré, France; died March 8, 1869, in Paris Hector Berlioz had no luck cracking the Parisian musical establishment, especially its capital, the Paris Opéra. Far too radical in his ideas for his conservative home city, he had to travel to Germany, Russia and England to win enthusiastic audiences. His best opportunity for a Parisian success came with his 1838 opera Benvenuto Cellini, based on the life of the 16th-century sculptor (Cellini’s most famous work was a golden statue of Perseus), bon vivant and writer of a famously flamboyant autobiography. But the Opéra gave Benvenuto Cellini a limp production, and the work’s

very public failure barred Berlioz from any hope of mounting another opera there. More than a blow to his ego, Benvenuto Cellini’s failure forced Berlioz to look beyond composing to make his living. By the 1840s, he had become one of the first great orchestral conductors, both of his own and other composers’ works, and was especially in demand in Germany. Still believing in his opera’s quality and in need of showy orchestral pieces for his concerts, Berlioz in 1843 fashioned this brilliant concert overture from Cellini material and unveiled it at a concert in Paris on Feb. 3, 1844. It was an immediate success and became one of his most popular pieces. The Overture’s authentic Italian atmosphere comes from Berlioz’s stay in Rome in 1831–32 as winner of the coveted Prix de Rome. The work begins with a short burst of the Mardi Gras carnival music: an Italian saltarello dance sung by the chorus at the end of Act 1. Then the tempo slows, and the English horn begins a lovely, ardent melody; it is the music Cellini sings to his beloved, Teresa, earlier in Act 1. Ultimately, the vivacious Mardi Gras music—glittering with tambourines, triangle and cymbals—returns for the spectacular conclusion. Violin Concerto No. 3 in B minor, Op. 61

Camille Saint-Saëns

Born Oct. 9, 1835, in Paris, France; died Dec. 16, 1921, in Algiers, Algeria One day in 1859, a 15-year-old Spanish violin prodigy came calling on Camille Saint-Saëns, then just 24 himself and only recently out of his own prodigy years when he had astounded Parisian music lovers with his unchildlike prowess at the piano. The violinist was Pablo de Sarasate, and he would become one of the legendary virtuosos of the 19th century. “He had come to ask me, in the most casual manner imaginable, to write a concerto for him,” the French composer remembered. “Greatly flattered

and delighted at the request, I gave him a promise and kept my word with the Concerto in A Major [the Violin Concerto No. 1].” A friendship immediately developed between the two artists that would continue for decades and inspire three more major works for Sarasate, including the very popular Introduction and Rondo capriccioso of 1863 and Saint-Saëns’ finest violin concerto, the Third of 1880, which we will hear this evening. Sarasate was renowned for his elegance and beautiful sound; another famous violinist, Leopold Auer, described it as “a tone of supreme singing quality,” while conductor Hans von Bülow remembered the Spaniard’s “seductive speaking on the violin.” Sarasate’s technique seemed effortless, and he was able to reach the highest notes with unerring accuracy. All these qualities Saint-Saëns exploited in Violin Concerto No. 3, bequeathing a formidable challenge to future violinists. In sonata form, the first movement mixes drama with lyricism. Over a suspenseful string tremolo and the rumble of drums, the violinist opens with big declamatory gestures in the instrument’s earthy low register, then gradually ascends to its silvery top. Although Saint-Saëns believed the ideal concerto should be an equal balance between orchestra and soloist, there is no question in this movement that the violinist is the star. Soon silky lyricism takes over in melodies emphasizing the violin’s loveliest singing tone. The music is sprinkled with vertiginous leaps onto ethereal, high-altitude pitches that are often very soft and sustained; Saint-Saëns custom-tailored these feats to Sarasate’s special abilities. The melodious second movement is a lilting barcarole in 6/8 meter, with the violin singing a romantic Venetian gondolier’s song above the orchestra’s rocking-boat accompaniment. Here Saint-Saëns achieves his ideal balance between orchestra and soloist as a series of exquisite

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Saturday, February 15, 2014, 8 p.m.

woodwind solos echo the violin. In an extraordinary closing cadenza, he pairs the violin—using flute-like harmonics to achieve yet higher altitudes— with a deep-toned clarinet in flights of ghostly arpeggios. As the finale begins, the violin issues yet another dramatic challenge to the orchestra, and the ensemble rouses itself in a series of stormy crescendos. We seem to be in Italy still as the violin launches a lively tarantella dance. But Saint-Saëns has more compelling melodies up his sleeve: first, a broad, sweeping melody for the soloist expressing passionate joy; and later—in the middle development section—a radiant chorale first sung by the orchestral violins. After the opening music recapitulates, this chorale will return in a very different guise, proclaimed proudly by the brass section. But it is the sweeping theme of joy that ultimately carries soloist and orchestra over the finish line. Symphony No. 6 in B minor, “Pathétique”

Peter Ilyich Tchaikovsky

Born May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg, Russia Tchaikovsky’s last and greatest symphony, the “Pathétique,” with its dark and death-haunted first and last movements and its extraordinary highs and lows, epitomizes its creator. And Tchaikovsky seemed to know this as he completed it in August 1893. “I definitely think it is by far the best and in particular … the most sincere of all my pieces. I love it as I have never loved any other of my musical children,” he wrote to his nephew and the piece’s dedicatee, Vladimir “Bob” Davydov. With its dying finale—unprecedented for a symphony at this time, though it would be much copied afterward— the symphony mostly bewildered the St. Petersburg audience at its premiere under the composer’s baton on Oct. 28, 1893. But eight days later, Tchaikovsky suddenly died of cholera

(though rumors of suicide persist to this day), and this eerie coincidence with a work that seemed to foretell his own death vaulted the “Pathétique” into a fame it has never lost. However, as the composer began this work in February 1893 he was probably thinking of death—always a morbid obsession with him—only as a fearful abstraction. The last year of his life was a good one. He was enjoying his international fame—earning an honorary doctorate from Cambridge University. And his Symphony No. 6 came to him in an uncharacteristic flood of inspiration (Tchaikovsky usually struggled with his symphonies). The first movement was sketched in just four days. Tchaikovsky admitted there was a non-musical program inspiring this work, but he would never reveal its identity. “Let them try and guess it! … The theme of it is full of subjective feeling, so much so that as I was mentally composing it … I frequently shed tears.” As the work was about to be published, Tchaikovsky told his brother Modest it needed a subtitle. Modest suggested “Tragic,” but his brother shook his head. Then Modest came up with the French word “Pathétique.” It is a misleading title to English-speakers because the English “pathetic” suggests inadequate or feeble, which this work most certainly is not. However, the corresponding French and Russian words relate more closely to its Greek origin “pathos,” carrying the more appropriate meaning of “suffering.” First movement: Out of the sepulchral tones of low strings emerges a lone bassoon, like the voice of death, which tries languidly to launch the first theme, but cannot. As the tempo finally increases to Allegro, the divided violas deliver the full theme in the home key of B minor; it is aggressive yet nervous and rich in developmental possibilities. More memorable is the second theme, introduced by muted violins and cellos; it is one of Tchaikovsky’s most famous melodies, full

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of Romantic yearning. Suddenly, the dramatic development bursts on us fortissimo. The frenzy subsides briefly for a brass chorale, intoning the Russian Orthodox funeral chant “With the Saints,” and closes with a passionately tragic passage for the brass. This emotional roller coaster of a movement concludes with a simple but powerful brass coda over descending pizzicato strings. Tchaikovsky adored the ballet; it was his ideal escape from dark thoughts. And that’s exactly how the second movement’s waltz intermezzo acts here: it is an oasis of peace and beauty in the midst of suffering. But it is a strange limping waltz in 5/4 time instead of the usual 3/4. And its middle trio section features a rather intense violin theme that unsettles the waltz’s gaiety. Third movement: If death can’t be beaten back with a waltz, Tchaikovsky next tries a boisterous march. However, first we hear nervously flickering scherzo music, with the oboe and brass peeping through with the march theme. This edgy scherzo continues to undercut the confident sound of the march. Exposing the falsity of the march’s triumph, the opening of the finale provides one of the most jarring emotional contrasts in all symphonic music. In a slow tempo, the strings cry out a theme of utter despair. They are joined by the deathly partner from the first movement, the bassoon. A second theme for the violins seems initially gentler and more consoling, but it too rises to a shout of anguish. The first theme returns, its bitter cry now underscored by the harsh, ugly sound of stopped horns: a musical representation of what Tchaikovsky called “the snub-nose reptile” of death. The last moments of the symphony graphically portray the process of dying, as a heartbeat pedal gradually weakens and the orchestra drops to cellos and basses, then fades into silence. Notes by Janet E. Bedell, copyright 2013

Sunday, February 16, 2014, 7 p.m.

sunday, february 16, 2014, 7 p.m.

● Strathmore Presents

Newport Jazz Festival: Now 60 Anat Cohen, music director, clarinet, tenor saxophone Karrin Allyson, vocals, piano Randy Brecker, trumpet Mark Whitfield, guitar Peter Martin, piano Clarence Penn, drums Larry Grenadier, bass

brothers, saxophonist Yuval and trumpeter Avishai. She played tenor saxophone in the Israeli Air Force Band from 1993 to 1995, enrolled at the Berklee School of Music and moved to New York City in 1999, where she worked with a number of bands including the Diva Jazz Orchestra, drummer Dudu Da Fonseca’s Samba Jazz Quintet and the Choro Ensemble. Cohen’s latest CD is Claroscuro (2012).

Produced by Danny Melnick for Absolutely Live Entertainment LLC & Darlene Chan for FestivalWest, Inc. Tracy Reid & Ellen Shimomura, associate producers Sam Walton, road manager and sound engineer Booking agency, International Music Network Publicity, Carolyn McClair Public Relations

Karrin Allyson The Music Center at Strathmore Marriott Concert Stage

About Newport Jazz Festival: Now 60

Founded in 1954, the Newport Jazz Festival was the first annual jazz festival in America. It has been host to numerous legendary performances by some of the world’s leading established and emerging artists. Referred to as “the grandfather of all jazz festivals,” the event draws thousands of people from all over the world to Newport, R.I. Historic moments since its inception include performances by Louis Armstrong, Ella Fitzgerald, Duke Ellington, Dizzy Gillespie, Frank Sinatra, Thelonious Monk, John Coltrane, Dave Brubeck and Miles Davis. George Wein, the impresario who went on to found numerous festivals worldwide including the JVC Jazz Festival, the New Orleans Jazz & Heritage Festival and the Newport Folk Festival, created the festival after Louis and Elaine Lorillard, jazz fans

and frequent visitors to his Storyville jazz club in Boston’s Copley Hotel, asked him to produce a jazz event in Newport to bring more excitement to the resort area’s summer season. In 2010, Wein created the Newport Festivals Foundation, Inc., a 501(c)(3) organization that returns the Newport Jazz Festival and Newport Folk Festival to their roots as non-profit events, ensuring that the festivals will be a part of Newport’s, and the world’s, musical history in perpetuity. The Newport Jazz Festival: Now 60 tour features an all-star band that will honor the festival’s rich heritage while celebrating its contemporary significance and the globalization of jazz today.

Anat Cohen

Born in Tel Aviv, Israel, clarinet/tenor saxophonist Anat Cohen comes from a musical family that includes her

Born in Great Bend, Kansas and raised in Omaha, Neb., and northern California, Karrin Allyson, “… brings a timbre that is part ice and part grain— incisive, original and emotionally convincing” as critic Gary Giddins writes. After graduating from the University of Nebraska in 1987 with a degree in classical piano and a minor in French, Allyson gigged regularly at a Kansas City nightclub. She signed with Concord Records in 1992, which released her debut recording, I Didn’t Know About You. She has since recorded more than 10 CDs as a leader, including Footprints (2006), Imagina: Songs of Brazil (2008), Round Midnight (2011) and a holiday pleaser, Yuletide Hideaway (2013).

Randy Brecker

The Philadelphia-born Randy Brecker—who constituted one-half of the Brecker Brothers Band with his saxophonist brother, Michael—has been one of the most diverse and in-demand trumpeters of the past four decades. He grew up playing in R&B, soul and rock bands in Philadelphia, and was influenced by Lee Morgan, Clifford Brown,

applause at Strathmore • JANUARY/FEBRUARY 2014 55

Sunday, February 16, 2014, 7 p.m.

Sonny Rollins and Miles Davis. He moved to New York City the next year, and worked with Thad Jones/Mel Lewis Jazz Orchestra, the Duke Pearson Big Band, recorded two albums with Blood, Sweat and Tears, and worked in Horace Silver’s quintet.

Mark Whitfield

Known as “The Marksman” when he burst on the scene during the “Young Lions” decade of the 1990s, guitarist Mark Whitfield takes the approaches of George Benson, Grant Green and Kenny Burrell to a whole new level. A graduate of the Berklee College of Music, Whitfield has worked with a wide variety of musicians, from Dizzy Gillespie, Herbie Hancock and Carmen McRae to Wynton Marsalis, Ray Charles and Betty Carter.

Peter Martin

Hailing from St. Louis, Mo., pianist Peter Martin is one of the most rooted and revelatory musicians on the scene.

The son of parents who were classical musicians, Martin studied the violin and the piano at age 3. Martin has toured and recorded with artists such as Betty Carter, Wynton Marsalis, Dianne Reeves, Chris Botti, Joshua Redman, Christian McBride, Roy Hargrove and the Jazz at Lincoln Center Orchestra.

Clarence Penn

A native of Detroit and a graduate of Interlochen Academy, Clarence Penn attended the University of Miami and Virginia Commonwealth University, where Ellis Marsalis was a faculty member. Penn has worked with Stanley Clarke. Christian McBride, Michael Brecker, Dizzy Gillespie, Luciana Souza, Gary Burton, Joshua Redman, Richard Galliano, Gonzalo Rubalcaba, Charlie Haden, Makoto Ozone and Maria Schneider.

Larry Grenadier

Born in San Francisco, bassist Larry

Grenadier took up the trumpet at age 10 before switching to the bass at 12. Grenadier earned a bachelor’s degree from Stanford University in 1989, and worked with Stan Getz, who was artist-in-residence there. Grenadier moved to Boston and worked with Gary Burton, and later moved to New York City in 1991, where his work as a sideman included gigs with Joshua Redman, John Scofield, Charles Lloyd, Mark Turner, Pat Metheny and his wife, Rebecca Martin. He’s been a member of pianist Brad Mehldau’s trio since 2004. Program Notes The Newport Jazz Festival: Now 60 tour is co-produced by Danny Melnick for Absolutely Live Entertainment LLC & Darlene Chan for FestivalWest, Inc. The Newport Jazz Festival is a production of Newport Festivals Foundation, Inc. a 501 C3 non-profit corporation under license from George Wein. All rights reserved.

E X P E R I E N C E N E W O R L E A N S W I T H S T R AT H M O R E

A JAZZY ESCAPE Join Strathmore CEO Eliot Pfanstiehl and Donor and Community Relations Director Bill Carey on a culture-filled, 4-day behind-the-scenes trip to explore The Big Easy and rediscover their rich history of art, music and food. Stroll through the French Quarter...plus more as you and your Strathmore friends enjoy the many jazz clubs including an exclusive performance at Preservation Hall and specialized visits to Mardi Gras World and the National World War II Museum—not to mention fantastic cuisine at restaurants such as da Giovanni, Bayona, Commanders Palace and a private reception in the Garden District at the home of former Strathmore board member Rocky Sorrell.

To learn more about the itinerary and details: Bill Carey: (301) 581-5135 or bcarey@strathmore.org

56 applause at Strathmore • JANUARY/FEBRUARY 2014

MARCH 20–24, 2014

Wednesday, February 19, 2014, 8 p.m.

WEDNESDAY, FEBRUARY 19, 2014, 8 P.M.

Krasnoyarsk National Dance Company of Siberia

● Strathmore Presents presents

Krasnoyarsk National Dance Company of Siberia Vladimir Moiseev, Artistic Director

Dance Suite “My Siberia”

Choreography by Godenko Music by Kornev

Siberian Lyric Dance

Choreography by Godenko Music by Wagner

Choreographic picture “On the Bench” Choreography by Kondakov Music by Kornev Girls’ Dance “Outskirts of a Village”

Choreography by Izumova Music by Kiselev

Cossacks Dance “Krasny Yar”

Choreography by Godenko Music by Kornev

Lyrical Dance “Lilac flowered, and Cherry blossomed”

Choreography by Kondakov Music by Kornev

Round Dance “By the Well”

Choreography by Godenko Music by Kornev

“Siberian Fun”

Choreography by Godenko Music by Kornev

INTERMISSION

“Round Dance with Rattles”

Choreography by Godenko Music by Wagner

Dance with Spoons and Birch Bark

Choreography by Godenko Folk Music

Round Dance “Those Evening Bells”

Choreography by Godenko Music by Wagner

Facetious Comic Dance “At the Poultry Farm”

Choreography by Godenko Music by Kornev

Dance Suite “The Evening”

Choreography by Androsov Music by Kiselev

Dance Suite “Along the Street”

Choreography by Godenko Music by Kornev

The mighty and majestic Yenisey River rolls from the foothills of the Sayan mountains to the icy Kara Sea. Many people of Siberia live on its banks. They have their own culture, literature and art. This vast and beautiful land has become a source of inspiration for the Krasnoyarsk Dance Company of Siberia, which through dance reveals the spiritual wealth of the Siberians, glorifying their labor feats and telling of the wonderful nature of the land. The company was founded in 1960, and has been a success from the very outset. Mikhail Godenko, who founded the company and directed it until 1991, was an experienced and talented director and a choreographer of great artistic taste and creative imagination. Godenko created dances in collaboration with the company’s music director and composer Vladimir Kornev. His deep knowledge of folk dances and Siberian folklore helped him bring the music into the fabric of the dance in a most original manner. One of the most important elements in the scenic dance is the costume. The dance company’s costumes are designed by Yelizaveta Akselrod, Boris Knoblok, Vladimir Mamontov and Paulina Korotkova.

Vladimir Moiseev Program is subject to change The Music Center at Strathmore Marriott Concert Stage

Born in 1963 in Moscow, Vladimir Moiseev is a member of one of the most distinguished choreographic families in Russia. In 1981, he graduated from the Moscow State Academy of Choreography and joined the applause at Strathmore • JANUARY/FEBRUARY 2014 57

Wednesday, February 19, 2014, 8 p.m.

company of the State Academic Bolshoi Theatre of Russia. Since 1991, he has been a leading character solo dancer at the Bolshoi Theatre. From 1988 to 1992, he studied at the Russian Academy of Theatrical Arts, from which he graduated as a producer-choreographer. In 1996, he was awarded the title of the Honored Artist of Russia. In 2001, he cofounded the Russian National Ballet Theatre, where he staged his versions of famous classical and modern ballet interpretations. A few years ago, Moiseev, the grandson of the famous Igor Moiseev, became the artistic director of the Krasnoyarsk National Dance Company of Siberia. When interviewed, Vladimir Moiseev has always spoken about the importance of keeping the company’s old folk dance traditions alive, as well as developing the new dancers and the repertoire.

Program Notes Dance Suite “My Siberia” This is a folk dance welcoming the audience to Siberia, a rough and beautiful land of vast forests and mighty rivers. Siberian Lyric Dance Smooth movements of the girls, the pride pasture of the men, gorgeous music and sincere feelings create a cheerful and romantic mood. Choreographic picture “On the Bench” This dance illustrates a playful mood of a few couples flirting with each on the bench. Girls’ Dance “Outskirts of a Village” This dance originates from an ancient marriage ceremony, elements of which can still be found in many regions of Siberia. Cossacks Dance “Krasny Yar” A bright scene about Cossacks conquering Siberia, about their spirit and hot hearts.

Dancers Semyon Aleksiev Valery Aynitdinov Nikita Aksenov Viacheslav Artyushin Victoria Bizimova Olga Bryiukhanova Albert Boysov Natalia Daurova Denis Dorozhkin Oksana Dmina Kirill Dmitriev Elena Egorova Natalia Elmanova Tatiana Gantsgorn Andrey Gavrilenko Oleg Ivanov Sergey Istomin Marianna Istomina Svetlana Kalinina Alexey Kudryashov Pavel Khrushchev Maxim Kashirskiy Tatian Khlebnikova Anton Kiselev Anna Kochegarova

Lyrical Dance “Lilac flowered, and Cherry blossomed” This is a tender dance reflecting the reserve of the Siberian character. Round Dance “By the Well” The girls meet by the well to look at each other, and share some secrets. Their quiet and stately walk is like a little river carrying on its pure waters. “Siberian Fun” Russian men’s dance with balalaikas and elements of the traditional folklore reflect the Russian spirit and strength. “Round Dance with Rattles” A couple of lovers find themselves among village festivities. Dance with Spoons and Birch Bark Boys try to imitate the birds. Before they realize, they are trying to compete with one another. They know

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Olga Kuzmina Ekaterina Lyashkova Aleksei Lediaev Oleg Leybenko Alexander Lobushnyan Anna Lysenko Alexandra Martyshcenkova Mazhule Dzhemma Natalya Nefedova Anton Pertsev Pavel Podsolkin Alexey Pulukchu Anastasia Romanenko Ilia Rybakov Dmitry Savelyev Olga Savchenko Olga Semerova Vitaly Shchegolev Anna Shulgina Marina Skorkina Demyan Tukhtachev Ekaterina Vechkanova Evgenii Verkhoshapov Svetlana Vorobyeva Vladlena Zaovrazhnykh

that whoever wins will be chosen by the village’s most beautiful girl. Round Dance “Those Evening Bells” It is a thoughtful and melancholic round dance with candles that became a trademark of the ensemble abroad. Facetious Comic Dance “At the Poultry Farm” Comic dance, where all the elements are dedicated to one thing, and thing only— how to win your sweetheart’s attention. Dance Suite “The Evening” A beautiful mood is upon us. A high moon and quietness of nature are very typical for Siberian evenings. Dance Suite “Along the Street” After the day’s work, the young people of the village meet to laugh and dance, setting the mood with joyful, humorous folk songs.

Thursday, February 20, 2014, 8 p.m.

Jack Everly, conductor

Thursday, february 20, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director Jack Everly, Principal Pops Conductor

presents

Sci-Fi Spectacular! Jack Everly, conductor George Takei, narrator Kristin Plumley, vocalist The Sci-Fi-Ettes, vocal ensemble Michaeal DeVito, vocal ensemble director

Main Title from Star Wars John Williams (1932-)

Lost In Syndication

Adventures on Earth: E.T. the Extra-Terrestrial

John Williams

Somewhere in Time John Barry (1933-2011)

Superman March

Arr. Jack Everly

John Williams

Star Trek Through The Years Arr. Calvin Custer INTERMISSION

Theme from 2001 A Space Odyssey Richard Strauss (1864-1949) Close Encounters of the Third Kind

John Williams

Star Trek 2009 Suite Michael Giacchino (1967-) The Day the Earth Stood Still Bernard Herrmann (1911-1975)

Duel of the Fates from Star Wars: The Phantom Menace Throne Room and End Title from Star Wars

John Williams John Williams

The concert will end at approximately 10:05 p.m.

Michael Tammaro

The Music Center at Strathmore Marriott Concert Stage

Jack Everly is the principal pops conductor of the Baltimore and Indianapolis symphony orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and the music director of the National Memorial Day Concert and A Capitol Fourth on PBS. He has been on stage with the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. His frequent guest conducting engagements include the orchestras of Pittsburgh, Edmonton, Oklahoma City and this season with The Philadelphia Orchestra at The Mann Center. Everly is the music director of Yuletide Celebration, now a 26-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concertgoers. He led the Indianapolis Symphony Orchestra in its first pops recording, Yuletide Celebration, Volume One, that included three of his own arrangements. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, he teamed with the late Marvin Hamlisch in Broadway shows that Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Everly has conducted the songs for Disney’s animated classic The Hunchback of Notre Dame and led the Czech Philharmonic on the recordings In the Presence, featuring tenor Daniel

applause at Strathmore • JANUARY/FEBRUARY 2014 59

Thursday, February 20, 2014, 8 p.m.

Rodriguez, and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Everly created the Symphonic Pops Consortium, serving as music director. The consortium, based in Indianapolis, produces new theatrical pops programs. In the past 13 years, more than 250 performances of SPC programs have taken place across the U.S. and Canada.

George Takei, narrator

George Takei has risen from internment camp inmate to one of the most recognizable voices in America. Takei was born in Los Angeles and lived the first few years of his life there. During World War II,

however, he and his family were imprisoned in an internment camp named Rohwer in the swamps of southeast Arkansas. They later were relocated to a camp in the desolate region of northern California called Tule Lake. Takei began his acting career in the late 1950s, but his breakthrough role came in 1965 as Lieutenant Hikaru Sulu in Star Trek. He starred in three seasons of Star Trek and, beginning in 1979, reprised his iconic role in six Star Trek movies. As an openly gay man, Takei became a spokesperson for the Human Rights Campaign’s “Coming Out” project and in 2006, embarked upon a nationwide speaking tour called Equality Trek, where he talked about his life, his relationship with his nowhusband Brad Takei and encouraged others to share their own stories. George Takei last appeared with the BSO in January 2008, narrating Sci-Fi Spectacular, with Jack Everly conducting.

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Kristen Plumley, vocalist

Connecticut native Kristen Plumley brings her joy of being on stage to every role she performs. On the concert stage, Plumley has performed Mozart’s Coronation Mass and Requiem, Haydn’s Mass in Time of War and Handel’s Sing Unto God with the New England Symphonic Ensemble at Carnegie Hall. Additionally, she has sung Mozart’s Mass in C minor, Elgar’s For the Fallen, Respighi’s Laud to the Nativity and Bach’s Cantata No. 1 across the U.S., as well as Jack Everly’s SciFi Spectacular with the Cleveland, Indianapolis and Seattle symphony orchestras. Kristen Plumley last appeared with the BSO in January 2008, performing in the Sci-Fi Spectacular, with Jack Everly conducting.

Friday, February 21, 2014, 8 p.m.

FRIDAY, FEBRUARY 21, 2014, 8 P.M.

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The Music Center at Strathmore Marriott Concert Stage

Josh Turner As a family man, philanthropist, devoted Christian and passionate sports fan, you might say Josh Turner’s commitments run as deep as his voice. Of course, he’s also a double-platinumselling singer, songwriter and disciple of traditional country music, a mentor to up-and-coming artists and one of the youngest members of the Grand Ole Opry. All of those layers construct Turner’s new album, Punching Bag. The follow-up to 2010’s Haywire, which yielded the No. 1 hits “Why Don’t We Just Dance” and “All Over Me,” Punching Bag represents Turner in fighting shape. Throughout all 11 songs, he bobs and weaves, exhibiting new range in both his voice and his songwriting. Turner wrote eight of the record’s 11 tracks, including the rollicking title song. Turner’s uncluttered approach to songwriting has paid off in some of his most clever compositions yet, all highlights on Punching Bag. With a photographer’s eye and novelist’s vocabulary, the Grammy, Country Music Association and Academy of Country Music Award nominee has developed a knack for turning common phrases on their heads. “When I’m looking for outside

songs, I look for songs that I probably wouldn’t write myself,” he says. “‘Time Is Love’ is a song that speaks to the idea of quantity of time versus quality time. Quantity time—getting to know people better and growing relationships—is the more important thing.” It was that sense of fragility that inspired one of the most haunting cuts on Punching Bag, “Pallbearer.” The song was partly inspired by the death of one of Turner’s relatives that he looked up to and admired. When Turner learned that his dad had helped carry the casket at the man’s burial, the grieving writer retreated to his cottage and put his feelings to paper. Featuring mandolin from Marty Stuart and backing vocals from Iris DeMent, the song adopts the idea as a metaphor for a man jilted by his lover. Written in a minor key, the song is one of the most compelling and poignant songs on the album. Punching Bag may be Turner’s most ambitious and confident record to date. He’s never sounded so focused, so committed—or as he puts it—fearless. “Fearless is being confident, faithful and having trust in something that is bigger than you, and I think that’s a good description of me,” he says. “These songs are like a barometer for where I am in life, both in my age and in my experiences. They tell a story about me that nobody else can. I’m very confident and secure in the kind of music I’m making.”

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applause at Strathmore • JANUARY/FEBRUARY 2014 61 Erie Insurance ad.indd 1

12/10/13 4:42 PM

Saturday, February 22, 2014, 8 p.m.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Chopin, the Storyteller Brian Ganz, piano

Four Mazurkas, Op. 17 No. 1 in B-flat Major No. 2 in E minor No. 3 in A-flat Major No. 4 in A minor

Variations brillantes in B-flat Major, Op. 12

Nocturne in C minor, Op. 48, No. 1

Ballade No. 4 in F minor, Op. 52

Frédéric Chopin (1810-1849)

INTERMISSION

Nocturne in F-sharp minor, Op. 48, No. 2

Mazurka in D Major [Op. Posth.] Mazurka in A minor, Notre temps

Two Waltzes, Op. 69 No. 1 in A-flat Major (L’Adieu) No. 2 in B minor

Prelude in C-sharp minor, Op. 45

Scherzo No. 4 in E Major, Op. 54 All Kids, All Free, All the Time is sponsored by The Gazette The Music Center at Strathmore Marriott Concert Stage

Brian Ganz, piano

Brian Ganz is widely regarded as one of the leading pianists of his generation. The Washington Post has written: “One comes away from a recital by pianist Brian Ganz not only exhilarated by the power of the performance, but also moved by his search for artistic

truth.” For many years, Ganz has made it his mission to join vivid music making with warmth and intimacy onstage, often guiding listeners on a journey of discovery inside the composer’s craft. The result is a new kind of listening experience in which great works come to life with insight and authentic emotional power. A laureate of the Marguerite LongJacques Thibaud and the Queen Elisabeth of Belgium International piano competitions, Ganz has appeared as

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soloist with such orchestras as the St. Louis Symphony, the St. Petersburg Philharmonic, the National Philharmonic, the Baltimore Symphony, the National Symphony and the City of London Sinfonia, and has performed with such conductors as Leonard Slatkin, Piotr Gajewski, Marin Alsop and Mstislav Rostropovich. After the Brussels competition, La Libre Belgique wrote, “We don’t have the words to speak of this fabulous musician who lives music with a generous urgency and brings his public into a state of intense joy.” Tonight’s recital is the latest in his multiyear project with the National Philharmonic in which he will perform the complete works of Chopin. The inaugural recital, called “masterly” by The Washington Post, featured solo works of the romantic composer. Future recitals will include all the chamber works and songs as well as the complete solo works. The orchestral works will feature Ganz in collaboration with the National Philharmonic and Music Director Piotr Gajewski. Since the January 2011 Chopin recital, Ganz has performed the Grieg Piano Concerto, the Debussy Fantaisie for Piano and Orchestra and the Prokofiev Piano Concerto No. 3 with the National Philharmonic. He has played in the Cartagena International Music Festival in Colombia and the Alba Music Festival in Italy. Ganz is artist-in-residence at St. Mary’s College of Maryland and is also on the piano faculty of the Peabody Conservatory of Music. He lives in Annapolis.

Program Notes Four Mazurkas, Op. 17

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

The mazurka is a folk dance that takes its name from the Mazury region, the ancient province of Mazovia in northeast Poland, where Chopin was

PHOTO BY Michael Ventura

SATURDAY, february 22, 2014, 8 P.M.

Saturday, February 22, 2014, 8 p.m.

born. It seems to have originated there as early as the 16th century, and in the 18th, Poland’s Saxon rulers introduced it to Germany. The mazurka is always in triple meter, although because of its frequent displacement of accents and its variety of rhythmic figures, it strongly differs from the waltz. Chopin was the first composer to adapt the style of the mazurka to art music, and between 1820 and the end of his life, he wrote about 60 of them based on the dance’s three main forms: the mazur, oberek and the kujawiak. Chopin composed half of his mazurkas in the major mode, half in minor, and throughout all of them, he included modal harmonies. By the time that Chopin made the mazurka an important part of his concert repertoire, the mazurka was being danced in ballrooms from London to St. Petersburg. Chopin’s mazurkas are highly stylized although they do usually retain some characteristics of traditional mazurkas, like the accent on the third beat and a drone bass in a triple meter measure. Although he rarely borrowed from Polish folk melodies, some of the melodies of his mazurkas seem unusual; they grow out of the same kind of tiny rhythmic and melodic units that folk mazurkas use. Chopin utilizes three-part form for most of his mazurkas; many even have da capo markings (signaling the musicians to return to the beginning of the piece and play the whole first part exactly as they had initially) indicating an identical first and last section. As a group they are diverse in form, texture and expression, and in them, Chopin embraces a wide span of moods, much eloquence and emotion: They range from innocent simplicity to complex sophistication, from exuberant whirling dance to melancholy soul searching, in a blend of folk music and erudite artistry. Chopin composed the four Mazurkas, Op. 17, in 1832-33; they were published in Leipzig in 1834 and dedicated to the singer Lina Freppa. They are among the first works he completed after moving to Paris.

No. 1 in B-flat Major, Vivo e risoluto, the most outgoing of the set, is energetic and joyful. Beginning with powerful chordal writing, the texture becomes spare in the central section, with the melody in the right hand over an asymmetric accompaniment in the left. The trio has the sound of characteristic Polish folk music and a driving rhythm. Chopin often employs a drone bass in his mazurkas, probably in imitation of the dudy, the Polish version of the bagpipe that produces a drone bass sound. The short No. 2 in E minor, Lento, ma non troppo, in three-part form, feels full of drive. Chopin uses some chordal writing in the middle section, along with the drone bass, before the opening music returns to bring the mazurka to a close. This mazurka and No. 4 are of the kujawiak type in which the minor mode is predominant. In No. 2, the slow tempo allows for much ornamentation as well as rubato. The expansive No. 3 in A-flat Major displays the unusual tempo marking Legato assai. This suggests a moderately slow tempo, supporting a character that is introspective and somewhat bittersweet. It has an energetic and varied middle section. The long and extremely chromatic No. 4 in A minor, Lento, ma non troppo, begins with a harmonically ambiguous four-measure introduction suggestive of the Lydian mode often heard in Polish folk music. This mazurka has a noble theme tinged with sadness; a second theme with a vigorous folk flavor makes a distinct contrast. The trio has a more energetic and hopeful feel; its theme is underpinned by droning open fifths. It builds to an anguished climax before the main theme returns, slightly varied. In the coda, Chopin introduces new material from fragments of the theme that brings the piece to a mysterious end, concluding with a distant echo of the work’s introductory chordal measures. The final chord displays Chopin at his most harmonically daring, as it does not resolve the

piece on the tonic chord of A minor, but rather ends enigmatically on a first inversion F major chord. Variations brillantes in B-flat Major, Op. 12

The elegant and sparkling Variations brillantes, Op.12 (sur le Rondeau Favori: “Je vends de Scapulaires” (“I sell scapulars,” [a kind of vest, a religious vestment]) sets an aria from the comic opera Ludovic by Ferdinand Hérold and Fromental Halévy, Bizet’s father-in-law. Hérold was only 42 when he died, and his operas have virtually disappeared. This opera was unfinished at Hérold’s death, but Halévy “completed” it. Ludovic tells of a love triangle. Chopin, who had arrived in Paris in September 1831, was attracted to the aria “Je vends des scapulaires” from the opera, and almost immediately wrote a set of variations on it. His composition demonstrates how he, like many composers of his day, took part in the then-popular custom of composing virtuosic variations on opera themes. The Ludovic Variations were composed in 1833. All in one movement, the piece begins with essentially a grand introduction marked Allegro maestoso, followed by the lovely, rocking Hérold melody; then subsequent light, colorful, brief sections feature the variations. One is an enchanting slow rendition of the melody, which is followed by a Scherzo, a free variation on the music’s character, which becomes energetic and brilliant with a witty, very playful mood. The piano writing throughout is full of colorful harmony as well as virtuosity. The ending thrillingly joins together the subtle with the pyrotechnics. Nocturne in C minor, Op. 48, No. 1

Chopin took the idea of the musical nocturne from the Irish composer, John Field (1782), and adapted it to his own greater, expressive purposes, writing about 20 pieces that he entitled Nocturne. Grandly conceived, the noble Nocturne Op. 48, No. 1, is an impressive

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Saturday, February 22, 2014, 8 p.m.

and tragic masterpiece breaking new musical ground. It is presented with subtlety, drama and immediacy and is generally acknowledged as one of Chopin’s greatest emotional achievements. The principal subject of the piece, an elegant and often Italianate melody with interesting harmony in its accompaniment figure, is an expression of deep grief. The work, Lento, has a contrasting middle section marked poco più lento that provides relief from the grief of the opening section. This middle section begins quietly and hopefully, gradually building to a climax—characterized by joyous octaves—which makes the subsequent return to the opening material, marked agitato, Doppio movimento (twice as fast), all the more grievous. Chopin uses the arpeggio figure prominent in the central section again as the accompaniment for the restatement of the principal theme. This recapitulation displays emotion of extraordinary intensity; dark and austere solemnity is combined with almost unbearable grief. Ballade No. 4 in F minor, Op. 52

Chopin was the first composer to use the title ballade for a strictly instrumental piece. Chopin created the new genre of ballade by combining loose sonata forms with the 6/8 (or 6/4) meter often used in early vocal ballads. For him, the term meant a melancholy poetic masterpiece, a kind of epic narrative of great rhythmic freedom, without clearly defined, predetermined, formal interrelationships, its main sections set between an introduction and a closing coda. During a period of about 10 years, Chopin composed four large piano works to which he gave the name Ballade, but the four have little uniformity, which would have been helpful in defining the ballade as a distinct musical structure. Chopin wrote the Ballade No. 4 in F minor during the summer of 1842,

which he spent with George Sand on her country estate at Nohant. Chopin published this work in 1843, after some revision, with a dedication to the Baroness de Rothschild, a friend and pupil, who had invited him to play in her Parisian estate and introduced him to the aristocracy and nobility. The Ballade in F minor is often considered his most musically intense and technically demanding work; it requires exceptional skill and virtuosity. The work begins gently and with harmonic ambiguity. Soon a delicate, wistful, minor theme is articulated and then repeated, but not exactly; Chopin changes the phrasing and subtly makes elaborations on the theme. When it next recurs, it has become more turbulent and fragmented, more agitated and ornamented with a countermelody. After a climax, a chordal section grows and becomes more ornate as it becomes interwoven with the initial theme. After a brief pause, the first theme returns, but now it has a searching sense of desolation. The music takes on a new restlessness and complexity, combined with an increased intensity. The last section is very turbulent, ending with four feverish chords. Chopin has succeeded in arousing many emotions from the elegiac and melancholic to the pent-up tension that intensifies in the savage coda. Nocturne in F-sharp minor, Op. 48, No. 2

Nocturne No. 2 in F Sharp minor, Andantino, is much less frequently performed than the first nocturne in this opus, but it is quite poetic. In ternary form, it is known to have been a favorite with Chopin. It opens with the insistent repetition of a single melodic idea of indefinable melancholy. In both the Opus 48 Nocturnes the immediacy of emotional/psychological drama and the mastery of subtlety with which that drama is presented indicate that this is music of the composer’s mature period. Nocturne in F-sharp minor, No. 2,

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has greater textural transparency than No. 1. In No. 2, the main theme, which is seemingly restrained but actually seething with passion below the surface, is announced, then repeated with ornamentation. A seemingly endless melody is played with restless triplets in the left hand, with a flowing melodic line in the right, emanating a general feeling of disquiet. A strongly contrasting central section in a slower tempo moves into the major mode with a distinctive mazurka-like rhythm, energized by recurring quintuplets. Here, a change of mode from minor to major, and a totally redesigned metric scheme reflect a dramatic change in musical attitude. Chopin effectively turns the recapitulation into a coda; it does not return exactly as it first appeared, but rather enlarges with the power of its chords; the piece concludes with a wispy run and a quiet chord. Mazurka in D Major [Op. Posth.]

Written in 1829 and revised thoroughly in 1832, this lively, brief mazurka exists in two different versions. One of Chopin’s earliest mazurkas, its style is unlike the other Chopin mazurkas; almost brash in its exuberant energy, it seems almost as if it were intended for a spirited celebratory dance. Mazurka in A minor, Notre temps

This mazurka was written in the summer in 1840 and first published in an anthology of pieces by various composers of the day called Six Morceaux de Salon, in 1841. It was given the title of Notre Temps (“Our Time”) for that publication. It has sometimes been included with Chopin’s three Mazurkas of Op. 59, where it is called “Op. 59: bis,” and given the title The Cracow Mazurka in 1846. It is marked Allegretto, but it has a deliberate, rather somber feel. It begins with a melancholy, march-like theme, which is rather dark and solemn. Although the middle section hints at a brief contrast of mood, the serious main theme returns to close the piece. This mazurka is one of Chopin’s longer in this form.

Saturday, February 22, 2014, 8 p.m.

Waltz in A-flat Major, Op. 69, No. 1

Prelude in C-sharp minor, Op. 45

Scherzo No. 4 in E Major, Op. 54

In 1816, when Chopin was 6 years old, he became the pupil of a music teacher who implanted in him a lifelong reverence for Johann Sebastian Bach’s preludes and fugues, which he in turn, a generation later, urged his pupils to play daily. Every musician knows now that Bach’s two books of 24 preludes and fugues called The Well-Tempered Clavier are of immeasurable value in pedagogy. Bach’s Preludes are stylized, free introductions to highly formal fugues. By Chopin’s time, “prelude” had become simply a title of convenience, and his pieces are not preludes to anything but are individually whole and complete works. In 1829, in Prague, Chopin had become a friend of the pianist-composer August Alexander Klengel who played for hours from his Canons and Fugues in all the keys, music that he thought represented how Bach might have expressed himself if he had lived a century later. “One might say that they are a distillation of Bach,” Chopin wrote in a letter, and at another time he said, “There is really a great deal to be learned from him.” Klengel and Bach were very much in Chopin’s mind between 1836 and 1839, when he composed his set of 24 Preludes. In 1841, Chopin also gave the title designation “prelude” to this rather dark, elegiac lyrical piece, written after his set of 24. With expressive and effective chromatic modulations, he composed this last prelude for an album issued by a Viennese music publisher to raise money for the erection of a monument to Beethoven at his birthplace in Bonn. Sometimes listed as Prelude No. 25, it was dedicated to Princess E. Czernicheff. Chopin expressed his contentment with the piece, which is now rarely performed: “It is well modulated, isn’t it?” Toward the end of the piece, a cadenza introduces a rapturous climax, after which the opening theme reappears, before the piece dies away.

The scherzo is most familiar to us now as a single movement in a long sonata, symphony or string quartet, but Chopin wrote four scherzi as independent compositions. He took the name and some formal ideas from Beethoven, but since he was not obliged to make his scherzi fit with other movements in style, mood or proportion, he was at liberty to extend them and to give them any character he wished. The first change Chopin made to the scherzo was the nearly complete abandonment of the idea of “jest” or “joke,” which is what the Italian word scherzo connoted before it became the name of a musical form. Chopin’s first three scherzi are relatively dark affairs; although they contain music that could well be called capricious, they rarely aim at wit or humor. In this fourth Scherzo, however, Chopin demonstrates his fluency with the lighthearted language of humor. Chopin composed Scherzo No. 4 during the summer of 1842 at George Sand’s country estate. It is a big piece, composed in the speedy tempo and triple meter of the classical scherzo. At the start, Chopin disguises the tempo and meter, concealing them from the ear. The mysteriously musing long-held notes with which the music begins only gradually reveal their place in the scheme of things. Eventually, an abundance of melody becomes evident; the overall plan of organization turns out to be a basic form used in the 18th and 19th centuries: a major statement (or a group of them), a contrasting idea, a recapitulation of the opening, and then a final statement as a coda. The work is quite bright and straightforward, and a bit more elegant than Chopin’s other scherzi. The main theme has a whimsical feel; it is made up of chords and rapidly ascending arpeggios. The darker central section represents a dramatic contrast and introduces new material of great depth and beauty, making the playful subsequent recapitulation all the more mirthful. This leads to an extended coda and a close consisting of a scale traversing many octaves, punctuated by resounding chords. Program notes are © Susan Halpern, 2013

(Posth.) L’Adieu (“The Farewell Waltz”)

The waltzes of Op. 69 were not published during Chopin’s life; it is known that this waltz was composed when Chopin was about 25 years old in 1835, at the time when he fell in love with the 16-year-old Mlle. Maria Wodzinska, daughter of Count Wodziński. Chopin dedicated the work to her. She was beautiful and an excellent pianist, but her father did not want her to marry a young, poor musician, even though Chopin did propose marriage. Musicologists have indicated that perhaps in this waltz Chopin aimed to create a spiritual portrait of his beloved. It definitely has a sentimental, expressive character and is not a waltz that could have been used for actual dancing. Chromatic descending melodies in this slow waltz, Lento, have been said to indicate Chopin’s resignation to the actuality of the hopeless situation. Wodzinska’s manuscript copy, now in the State Collection in Warsaw, has a more urgent crescendo in the bars before the end, marked appassionata and rising to fortissimo. This waltz, the most mazurka-like of Chopin’s waltzes, was published in 1855; two alternate versions exist. Wodzinska wrote “L’Adieu” on her copy, as it was on their parting (although they continued to have a relationship for the next year) in Dresden that Chopin presented the work to her. Waltz in B minor, Op. 69, No. 2 (Posth.)

Chopin composed this piece in 1829, at age 19. He ordered this waltz (along with other early works) to be burned, but his wishes were ignored, and it was published posthumously. It is quite popular among the repertoires of modern pianists. Its subdued melancholic principal melody, Moderato, exhibits a most sorrowful character. There are two other themes and a bit more optimistic middle section.

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Sunday, February 23, 2014, 4 p.m.

SUNDAY, FEBRUARY 23, 2014, 4 P.M.

● Strathmore Presents

The Legendary Count Basie Orchestra directed by Scotty Barnhart

featuring New York Voices

United Nations Jazz Orchestra), Doug Lawrence (formerly with Benny Goodman and Buck Clayton), Cleave Guyton (formerly with Lionel Hampton and Duke Ellington Orchestra), and the newest members: Mark Williams (Howard University), Bruce Harris, Jay Branford, Bobby Floyd and Marcus McLaurine (formerly with Clark Terry).

New York Voices

The Music Center at Strathmore Marriott Concert Stage

The Legendary Count Basie Orchestra directed by Scotty Barnhart

In the history of jazz music, there is only one bandleader that has the distinction of having his orchestra still performing sold out concerts all over the world, with members personally chosen by him, for nearly 30 years after his passing. Pianist and bandleader William James “Count” Basie was and still is an American institution that personifies the grandeur and excellence of jazz. The Count Basie Orchestra has won 18 Grammys, performed for kings, queens and other royalty, and appeared in several movies and television shows, as well as in major jazz festivals and concert halls. Count Basie was born in Red Bank, N.J., in 1904. He began his early playing days by working as a silent movie pianist and organist and by eventually working with the Theater Owners Booking Agency circuit. In the 1920s and ’30s, Kansas City was ground zero for the heady mixture of blues, 4/4 swing rhythms and hot instrumentalists that were to become the standard bearers and precursors for the swing era and the underlying rhythm of

modern jazz. Walter Page’s Blue Devils and Benny Moten’s Kansas City Orchestra caught Basie’s ear and soon he was playing with both and serving as second pianist and arranger for Moten. In 1935, Moten died and it was left to Basie to take some of the musicians from that orchestra and form his own, The Count Basie Orchestra. The basic fundamentals of Basie’s orchestra were and still are foot-stomping 4/4 swing. As Basie allowed for a certain measure of change and for a variety of voices to emerge on the platform he created, his orchestra’s repertoire always remained accessible. During the 1960s and throughout the 1970s and into the ’80s, the orchestra’s sound, swing feel, general articulation and style began to become more laid back and even more relaxed. Since Basie’s passing in 1984, Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, Dennis Mackrel and now Scotty Barnhart, have led the Count Basie Orchestra. Current members include musicians hired by Basie himself: Carmen Bradford (joined in 1983), Clarence Banks (joined in 1984), as well as Mike Williams (1987, formerly with Glenn Miller), Doug Miller (1989, formerly with Lionel Hampton), and members who have joined in the past 15 years: David Keim (formerly with Stan Kenton), Alvin Walker, Will Matthews, Marshall McDonald (formerly with Lionel Hampton and Paquito D’Rivera’s

66 applause at Strathmore • JANUARY/FEBRUARY 2014

New York Voices is a Grammy-winning vocal ensemble renowned for its scope of music and the art of group singing. The ensemble’s harmonic palette is rooted in jazz, but its playground is eclectic–infusing Brazilian, R&B, classical, pop and original compositions with ease and expertise. The group was formed in 1987 by Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox and Sara Krieger. Meader, Eldridge, Nazarian and Fox attended Ithaca College in New York and were part of an invitational alumni group formed to tour the European jazz festivals in the summer of 1986. As a result of this exciting experience, the concept was formed and in 1989 the group signed with GRP Records and released a self-titled album. From 1989 to 1994, the group also released Hearts of Fire, What’s Inside and The Collection. Krieger retired in 1992 and Lauren Kinhan joined the group. Kinhan’s first musical contributions can be heard on New York Voices’s third CD, What’s Inside. Fox left the group in 1994, forever fixing New York Voices as a quartet. Besides its own CDs, New York Voices has made many guest artist appearances on recordings and live performances. The ensemble has performed with artists including Ray Brown, Patti Austin, George Benson, the Metropole Orchestra, the WDR Big Band and the Legendary Count Basie Orchestra.

Wednesday, February 26, 2014, 8 p.m.

WEDNESDAY, FEBRUARY 26, 2014, 8 P.M.

● Strathmore Presents

Pilobolus Robby Barnett, Artistic Director Michael Tracy, Artistic Director Itamar Kubovy, Executive Director Lily Binns, Co-Executive Director Renée Jaworski, Associate Artistic Director Matt Kent, Associate Artistic Director Shawn Fitzgerald Ahern, Dancer Benjamin Coalter, Dancer Matt Del Rosario, Dance Captain Eriko (Erica) Jimbo, Dancer Jordan Kriston, Dancer Nile H. Russell, Dance Captain Mike Tyus, Dancer Shane Mongar, Director of Production Kristin Helfrich, Production Manager Mike Faba, Lighting Supervisor Chris Owens, Video Technician Eric Taylor, Stage Ops The Music Center at Strathmore Marriott Concert Stage

About Pilobolus

Pilobolus—named after a barnyard fungus that propels its spores with extraordinary speed, accuracy and strength—is a dance company founded by a group of Dartmouth College students in 1971. Pilobolus continually forms diverse collaborations that break down barriers between disciplines and challenge the way we think about dance. Physically and intellectually, the company engages and inspires audiences around the world through performance, education and consultation. Pilobolus propels itself in a variety of directions to reach these goals. The original company, Pilobolus Dance Theater, has been touring its 115 pieces of repertory to more than 64 countries over the past 42 years. Pilobolus Shadowland, the company’s evening-length show currently touring Europe, the Middle East and Asia, has been seen by more than a half-million people in the three years since it was created. Pilobolus’ collaborative creative and educational work takes place through the Pilobolus Lab, in which the company both convenes diverse artists in the development of new work and teaches its creative method to individuals and institutions. To date, the Pilobolus Lab has produced collaborations with Penn & Teller, the MIT Distributed Robotics Laboratory, Art Spiegelman, Maurice Sendak, OK Go, Radiolab and many others. The lab’s educational programming—which applies Pilobolus’ collaborative process to help all kinds of groups work better and achieve common goals—includes workshops, master classes, residencies and children’s programming. Programs are designed to explore the necessary conditions for success, and use the art of collaborative choreography as a model for creative thinking in any field. Through this process we begin to understand more generally the way groups can organize themselves to do things more efficiently and well. Educational partners include Brooklyn Academy of Music, and New York City and applause at Strathmore • JANUARY/FEBRUARY 2014 67

Wednesday, February 26, 2014, 8 p.m.

Connecticut public schools. Pilobolus Creative Services applies this same method of invention to business, offering a wide range of educational, directorial, design and movement services for film, advertising, publishing and corporate groups and events. The company has collaborated with clients such as Avon, UTC, Wharton Business School, Google, the U.S. Olympic Committee, the NFL Network, Pfizer and many others. Pilobolus Creative Services also has produced two books for national distribution, Twisted Yoga and The Human Alphabet, and has created calendars of dance photography in collaboration with a number of noted American photographers. Pilobolus has been featured across the world at the 79th Annual Academy Awards (2007), and on Sesame Street, The Oprah Winfrey Show, 60 Minutes and Late Night with Conan

O’Brien. The dance company has been recognized with prestigious honors, such as the Berlin Critic’s Prize, the Scotsman Award, the Brandeis Award, a Primetime Emmy Award for Outstanding Achievement in Cultural Programming, the Samuel H. Scripps American Dance Festival Award for Lifetime Achievement in Choreography and a TED Fellowship for presenting at the TED conference in 2005. Pilobolus holds the 2011 Guinness World Record for fitting the most people into a Mini Cooper (26); and in 2012, the company was nominated for a Grammy Award for its interactive music video collaboration with OK Go and Google Chrome Japan, “All is Not Lost.” Recently, Pilobolus was honored as the first collective to receive the Dance Magazine Award, which recognizes artists who have made lasting contributions to

the field. In 2005, Pilobolus transferred its archive to Dartmouth College, where the company originated. Since then the college has been growing the “living archive” with a series of new work commissions.

Program Notes

General inquiries should be directed to 1-860-868-0538 or info@pilobolus. org. You can also visit the website at www.pilobolus.org. Sales in the United States are handled by IMG Artists’ Liz Harler, who can be reached at 1-212-994-3500 or via email at lharler@imgartists.com. International sales and commercial work are handled by Karen Feys, who can be reached at 1-860-717-0517 in the United States, in the United Kingdom at 44-207-193-9877, or via email at kfeys@pilobolus.org.

Let the music move you.

e are now accepting wait list reservations! A visit to W Ingleside could turn out to be a moving experience! Spectacular, gracious and outstanding describes life at Ingleside at King Farm. Become part of a community that sets the standards of excellence in amenities, lifestyle, security and affordability by joining the IKF Club. This unique program allows you to enjoy many benefits and amenities of Ingleside right now.

A Remarkable Retirement Community

To learn more or schedule a personal tour, please call (240)499-9019. 68 applause at Strathmore • JANUARY/FEBRUARY 2014

701 King Farm Blvd. • Rockville, MD www.inglesidekingfarm.com • (240)499-9019

Friday, February 28, 2014, 8:15 p.m.

friday, february 28, 2014, 8:15 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

CSI: Mozart Marin Alsop, conductor Didi Balle, writer and director Please see insert for complete program information. Support for Didi Balle’s position as playwright-in-residence is generously provided by The Andrew W. Mellon Foundation. The Music Center at Strathmore • Marriott Concert Stage

Alsop photo by DeaN Alexander, Balle photo by Michael Stadler

Marin Alsop, conductor Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vision and distinction who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural concerts in 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. Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry. Additionally, her success was recognized when,

in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. In the summer of 2011, Alsop served her 20th season as music director of the acclaimed Cabrillo Festival of Contemporary Music in California. Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.

Didi Balle, writer and director

Didi Balle’s credits as a professional writer and director include numerous commissions, broadcasts and stage productions of her work spanning symphonic plays, radio musicals, plays, musical theater, song cycles and opera. She’s created a new genre of writing with her plays for actors and orchestras

called symphonic plays. Marin Alsop and the BSO commissioned Balle to write and direct A Composer Fit for a King: Wagner & Ludwig II for a program celebrating the 200th anniversary of Wagner’s birth. The symphonic play is a seamless blend of music and theater dramatizing the backstage story behind the making of The Ring Cycle. The symphonic play marked Balle’s fourth creative collaboration of a new symphonic show with BSO Music Director Marin Alsop. In March 2013, her new symphonic play, commissioned by Maestro Yannick Nézet-Séguin for The Philadelphia Orchestra, Shostakovitch: Notes for Stalin, premiered at Verizon Hall at the Kimmel Center for the Performing Arts to great success. Created for actors and orchestra, the play dramatizes the compelling life story and harrowing political rule in Stalin’s Soviet Union that shaped the creation of Shostakovich’s Symphony No. 5. Symphonic plays written and directed by Balle include: CSI: Beethoven (BSO); Analyze This: Mahler & Freud (BSO); Elements of the Earth: A Musical Discovery (The Philadelphia Orchestra); The Secret Life of Isaac Newton; Shostakovich: Notes for Stalin (The Philadelphia Orchestra); and Radio Rhapsody (City of London Sinfonia). Balle is the founding director and producer of Symphonic Stage Shows. She received her master’s in fine arts degree from New York University’s NYU’s Tisch School of the Arts Music Theater Program, where she was awarded the Oscar Hammerstein Scholarship as a playwright-lyricist. Her first writing job was co-writing a weekly radio musical-comedy serial with Garrison Keillor called The Story of Gloria, a Young Woman of Manhattan. Balle also is a published writer and journalist and worked as a contributing editor for The New York Times for 13 years. Her print work includes publication of cover stories, numerous articles and reviews in national magazines.

applause at Strathmore • JANUARY/FEBRUARY 2014 69

Awards Bethesda Urban Partnership and Bethesda Magazine will honor writers at the Bethesda Literary Festival, April 11-13, 2014.

Short Story & Essay Contest Deadline: Jan. 24, 2014

First place: $500 and published in Bethesda Magazine Second place: $250 Third place: $150 Honorable Mention: $75 The first place winners will also receive a gift certificate to The Writerâ&#x20AC;&#x2122;s Center. All winners will be published on the Bethesda Magazine and Bethesda Urban Partnership websites and will be honored at a special event during the Bethesda Literary Festival.

Adults (ages 18+) and High School Students (grades 9-12) are eligible. High School winners receive: $250, first place; $100, second place; $50, third place. Bethesda Magazine will print the first place Essay & Short Story.

For eligibility and rules, please visit www.bethesdamagazine.com or www.bethesda.org.

For more information, call 301-215-6660, Ext. 142 or 301-718-7787, Ext. 207.

Music Center at

Strathmore

important information

please contact the Ticket Office for replacements.

patrons. Both main entrances have power- assisted doors.

CHILDREN

GIFT CERTIFICATES Gift certificates may be purchased at the Ticket Office.

GROUP SALES, FUNDRAISERS

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others. Some presenters do not allow children under the age of six years to non-family concerts. As always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. Contact the Ticket Office at (301) 581-5100 for additional information.

For information, call (301) 581-5199 or email groups@strathmore.org.

PARKING FACILITIES

5301 Tuckerman Lane North Bethesda, MD 20852-3385 www.strathmore.org Email: tickets@strathmore.org Ticket Office Phone: (301) 581-5100 Ticket Office Fax: (301) 581-5101 Via Maryland Relay Services for MD residents at 711 or out of state at 1(800) 735-2258

TICKET OFFICE HOURS Monday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 9 p.m. Saturday 10 a.m. – 2 p.m. Sixty minutes prior to each performance in the Music Center through intermission.

All tickets are prepaid and non-refundable.

Concert parking is located in the Grosvenor-Strathmore Metro garage off Tuckerman Lane. At the end of each ticketed event in the Music Center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. If you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the stanchion video camera at the exit gate to exit at no cost. For all non-ticketed events, Monday-Friday, parking in the garage is $5 and may be paid using a Metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the GrosvenorStrathmore Metro garage, walk across the glass-enclosed sky bridge located on the fourth level.

WILL CALL

PUBLIC TRANSPORTATION

Patrons must present the credit card used to purchase tickets or a valid ID to obtain will call tickets.

Strathmore is located immediately adjacent to the Grosvenor-Strathmore Metro station on the Red Line and is served by several Metro and Ride-On bus routes. See www.strathmore. org, or the Guide to the Music Center at Strathmore for detailed directions.

TICKET POLICIES Unlike many venues, Strathmore allows tickets to be exchanged. Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the Music Center. Exchanges must be for the same presenter within the same season. Ticket exchanges are NOT available for independently produced shows. Please contact the Ticket Office at (301) 581-5100 for details on how to exchange tickets. If a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket Office for 30 days after the original scheduled performance date.

TICKET DONATION If you are unable to use your tickets, they may be returned for a tax-deductible donation prior to the performance. Donations can be made by mail, fax or in person by 5 p.m. the day of the performance.

MISPLACED TICKETS If you have misplaced your tickets to any performance at Strathmore,

DROP-OFF There is a patron drop-off circle off Tuckerman Lane that brings patrons to the Discovery Channel Grand Foyer via elevator. No parking is allowed in the circle, cars must be moved to the Metro garage after dropping off

COAT CHECK Located in the Promenade across from the Ticket Office. As weather requires, the coat check will be available as a complimentary service to our patrons. If you would like to keep your coat or other belongings with you, please place them under your seat. Coats may not be placed over seats or railings.

THE PRELUDE CAFÉ The Prelude Café in the Promenade of the Music Center at Strathmore, operated by Restaurant Associates, features a wide variety of snacks, sandwiches, entrees, beverages and desserts. It is open for lunch and dinner and seats up to 134 patrons.

CONCESSIONS The Interlude intermission bars offer beverages and snacks on all levels before the show and during intermission. There are permanent bars on the Orchestra, Promenade and Grand Tier levels.

LOST AND FOUND During a show, please see an usher. All other times, please call (301) 581-5100.

LOUNGES AND RESTROOMS Located on all seating levels, except in the Upper Tier.

PUBLIC TELEPHONES Courtesy telephones for local calls are located around the corner from the Ticket Office, in the Plaza Level Lobby, and at the Promenade Right Boxes.

ACCESSIBLE SEATING Accessible seating is available on all levels. Elevators, ramps, specially designed and designated seating, designated parking and many other features make the Music Center at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the Concert Hall, please call the Ticket Office at (301) 581-5100.

ASSISTIVE LISTENING

The Music Center at Strathmore is equipped with a Radio Frequency Assistive Listening System for patrons who are hard of hearing. Patrons can pick up assistive listening devices at no charge on a first-come, firstserved basis prior to the performance at the coatroom when open, or at the ticket taking location as you enter the Concert Hall with a driver’s license or other acceptable photo ID. For other accessibility requests, please call (301) 581-5100.

ELEVATOR SERVICE There is elevator service for all levels of the Music Center at Strathmore.

EMERGENCY CALLS If there is an urgent need to contact a patron attending a Music Center concert, please call (301) 581-5112 and give the patron’s name and exact seating location, and telephone number for a return call. The patron will be contacted by the ushering staff and the message relayed left with Head Usher.

LATECOMER POLICY Latecomers will be seated at the first appropriate break in the performance as not to disturb the performers or audience members. The decision as to when patrons will be seated is set by the presenting organization for that night.

FIRE NOTICE The exit sign nearest to your seat is the shortest route to the street. In the event of fire or other emergency, please WALK to that exit. Do not run. In the case of fire, use the stairs, not the elevators.

WARNINGS The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building. Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

Applause at Strathmore • january/february 2014 71

Strathmore Hall Foundation, Inc. Board of Directors EXECUTIVE COMMITTEE William G. “Bill” Robertson Chair Dale S. Rosenthal Vice Chair William R. Ford Treasurer Robert G. Brewer, Jr., Esq. Secretary and Parliamentarian

BOARD OF DIRECTORS Joseph F. Beach Cathy Bernard Dickie S. Carter David M.W. Denton Hope B. Eastman, Esq. Suzanne Brennan Firstenberg

Hon. Nancy Floreen Barbara Goldberg Goldman Sol Graham Nancy E. Hardwick Paul L. Hatchett Sachiko Kuno Delia K. Lang Carolyn P. Leonard Hon. Laurence Levitan J. Alberto Martinez, MD Kenneth O’Brien DeRionne P. Pollard Raymond T. Tetz Donna Rattley Washington Graciela Rivera-Oven Regina Brady Vasan

Donors Strathmore thanks the individuals and organizations who have made contributions between July 1, 2012 and June 30, 2013. Their support of at least $500 and continued commitment enables us to offer the affordable, accessible, quality programming that has become our hallmark.

$250,000+ Arts and Humanities Council of Montgomery County Hogan Lovells (in-kind) Maryland State Arts Council $100,000+ Post-Newsweek Media, Inc. (includes in-kind) $50,000+ Booz Allen Hamilton Delia and Marvin Lang Lockheed Martin Corporation The Morris and Gwendolyn Cafritz Foundation Symphony Park LLC $25,000+ Alban Inspections, Inc. Asbury Methodist Village Federal Realty Investment Trust GEICO Glenstone Foundation Yanqiu He and Kenneth O’Brien Carolyn and Jeffrey Leonard PEPCO TD Bank Carol Trawick $15,000+ Capital One, N.A. Nancy and Raymond Hardwick Lyle and Cecilia Jaeger (in-kind) MARPAT Foundation Montgomery County Department of Economic Development Paul M. Angell Family Foundation Tower Companies $10,000+ Adventist Health Care

Bank of America Jonita and Richard S. Carter Clark Construction Group, LLC Comcast Elizabeth W. Culp EagleBank Suzanne and Douglas Firstenberg Giant Food LLC Dorothy and Sol Graham Guardian Realty Management, Inc. Elizabeth and Joel Helke Sachiko Kuno and Ryuji Ueno Lerch, Early & Brewer, Chartered (includes in-kind) Lerner Enterprises Janet L. Mahaney Natelli Communities LP Janine and Phillip O’Brien PBS Della and William Robertson Milton and Dorothy Sarnoff Foundation Reginald Van Lee $5,000+ Gary Block Mary and Greg Bruch Frances and Leonard Burka Dallas Morse Coors Foundation for the Performing Arts Hope Eastman Carl M. Freeman Foundation Ellen and Michael Gold Barbara Goldberg Goldman Lana Halpern Julie and John Hamre The Kiplinger Foundation Allen Kronstadt Sharon and David Lockwood Constance Lohse and Robert Brewer

72 Applause at Strathmore • January/february 2014

Vocalist Clemmie Franks leads Springbrook High School choral students in a traditional round called “Rose, Rose” on Oct. 31. Franks is one of the three members of Voice, an outstanding vocal trio from England. Voice performed a stunning concert at the Mansion the evening before.

Effie and John Macklin J. Alberto Martinez Patricia and Roscoe Moore Katharine and John Pan Carol Salzman and Michael Mann John Sherman, in memory of Deane Sherman Phyllis and J. Kenneth Schwartz Ann and Jim Simpson Wendy and Donald Susswein Meredith Weiser and Michael Rosenbaum Ellen and Bernard Young WGL Holdings, Inc. Nancy and Harold Zirkin $2,500+ Anonymous Agmus Ventures, Inc. Louise Appell Atsite, Inc. Bank of Georgetown Alison Cole and Jan Peterson Margaret and James Conley Carin and Bruce Cooper CORT Carolyn Degroot Starr and Fred Ezra Michelle Feagin Carolyn Goldman and Sydney Polakoff Diana and Paul Hatchett Monica Jeffries Hazangeles and John Hazangeles Cheryl and Richard Hoffman A. Eileen Horan Igersheim Family Foundation Alexine Jackson Dianne Kay Peter S. Kimmel, in memory of Martin S. Kimmel Eleanor Kleinman and Mark Zaid Teri Hanna Knowles and John M. Knowles Barbara and Laurence Levitan Judie and Harry Linowes Jill and Jim Lipton Montgomery County Executive’s Ball Fund NOVA Research Co., Paul and Peggy Young Katherine and William Parsons Carol and Jerry Perone Mindy and Charles Postal Potomac Valley Alumnae Chapter, Delta Sigma Theta Sorority Lorraine and Barry Rogstad Karen Rosenthal and M. Alexander Stiffman Dale S. Rosenthal Barbara and Ted Rothstein Janet and Michael Rowan Lynne Sendejo

Kerri Sharabi Christine Shreve and Thomas Bowersox Tanya and Stephen Spano Victor Shargai and Craig Pascal Mary Kay Shartle-Galotto and Jack Galotto Leon and Deborah Snead Soltesz Associates, Inc. Paulette and Larry Walker Ward & Klein, Chartered Susan Wellman Vicki and Steve Willmann Anne Witkowsky and John Barker $1,000+ Anonymous Marie Allen Mary Kay and Dave Almy Dena Baker and Terry Jacobs Sheila and Kenneth Berman Mary Barton and Elizabeth Biegelson Jane Beard and Jeff Davis Carol and Scott Brewer Vicki Britt and Robert Selzer Jeff Broadhurst Eleanor and Oscar Caroglanian Conference and Visitors Bureau of Montgomery County Susan Corrigan Marlies and Karl Flicker Theresa and William Ford Senator Jennie Forehand and William E. Forehand, Jr. Sandra and Victor Frattali Noreen and Michael Friedman Carol Fromboluti Juan Gaddis Pamela Gates and Robert Schultz Leslie and Art Greenberg Greene-Milstein Family Foundation Jai Gupta Linda and John Hanson Maureen and Brent Hanson Sara and James A. Harris Vickie Hawkins-Jones and Michael Jones Hess Foundation, Inc. Linda and I. Robert Horowitz Arlene and Robert Hillerson Linda and Van Hubbard Jane Elizabeth Cohen Foundation Deirdre and John Johnson Pamela and Senator Edward Kasemeyer Joan and Howard Katz Deloise and Lewis Kellert Renee Korda and Mark Olson Iris and Louis Korman Carole and Robert Kurman Lucie Ling and Guy Campbell Linowes and Blocher LLP

LEFT: Julia Nixon wowed the audience at her Tribute to Carole King concerts on Nov. 1 in the Mansion. Music in the Mansion is sponsored by Asbury Methodist Village. CENTER: Charlie Rodriguez-Santiago tries out a mandolin riff during Crossover Techniques for Bach, Bluegrass and Beyond, a mandolin workshop held Oct. 26 in the Mansion. Affordable, high quality community music workshops are supported by the donations of Strathmore Stars and Circles members. RIGHT: The mandolin workshop, taught by recording artist and performer Robin Bullock, had students ages 16-76. Students returned to Strathmore a few days later for a meet and greet with Chris Thile before his Oct. 30 performance.

Douglas Liu Nancy and Dan Longo Sandy and Gerald Loubier Sandra and Charles Lyons M&T Bank Jacqueline and J. Thomas Manger Edith and Fred Marinucci Catherine and David Meloy Leanne and Tim Mertz Gerry Murphy Esther and Stuart Newman Paley, Rothman, Goldstein, Rosenberg, Eig & Cooper Chtd Dale and Anthony Pappas Gloria Paul and Robert Atlas Nick Perdikis Cynthia and Eliot Pfanstiehl Charla and David Phillips Tammy and Vincent Prestipino Randy Hostetler Living Room Fund Republic National Distributing Co. Jane and Paul (deceased) Rice Rivkin Livingston Levitan & Silver LLC Tasneem Robin-Bhatti Charlotte and Hank Schlosberg Fran and Richard Silbert Merle and Steven Steiner Mary Sturtevant Annie and Sami (deceased) Totah Regina and Ken Vasan Judy Whalley and Henry Otto Irene and Steven White Irene and Alan Wurtzel Cindy and Rick Zitelman $500+ Anonymous June Abel Judy and Joseph Antonucci Ali Arb Benita and Eric Bailey Laura Baptiste and Brian Kildee Margaret Bash Susan and Brian Bayly Debra Benator and Randall Wagner Bethesda Blues and Jazz Supper Club Christina and James Bradley Eileen Cahill Trish and Timothy Carrico Kathy and C. Bennett Chamberlin Michael Curto Amy and Tony Diaz David Dise Sue Downes Kim Elliott and Mark Rayford Sue and Howard Feibus Winifred and Anthony Fitzpatrick Gail Fleder Michael Frankhuizen Susan and Mark Friis Nancy and Peter Gallo

Riva Gambrell Cheryl and Harold Gearhart Mr. and Mrs. Alan Gourley Gerri Hall and David Nickels Wilma and Arthur Holmes Jr. Carol and Larry Horn Zora and James Hostetler Barbara and David Humpton Henrietta and Christopher Keller Paula Kirk Patricia and James Krzyminski Catherine and Isiah Leggett Roberta and Howard Lehrer Scott Leventhal Ronald Lewis Dorothy Linowes Claire and Scott Livingston Susan Shaskan Luse and Eric Luse Richard Marlo Glen Marvin Janice McCall Nancy McGinness and Thomas Tarabrella Vijaya and Daniel Melnick Dee and Robert Metz Ann Morales and Rice Odell Denise and Thomas Murphy Joyce and George Newmyer Sue and Edward O’Connell Margie Pearson and Richard Lampl Brian Potts Diane and Gregory Proctor Rodgers Consulting Jacqueline Rogers Jan Rothman Sally Sachar and Robert Muller Henry Schalizki and Bob Davis (deceased) Imogene Schreider Estelle Schwalb Jean and Louis Seiden Roberta and Lawrence Shulman Eric and William Siegel Donald Simonds Jill and Carl Slagle Valerye and Adam Strochak Judith and Richard Sugarman Chris Syllaba Susan Talarico and Michael Sundermeyer Aurelie Thiele Linda and Stewart Thomsen Marion and Dennis Torchia Peter Vance Treibley Myra Turoff and Kenneth Weiner Anne and James Tyson Karen and Roger Winston Jean and Robert Wirth Susan and Jack Yanovski Gerson Zweifach

Con Brio Society Securing the future of Strathmore through a planned gift. Anonymous Louise Appell John Cahill Jonita and Richard S. Carter Irene Cooperman Trudie Cushing and Neil Beskin Julie and John Hamre Yanqiu He and Kenneth O’Brien A. Eileen Horan Vivian and Peter Hsueh Tina and Art Lazerow Chiu and Melody Lin

STRATHMORE STAFF Eliot Pfanstiehl Chief Executive Officer Monica Jeffries Hazangeles President Carol Maryman Executive Assistant to the President & CEO Mary Kay Almy Executive Board Assistant

DEVELOPMENT Bianca Beckham Director of Institutional Giving Bill Carey Director of Donor and Community Relations Lauren Campbell Development & Education Manager Erin M. Phillips Manager of Patron Engagement Julie Hamre Development Associate

PROGRAMMING Shelley Brown VP/Artistic Director Georgina Javor Director of Programming Harriet Lesser Visual Arts Curator Sarah Jenny Hospitality Coordinator

EDUCATION Betty Scott Education Coordinator

OPERATIONS Mark J. Grabowski Executive VP of Operations Miriam Teitel Director of Operations Allen V. McCallum, Jr. Director of Patron Services Jasper Cox Director of Finance Laura Webb Staff Accountant Marco Vasquez Operations Manager

Diana Locke and Robert Toense Janet L. Mahaney Carol and Alan Mowbray Cynthia and Eliot Pfanstiehl Barbara and David Ronis Henry Schalizki and Robert Davis (deceased) Phyllis and J. Kenneth Schwartz Annie Simonian Totah and Sami Totah (deceased) Maryellen Trautman and Darrell Lemke Carol Trawick Peter Vance Treibley Myra Turoff and Kenneth Weiner Julie Zignego Phoebe Anderson Dana Operations Assistant Allen C. Clark Manager of Information Services Christopher S. Inman Manager of Security Chadwick Sands Ticket Office Manager Wil Johnson Assistant Ticket Office Manager Aileen Roberts Rentals Manager Christian Simmelink Ticket Services Coordinator Christopher A. Dunn IT Technician Johnathon Fuentes Operations Specialist Brandon Gowen Operations Specialist Jon Foster Production Stage Manager William Kassman Lead Stage Technician Lyle Jaeger Lead Lighting Technician Caldwell Gray Lead Audio Technician

THE SHOPS AT STRATHMORE Charlene McClelland Director of Retail Merchandising Lorie Wickert Director of Retail Operations and Online Sales

MARKETING AND COMMUNICATIONS Jerry Hasard Marketing Director Jenn German Marketing Manager Julia Allal Group Sales and Outreach Manager Michael Fila Manager of Media Relations

STRATHMORE TEA ROOM Mary Mendoza Godbout Tea Room Manager

Applause at Strathmore • january/february 2014 73

Baltimore Symphony Orchestra

Barry D. Berman, Esq. Murray M. Kappelman, M.D. M. Sigmund Shapiro

($2,500-$3,000) Anonymous Dr. Nancy D. Bridges Lt Gen (Ret.) Frank B. and Karen Campbell Geri & David Cohen Kari Peterson and Benito R. and Ben De Leon Marcia Diehl and Julie Kurland Mr. Joseph Fainberg Sherry and Bruce Feldman John and Meg Hauge Mr. and Mrs. Charles Kelber Kiplinger Foundation Mrs. June Linowitz & Dr. Howard Eisner Burt & Karen Leete Ms. Diane M. Perin Martin and Henriette Poretsky Don Spero & Nancy Chasen The Washington Post Company Dr. Edward Whitman Paul A. & Peggy L. Young, NOVA Research Company

CHAIRMAN LAUREATE

SYMPHONY SOCIETY GOLD

Board of directors OFFICERS

Kenneth W. DeFontes, Jr.*, Chairman Kathleen A. Chagnon, Esq.*, Secretary Lainy LeBow-Sachs*, Vice Chair Paul Meecham*, President & CEO The Honorable Steven R. Schuh*, Treasurer

BOARD MEMBERS

A.G.W. Biddle, III Barbara M. Bozzuto * Constance R. Caplan Robert B. Coutts Alan S. Edelman* Susan G. Esserman Michael G. Hansen* Denise Hargrove^, Governing Member Co-Chair Stephen M. Lans Sandra Levi Gerstung Ava Lias-Booker, Esq. Susan M. Liss, Esq. Howard Majev, Esq. Liddy Manson Hilary B. Miller* Marge Penhallegon^, President, Baltimore Symphony Associates Michael P. Pinto E. Albert Reece, M.D. Scott Rifkin, M.D. Ann L. Rosenberg Bruce E. Rosenblum* Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr. Solomon H. Snyder, M.D. * Andrew A. Stern*

Maria Tildon Gregory W. Tucker Amy Webb Jeffrey Zoller^, BSYO Chair

LIFE DIRECTORS

Peter G. Angelos, Esq. Willard Hackerman H. Thomas Howell, Esq. Yo-Yo Ma Harvey M. Meyerhoff Decatur H. Miller, Esq. Linda Hambleton Panitz

DIRECTORS EMERITI

Michael G. Bronfein Calman J. Zamoiski, Jr.

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST

Benjamin H. Griswold, IV, Chairman Terry Meyerhoff Rubenstein, Secretary Michael G. Bronfein Kenneth W. DeFontes, Jr. Mark R. Fetting Paul Meecham The Honorable Steven R. Schuh Calman J. Zamoiski, Jr. *Board Executive Committee ^ ex-officio

SUPPORTERS OF THE BALTIMORE SYMPHONY ORCHESTRA The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and government donors whose annual giving plays a vital role in sustaining the Orchestra’s tradition of musical excellence. The following donors have given between September 1, 2012 and October 28, 2013.

LEADERSHIP CIRCLE

Arts and Humanities Council of Montgomery County Lori Laitman & Bruce Rosenblum The Andrew W. Mellon Foundation The Maryland State Arts Council National Endowment for the Arts

CHAIRMAN’S CIRCLE PARTNERS ($25,000 and above) The Morris and Gwendolyn Cafritz Foundation Mr. and Mrs. Stephen M. Lans M&T Bank PNC VOCUS

MAESTRA’S CIRCLE

($10,000 and above) Mr. and Mrs. A. G. W. Biddle, III Ms. Susan Esserman and Mr. Andrew Marks Michael G. Hansen & Nancy E. Randa Joel and Liz Helke

Ms. Marietta Ethier Georgetown Paper Stock of Rockville Madeleine and Joseph Jacobs S. Kann Sons Company Foundation, Amelie & Bernei Burgunder Marc E. Lackritz & Mary DeOreo Mr. & Mrs. Howard Lehrer Dr. Diana Locke & Mr. Robert E. Toense Howard and Linda Martin Mr. & Mrs. Humayun Mirza David Nickels & Gerri Hall Jan S. Peterson & Alison E. Cole Bill and Shirley Rooker Patricia Smith and Dr. Frances Lussier Mr. Alan Strasser & Ms. Patricia Hartge John & Susan Warshawsky

Susan Liss and Family In memory of James Gavin Manson Hilary B. Miller & Dr. Katherine N. Bent Mr. and Mrs. Arnold Polinger Total Wine & More

Governing Members Gold ($5,000-$9,999) Anonymous The Charles Delmar Foundation Susan Fisher Dr. David Leckrone & Marlene Berlin Dr. James and Jill Lipton Mr. and Mrs. William Rogers Mike & Janet Rowan Daniel and Sybil Silver Ms. Deborah Wise/Edith and Herbert Lehman Foundation, Inc.

GOVERNING MEMBERS SILVER ($3,000-$4,999) Anonymous (2) Alan V. Asay and Mary K. Sturtevant Jane C. Corrigan

74 Applause at Strathmore • January/february 2014

($2,000-$2,999) Mr. and Mrs. Kenneth R. Feinberg Dr. Phyllis R. Kaplan Jennifer Kosh Stern and William H. Turner

SYMPHONY SOCIETY SILVER

($1,200-$2,000) Mr. and Mrs. Anthony Abell David and Sherry Berz Hon. & Mrs. Anthony Borwick Gordon F. Brown Frances and Leonard Burka Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Harvey A. Cohen and Mr. Michael R. Tardif Chuck Fax and Michele Weil Mr. and Mrs. Anthony Fitzpatrick Catoctin Breeze Vineyard Mr. and Mrs. Arthur P. Floor Dr. and Mrs. Sanford Glazer Mr. & Mrs. Norman M. Gurevich Sara and James A. Harris, Jr. Esther and Gene Herman Darrell Lemke and Maryellen Trautman Dr. and Mrs. Peter C. Luchsinger Mr. Winton Matthews Marie McCormack David and Kay McGoff The Meisel Group Dr. & Mrs. Stanley R. Milstein Ms. Zareen T. Mirza Richard and Melba Reichard Roger and Barbara Schwarz Mr. and Mrs. Richard D. Spero Donna and Leonard Wartofsky Sylvia and Peter Winik ($1,000-$1,200) Anonymous (5) Charles Alston and Susan Dentzer Mr. William J. Baer and Ms. Nancy H. Hendry Phebe W. Bauer Leonard and Gabriela Bebchick Mrs. Elaine Belman Drs. Lawrence and Deborah Blank Dorothy R. Bloomfield Mr. Kurt Thomas Brintzenhofe Bruce and Deborah Broder Mr. and Mrs. John Carr Mr. Vincent Castellano Mr. and Mrs. Arthur C. Cox Joan de Pontet Dimick Foundation Mr. John C. Driscoll

Dr. Edward Finn Mr. and Mrs. John Ford Mr. and Mrs. Roberto B. Friedman Mary Martin Gant Mr. and Mrs. William Gibb Peter Gil George and Joni Gold Dr. and Mrs. Harvey R. Gold Joanne and Alan Goldberg Mr. and Mrs. Frank Goldstein Drs. Joseph Gootenberg & Susan Leibenhaut Mr. David Grizzle Mark & Lynne Groban Ms. Lana Halpern Mr. & Mrs. John Hanson Mr. Fred Hart and Ms. Elizabeth Knight Ellen & Herb Herscowitz David A. & Barbara L. Heywood Fran and Bill Holmes Betty W. Jensen Mr. & Mrs. Christopher Keller Virginia and Dale Kiesewetter Ms. Marie Lerch and Mr. Jeff Kolb Drs. David and Sharon Lockwood Michael & Judy Mael Mr. and Mrs. David Menotti Douglas and Barbara Norland Mr. and Mrs. Peter Philipps Herb and Rita Posner Dr. and Mrs. Gerald Rogell Mr. and Mrs. Barry Rogstad Marcia and John Rounsaville Estelle D. Schwalb Mrs. Phyllis Seidelson Mr. Donald M. Simonds Dr. and Mrs. Jeffrey R. Singer Dr. Allyson Slater Margot & Phil Sunshine Mr. and Mrs. Richard Swerdlow David Wellman & Marjorie Coombs Wellman Ms. Susan Wellman Richard and Susan Westin Dr. Ann M. Willis Marc and Amy Wish H. Alan Young & Sharon Bob Young, Ph.D.

BRITTEN LEVEL MEMBERS

($500-$999) Ellen Apatov and Linda Clark Donald Baker Mr. Gilbert Bloom Ms. Marcia D. Bond Ms. Cynthia L. Bowman-Gholston Mr. Philip Brannen Mr. Richard H. Broun & Ms. Karen E. Daly Cecil Chen & Betsy Haanes Bradley Christmas and Tara Flynn Mr. Herbert Cohen Marion Fitch Connell Mr. & Mrs. Jim Cooper Ms. Brenda K. Edwards Mr. and Mrs. Robert Fauver Mr. Kenneth J. Goldsmith Ms. Alisa Goldstein Frank & Susan Grefsheim Ms. Melanie Grishman & Mr. Herman Flay, MD Drs. Marlene and Bill Haffner Ms. Haesoon Hahn Keith and Linda Hartman Mr. Jeff D. Harvell & Mr. Ken Montgomery Mr. & Mrs. William L. Hickman Mr. & Mrs. Howard Iams Ms. Daryl Kaufman Ms. Kristine Kingery Dr. Birgit Kovacs Dr. Arlin J. Krueger Ms. Delia Lang Ms. Pat Larrabee and Ms. Lauren Markley Ms. Mary Lesar Harry and Carolyn Lincoln Ms. Laura Liswood Mr. Christopher Loveless Mr. and Mrs. Martin McLean Mr. Steve Metalitz Merle and Thelma Meyer Ms. Ellen Miles Mr. & Mrs. Walter Miller Mr. William Morgan Eugene and Dorothy Mulligan Thomas Plotz and Catherine Klion Andrew and Melissa Polott Mr. and Ms. Donald Regnell

Governing Member Diane Perin watches BSO timpanist James Wyman during rehearsal

Harold Rosen Ms. Ellen Rye Lois and David Sacks Mr. Allen Shaw and Ms. Tina Chisena Donna and Steven Shriver Ms. Terry Shuch and Mr. Neal Meiselman Ms. Sonja Soleng Gloria and David Solomon Mr. and Mrs. Duane Straub Mr. Peter Thomson Mr. & Mrs. Richard Tullos Mr. and Mrs. Mark and Debra Udey Linda and Irving Weinberg Mr. David M. Wilson Robert and Jean Wirth Ms. MaryAnn Zamula

BRAHMS LEVEL MEMBERS

($250-$499) Anonymous (3) Ms. Kathryn Abell Ms. Judith Agard Rhoda and Herman Alderman Dr. Don D. Anderson Mr. Bill Apter Pearl and Maurice Axelrad Mr. and Mrs. James Bailey Mr. Paul Balabanis Mr. Robert Barash Mr. & Mrs. John W. Beckwith Melvin Bell Mr. and Mrs. Robert Benna Alan Bergstein and Carol Joffe Mr. Donald Berlin Mr. Neal Bien Ms. Ruth Bird Ms. Judith A. Braham Dr. Chris H. and James D. Bridgeman Ms. Sharon Phyllis Brown Mr. and Mrs. Serefino Cambareri Mr. and Mrs. Nicholas Carrera Ms. June Colilla Dr. and Mrs. Eleanor Condliffe Mr. Kevin Connell and Ms. Mary Theresa Burton Mr. and Mrs. Herbert Cooper Ms. Ellen Cull Mr. and Mrs. Charles Davenport Dr. & Mrs. James R. David Mr. David S. Davidson Mr. Jeffrey Davis Anne and Arthur Delibert William Dietrich Ms. Sandra Kay Dusing Drs. Stephen and Irene Eckstrand Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Claudia and Eliot Feldman Mr. Michael Finkelstein Dr. & Mrs. David Firestone Robert and Carole Fontenrose Mr. & Mrs. Michael Scott Friedman Lucian & Lynn M. Furrow Roberta Geier Mr. Bernard A. Gelb Irwin Gerduk

Governing Members and BSO at Strathmore staff at Joseph Meyerhoff Symphony Hall for the On-Stage Rehearsal trip

Mr. and Mrs. Stephen Giddings Mr. Harry Glass and Ms. Judy Canahuati Dr. Marlene Haffner Brian and Mary Ann Harris Mr. Lloyd Haugh Mrs. Jean N. Hayes Mr. John C. Hendricks Mr. Robert Henry Mr. Pat Hernandez Joel and Linda Hertz Ms. Linda Lurie Hirsch Mr. Frank Hopkins Dr. and Mrs. Robert Horowitz Mr. Joel Horwich Mr. John Howes Mr. & Mrs. Paul Hyman Carol and Terry Ireland Ms. Susan Irwin Mrs. Lauri Joseph Mr. and Mrs. Norman Kamerow Mr. Peter Kaplan Dr. & Mrs. Robert W. Karp Lawrence & Jean Katz Mr. & Mrs. James Kempf Ms. Jennifer Kimball Mr. and Ms. George Kinal Dr. Richard D. Guerin and Dr. Linda Kohn Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Michael Lazar & Sharon Fischman Ms. Sandra Lebowitz Ms. Flora Lee Mr. Myles R. Levin Alan and Judith Lewis Dr. Richard E. and Susan Papp Lippman Lucinda Low and Daniel Magraw Ms. Donna Malarkey Mr. David Marcos Mr. and Mrs. Charles H. Matterson Mr. Mark Mattucci Ms. Susan McGee Anna Therese McGowan Mr. Gary Metz Mrs. Rita Meyers Dr. and Mrs. Arve Michelsen Ms. Barbara Miles Ms. Carol Moorefield Mr. Koji Mukai Mr. Jose Muniz Ms. Caren Novick Dr. Jon Oberg Ms. Marian O’Donnell Amanda & Robert Ogren Mr. Joseph O’Hare Mr. Jerome Ostrov Mr. and Mrs. Philip Padgett Mr. and Mrs. James Palmer Mr. Kevin Parker John and Maureen Pelosi Dr. Maria A Pena-Guerrero Ms. Johanna Pleijsier Marie Pogozelski and Richard Belle Mr. Douglas Poland Mr. and Mrs. Edward Portner Mr. and Mrs. Stanley Rabin Ms. Laura Ramirez-Ramos

BENEFITS OF MEMBERSHIP WITH THE BSO Make a donation today and become a Member of the BSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra. For a complete list of benefits, please call our Membership Office at 301.581.5215 or contact via e-mail at membership@BSOmusic.org. You may also visit our Web site at BSOmusic.org/benefits.

Symphony Society and Legato Circle members Michael Tardif and Harvey Cohen with BSO pianist Lura Johnson at a Musical Monday event.

Mr. Samuel G. Reel Jr. Dr. and Mrs. Bernard Reich Mr. Thomas Reichmann Dr. Joan Rittenhouse & Mr. Jack Rittenhouse Mr. William Robertson Mr. & Mrs. Robert Sandler Mr. Timothy Scally Ms. Beatrice Schiff Norman and Virginia Schultz Mr. J. Kenneth Schwartz Ms. Debra Shapiro Dr. Janet Shaw Mr. & Mrs. Larry Shulman Mr.and Mrs. Donald A. Sillers Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith Richard Sniffin

Bill Grossman Fund of the Isidore Grossman Foundation Mr. and Mrs. Charles Steinecke III Jesse and Deborah Stiller Dr. Andrew Tangborn Mr. Alan Thomas Mr. John Townsley Dr. and Ms. George Urban Ms. Maria Volpe Mr. Mallory Walker Mr. David Wallace Mr. and Mrs. Matthew Waugaman Ms. Roslyn Weinstein Eileen and Lee Woods Mrs. Sandra Wool Dr. & Mrs. Richard N. Wright Mr. Warren Zwicky

Baltimore symphony Orchestra STAFF Paul Meecham, President & CEO John Verdon, Vice President and CFO Leilani Uttenreither, Executive Assistant Eileen Andrews, Vice President of Marketing and Communications Carol Bogash, Vice President of Education and Community Engagement Jack Fishman, Vice President of External Affairs, BSO at Strathmore Dale Hedding, Vice President of Development Matthew Spivey, Vice President of Artistic Operations ARTISTIC OPERATIONS Nishi Badhwar, Director of Orchestra Personnel Toby Blumenthal, Manager of Facility Sales Tiffany Bryan, Manager of Front of House Patrick Chamberlain, Artistic Coordinator Anna Harris, Operations Manager Chris Monte, Assistant Personnel Manager Tabitha Pfleger, Director of Operations and Facilities Meg Sippey, Artistic Planning Manager and Assistant to the Music Director David George, Assistant Personnel Manager eDUCATION Nicholas Cohen, Director of Community Engagement Annemarie Guzy, Director of Education Patrick Locklin, Education Program Manager Nick Skinner, OrchKids Site Manager Larry Townsend, Education Assistant Dan Trahey, OrchKids Artistic Director DEVELOPMENT Megan Beck, Donor Stewardship Coordinator Adrienne Bitting, Development Assistant Allison Burr-Livingstone, Director of the BSO Campaign for the Second Century Kate Caldwell, Director of Philanthropic Services Stephanie Johnson, Manager of Annual Giving, BSO at Strathmore Stephanie Moore, Annual Fund Coordinator

Joanne M. Rosenthal, Director of Major Gifts, Planned Giving and Government Relations Valerie Saba, Institutional Giving Coordinator Richard Spero, Community Liaison for BSO at Strathmore FACILITIES OPERATIONS Shirley Caudle, Housekeeper Bertha Jones, Senior Housekeeper Curtis Jones, Building Services Manager FINANCE AND INFORMATION TECHNOLOGY Sarah Beckwith, Director of Accounting Sophia Jacobs, Senior Accountant Janice Johnson, Senior Accountant Evinz Leigh, Administration Associate Chris Vallette, Database and Web Administrator Donna Waring, Payroll Accountant Jeff Wright, Director of Information Technology MARKETING AND PUBLIC RELATIONS Derek Chavis, Marketing Coordinator Nora Dennehy, Web Content Coordinator Justin Gillies, Graphic Designer Derek A. Johnson, Senior Marketing Manager Theresa Kopasek, Marketing and PR Associate Bryan Joseph Lee, Marketing and PR Manager, BSO at Strathmore Alyssa Porambo, PR and Publications Coordinator Adeline Sutter, Group Sales Manager Elisa Watson, Art Director Rika Dixon White, Director of Marketing & Sales TICKET SERVICES Amy Bruce, Director of Ticket Services Timothy Lidard, Manager of VIP Ticketing Juliana Marin, Senior Ticket Agent for Strathmore Peter Murphy, Ticket Services Manager Michael Schultz, Senior Ticket Agent, Special Events Thomas Treasure, Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht, Symphony Store Volunteer Manager Louise Reiner, Office Manager

Applause at Strathmore • january/february 2014 75

Mrs. Margaret Makris GIFTS OF $25,000+ Ann & Todd Eskelsen for the Chorale Music Fund Tanya & Albert Lampert for the Guest Artist Fund

National Philharmonic Board of directors Board of Directors Rabbi Leonard Cahan *Todd Eskelsen *Carol Evans *Ruth Faison Dr. Bill Gadzuk Dr. Robert Gerard Ken Hurwitz *Dieneke Johnson *William Lascelle *Greg Lawson Joan Levenson Dr. Jeff Levi Dr. Wayne Meyer *Kent Mikkelsen Dr. Roscoe M. Moore, Jr. Dr. Kenneth Moritsugu Robin C. Perito JaLynn Prince

*Peter Ryan Sally Sternbach Dr. Charles Toner Elzbieta Vande Sande

Board Officers

*Albert Lampert, Chair *William Lascelle, Treasurer *Paul Dudek, Secretary *Todd R. Eskelsen, Chair Emeritus

Board of Advisors Joel Alper Albert Lampert Chuck Lyons Roger Titus Jerry D. Weast

*Executive Committee

As of Dec. 1, 2013

SUPPORTERS OF THE NATIONAL PHILHARMONIC

$10,000+ $7,500 to $9,999 $5,000 to $7,499 $3,500 to $4,999 $2,500 to $3,499 $1,000 to $2,499 $500 to $999 $250 to $499 $125 to $249

ORGANIZATIONS

Maestro Circle Ameriprise Financial Paul M. Angell Family Foundation Arts and Humanities Council of Montgomery County Morris and Gwendolyn Cafritz Foundation Philip L. Graham Fund Ingleside at King Farm Maryland State Arts Council Montgomery County, MD Montgomery County Public Schools Musician Performance Trust Fund National Endowment for the Arts Schiff Hardin, LLP The State of Maryland Concertmaster Circle Clark-Winchcole Foundation The Gazette PRINCIPAL CIRCLE Ann and Gordon Getty Foundation Johnson & Johnson Jim and Carol Trawick Foundation, Inc.

Maestro Circle The Jacob & Malka Goldfarb Charitable Foundation, Inc. Dr. Kenneth P. Moritsugu, Emily Moritsugu & Ms. Lisa R. Kory, includes match by Johnson & Johnson Daniel Nir & Jill Braufman Family Foundation Laszlo N. Tauber Family Foundation, Inc. Paul A. & Peggy L. Young Concertmaster Circle Mr. and Mrs. Paul Dudek Principal Circle Anonymous Dr. Paul Jay Fink Dr. Ryszard Gajewski Dr. & Mrs. Val G. Hemming Drs. Charles and Edna Foa Kahn Mr. Arthur Langerman Mr. Robert Misbin Dr. Gregory & JaLynn Prince Dr. Saul Sternberg

BENEFACTOR CIRCLE Rockville Christian Church, for donation of space

Philharmonic Circle Mrs. Ruth Berman Dr. & Mrs. John V. Evans J. William & Anita Gadzuk * Dr. Robert Gerard* & Ms. Carol Goldberg * Mr. & Mrs. Joseph Hamer Mr. Ken Hurwitz Mr. William A. Lascelle & Ms. Blanche Johnson Mr. & Mrs. Kent Mikkelsen * Pfeffer Family Foundation Mr. & Mrs. Peter Ryan Drs. Charles and Cecile Toner Ms. Elzbieta Vande Sande, in memory of George Vande Sande, Esq.

SUSTAINER CIRCLE American Federation of Musicians, DC Local 161-170 Bank of America Dimick Foundation Executive Ball for the Arts Lucas-Spindletop Foundation Target

Benefactor Circle Mr. Edward Brinker & Ms. Jane Liu Mr. Dale Collinson * Dr. Lawrence Deyton * & Dr. Jeffrey Levi Mr. & Mrs. John L. Donaldson Mr. Greg Lawson, includes match by Bank of America Michael & Janet Rowan

Patron American String Teachers’ Association DC/MD Chapter Gailes Violin Shop, Inc. GE Foundation IBM Lashof Violins Potter Violin Company Washington Music Center

SUSTAINER CIRCLE Anonymous (3) Mrs. Rachel Abraham Mr. & Mrs. Joel Alper Fred & Helen Altman * Ms. Sybil Amitay Mr. Stanley Asrael Ms. Nurit Bar-Josef Mr. Robert Beizer John & Marjorie Bleiweis Dr. Etsuko Hoshino-Browne Dr. Ronald Cappelletti * Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Steven C. Decker & Ms. Deborah W. Davis Drs. Eileen & Paul DeMarco * Mr. & Mrs. Robert Dollison Ms. Justine D. Englert Mr. William E. Fogle & Ms. Marilyn Wun-Fogle Dr. Maria A. Friedman * Mr. & Mrs. Darren & Elizabeth Gemoets * Ms. Sarah Gilchrist *

The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the Philharmonic’s ambitious plans possible through their generous contributions. Maestro Circle Concertmaster Circle Principal Circle Philharmonic Circle Benefactor Circle Sustainer Circle Patron Contributor Member

GIFTS OF $15,000+ Mrs. Hilda Goodwin Patricia Haywood Moore and Roscoe M. Moore, Jr. for the Guest Artist Fund Dieneke Johnson for the All Kids Free Fund Paul & Robin Perito for the Guest Artist Vocal Fund

Philharmonic Circle Exxon Mobil Foundation National Philharmonic/MCYO Educational Partnership The Washington Post Company

CONTRIBUTOR Foxes Music Company Violin House of Weaver

INDIVIDUALS

GIFTS OF $50,000+ Ms. Anne Claysmith* for the Chorale Chair-Soprano II Fund Robert & Margaret Hazen for the Second Chair Trumpet Fund

76 Applause at Strathmore • January/february 2014

Mr. Barry Goldberg Dr. Joseph Gootenberg & Dr. Susan Leibenhaut Mr. & Mrs. Joseph A. Hunt Drs. William & Shelby Jakoby Sarah Liron & Sheldon Kahn Ms. Margaret Keane Ms. Katherine Kopp Ms. Joanna Lam, in memory of Mr. Chin-Man Lam Mr. & Mrs. John R. Larue, includes match by IBM Mr. & Mrs. Harald Leuba Mrs. Joan M. Levenson Mr. Larry Maloney * Ms. Cecily Mango Mr. Winton Matthews Mrs. Eleanor D. McIntire * Susan & Jim Murray * Mr. & Mrs. Charles Naftalin Mr. Thomas Nessinger * Ms. Martha Newman * David Nickels & Gerri Hall Dr. & Mrs. Goetz Oertel Mr. & Mrs. William Pairo Dr. and Mrs. Edward Perl Mr. & Mrs. Jerome Pinson, includes match by GE Foundation Ms. Phyllis Rattey Ms. Aida Sanchez * Mrs. Jan Schiavone * Ms. Kathryn Senn, in honor of Dieneke Johnson Seltzer Family Foundation Shara Family, in honor of the Langerman Family Ms. Carol A. Stern * Sternbach Family Fund Dr. & Mrs. Robert Temple * Ms. Ellen van Valkenburgh * Mr. & Mrs. Robert Vocke * Mr. & Mrs. Royce Watson Dr. Jack & Susan Yanovski Mr. & Mrs. Bernard J. Young Ms. Sandra Zisman PATRON Mr. & Mrs. Richard Azrael, in honor of Mary Azrael and Janice Hamer Mr. Thomas M. Boyle Rabbi & Mrs. Leonard Cahan Susan Linn & Clifford Craine Mr. & Mrs. Norman Doctor Ms. Linda Edwards Mr. John Eklund Dr. Stan Engebretson Dr. Joseph Fainberg David & Berdie Firestone Dr. & Mrs. Arnold Fridland Mr. & Mrs. Herbert Goldman Mr. & Mrs. William Hickman Mr. David Hofstad William W. & Sara M. Josey* Mr. Michael Lame Ms. May Lesar Ms. Judy Lieberman Mr. Pardee Lowe, Jr. Ms. Jane Lyle * Mr. Jerald Maddox Mr. & Mrs. Raymond Mountain Mr. Larz Pearson & Mr. Rick Trevino Mrs. Bernice Sandler Ms. Kari Wallace & Dr. Michael Sapko Silvan S. Schweber & Snait B. Gissis Mr. & Mrs. Steven Seelig Ms. Lori J. Sommerfield * and Mr. Dennis Dollinger Mr. & Mrs. Gerald Stempler Ms. Carla Wheeler Mr. and Mrs. John F. Wing Mr. Walter Zachariasiewicz CONTRIBUTOR Anonymous (2) Mr. & Mrs. Byron Alsop Mr. Robert B. Anderson

In memory of our National Philharmonic Chorale member, donor and friend Dale Collinson with his daughter Ellie Collinson.

Mrs. Marietta Balaan * Mike & Cecilia Ballentine Mr. Michael Belfer Mr. & Mrs. Richard Bender Ms. Patricia Bulhack Mr. John H. Caldwell, in memory of Dale Collinson Mr. John Choi Mrs. Patsy Clark Ms. Irene Cooperman Ms. Kimberly Elliott Mr. & Mrs. Dwight Ellis, in memory of Dale Collinson Mr. Eliot Feldman Ms. Shannon Finnegan Mr. & Mrs. Mayo Friedlis Mr. & Mrs. William Gibb Mr. & Mrs. Paul Goldstein Dr. William & Dr. Marlene Haffner Dr. & Mrs. John Helmsen Mr. & Mrs. Robert Henry Ms. Katharine Cox Jones Mr. & Mrs. Allan Kirkpatrick * Dr. Mark & Dr. Cathy Knepper Mr. & Mrs. William Kominers Cherie & Ron Krug Mr. Steven Lainoff, in memory of Dale Collinson Ms. Rachel Leiton Mr. & Mrs. Elliot Lieberman * Dr. Marcia D. Litwack Dr. & Mrs. David Lockwood Mr. Kevin MacKenzie Mr. David E. Malloy & Mr. John P. Crockett * Mr. David McGoff * Dr. & Mrs. Oliver Moles, Jr. * Ms. Cecilia Muñoz & Mr. Amit Pandya Dr. Stamatios Mylonakis Mr. & Mrs. Harvey Nathan Dr. Ruth S. Newhouse Mrs. Jeanne Noel Mr. and Mrs. Kenneth A. Oldham, Jr. Evelyn & Peter Philipps Dr. & Mrs. Manuel Porres Mrs. Dorothy Prats Mr. Mark Price, in memory of Dale Collinson Mr. Jacques Rosenberg Ms. Lisa Rovin * Mr. J. Michael Rowe & Ms. Nancy Chesser Mr. Ronald Sekura Dr. & Mrs. Kevin Shannon Mr. John I. Stewart & Ms. Sharon S. Stoliaroff Ms. Sarah Thomas Mr. & Mrs. Gerald Vogel Tom & Bobbie Wolf Dr. & Mrs. Richard Wright Mrs. Beatrice Zuckerman

MEMBER Anonymous Mr. Dan Abbott Ms. Ann Albertson Mr. Robert Barash Mr. & Mrs. Herman Branson Mr. & Mrs. Jerome Breslow Mr. & Mrs. Frederick Brown Mrs. Dolores J. Bryan John & Rosemary Buckley Dr. John Caldwell Dr. F. Lawrence Clare Dr. & Mrs. Gordon M. Cragg Mr. Alan T. Crane Ms. Louise Crane Mr. Dean Culler Deborah Curtiss Mr. & Mrs. David Dancer * Mr. Jose Deapud Mr. Carl DeVore Ms. Terri Dobbins Mr. Paul Dragoumis Mr. & Mrs. Tom Dunlap Mr. & Mrs. J. Steed Edwards F.W. England Mr. & Mrs. Elliott Fein Dr. John Ferguson Mr. Philip Fleming Mr. John Francis Mr. Harold Freeman Mr. Bernard Gelb Mr. & Mrs. Richard O. Gilbert Ms. Jacqueline Havener Ms. Lisa Helms Mr. & Mrs. James Hochron * Dr. & Mrs. Terrell Hoffeld Mr. Myron Hoffmann Mr. & Mrs. Doug Jacobson Mr. & Mrs. Barbara Jarzynski Mrs. Harriett G. Jenkins Dr. Elke Jordan Mr. Gerald Kaiz Ms. Elizabeth King Ms. Martha Jacoby Krieger * Mr. Dale Krumviede Mr. & Mrs. Sheldon Landsman Ms. Sandra Lebowitz Ms. Michelle Lee Mr. & Mrs. Paul Legendre Mr. & Mrs. Herbert J. Lerner Ms. Elizabeth Levin Mr. & Mrs. Forbes Maner Dr. Lorenzo Marcolin Ms. Jean A. Martin Mr. and Mrs. James Mason Mrs. Nancy C. May Mr. Alan E. Mayers * Mr. & Mrs. Robert McGuire Mr. & Mrs. Edward Mills Mr. & Mrs. Thaddeus Mirecki

National Philharmonic musician Mark Pfannschmidt with Patrick Stingley and National Philharmonic Board member Dieneke Johnson.

Ms. Stephanie Murphy Mrs. Gillian Nave Mr. Leif Neve *, includes match by Aquilent Mr. Stephen Nordlinger Dr. Sammy S. Noumbissi Mr. & Mrs. Kenneth Oldham Dr. & Mrs. David Pawel Ms. Victoria J. Perkins Mr. & Mrs. Alan Peterkofsky Anton Pierce Mr. & Mrs. Paul Plotz Drs. Dena & Jerome Puskin Mr. & Mrs. Clark Rheinstein * Ms. Sandi Saville Mr. John Schnorrenberg

Mr. John Schultz Gabriela & Dennis Scott Dr. & Mrs. Paul Silverman Ms. Myra W. Sklarew Mr. Victor Steiger Ms. Priscilla Stevens Mr. & Mrs. Carl Tretter Ms. Maureen Turman Ms. Virginia W. Van Brunt * Mr. David B. Ward Mr. Stephen Welsh Ms. Joan Wikstrom Mr. Robert E. Williams Dr. & Mrs. Kevin Woods * * Chorale members

Chorale Sustainers Circle Fred and Helen Altman Ms. Sybil Amitay Dr. Ronald Cappelletti Ms. Anne Claysmith Mr. Dale Collinson Drs. Eileen and Paul DeMarco Dr. Lawrence Deyton & Dr. Jeffrey Levi Dr. Maria A. Friedman J. William & Anita Gadzuk Elizabeth Bishop & Darren Gemoets Dr. Robert Gerard & Ms. Carol Goldberg Ms. Sarah Gilchrist

Mr. Larry Maloney Mr. & Mrs. Carl McIntire Mr. & Mrs. Kent Mikkelsen Mr. & Mrs. James E. Murray Mr. Thomas Nessinger Ms. Martha Newman Ms. Aida Sanchez Mrs. Jan Schiavone Ms. Carol A. Stern Dr. & Mrs. Robert Temple Ms. Ellen van Valkenburgh Mr. & Mrs. Robert Vocke

Heritage Society The Heritage Society at the National Philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National Philharmonic through the provision of a bequest in their wills or through other estate gifts. For more information about the National Philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112. Mr. David Abraham* Mrs. Rachel Abraham Mr. Joel Alper Ms. Ruth Berman Ms. Anne Claysmith Mr. Todd Eskelsen Mrs. Wendy Hoffman, in honor of Leslie Silverfine Ms. Dieneke Johnson

National Philharmonic Staff Piotr Gajewski, Music Director & Conductor Stan Engebretson, Artistic Director, National Philharmonic Chorale Victoria Gau, Associate Conductor & Director of Education Kenneth A. Oldham, Jr., President Filbert Hong, Director of Artistic Operations Deborah Birnbaum, Director of Marketing & PR

Mr. & Mrs. Albert Lampert Mrs. Margaret Makris Mr. Robert Misbin Mr. Kenneth A. Oldham, Jr. Mr. W. Larz Pearson Ms. Carol A. Stern Ms. Elzbieta Vande Sande Mr. Mark Williams *Deceased Leanne Ferfolia, Director of Development Katie Tukey, Manager of Development Operations Amy Salsbury, Graphic Designer Lauren Aycock, Graphic Designer William E. Doar Jr. Public Charter School for the Performing Arts Staff Dr. Scarlett Zirkle, Suzuki Violin Instructor

Isaac Bell, Music Instructor Chris Sanchez, Suzuki Instructor

Applause at Strathmore • january/february 2014 77

Board of directors Reginald Van Lee, Chairman* (c) James J. Sandman, Vice Chair* (c) Christina Co Mather, Secretary* (c) Steven Kaplan, Esq. Treasurer* (c) Burton J. Fishman, Esq., General Counsel* + Jenny Bilfield, President and CEO Douglas H. Wheeler, President Emeritus Neale Perl, President Emeritus Patrick Hayes, Founder † Katherine M. Anderson Alison Arnold-Simmons Paxton Baker Arturo E. Brillembourg* Hans Bruland (c) Rima Calderon Charlotte Cameron Karen I. Campbell* Yolanda Caraway Lee Christopher Eric D. Collins Josephine S. Cooper Debbie Dingell Pamela Farr Robert Feinberg* Norma Lee Funger Bruce Gates* Felecia Love Greer, Esq. Jay M. Hammer* (c) Brian Hardie Grace Hobelman (c) Patricia Howell Jake Jones* David Kamenetzky* Jerome B. Libin, Esq. (c) David Marventano

Tony Otten Rachel Tinsley Pearson* Joseph M. Rigby Elaine Rose Irene Roth Charlotte Schlosberg Samuel A. Schreiber John Sedmak Roberta Sims Ruth Sorenson* (c) Dr. Paul G. Stern Wendy Thompson-Marquez Veronica Valencia-Sarukhan Mary Jo Veverka* Carol W. Wilner Carol Wolfe-Ralph

Honorary Directors Nancy G. Barnum Roselyn Payne Epps, M.D. Michelle Cross Fenty Sophie P. Fleming Eric R. Fox Peter Ladd Gilsey † Barbara W. Gordon France K. Graage James M. Harkless, Esq. ViCurtis G. Hinton † Sherman E. Katz Marvin C. Korengold, M.D. Peter L. Kreeger Robert G. Liberatore Dennis G. Lyons Gilbert D. Mead † Gerson Nordlinger † John F. Olson, Esq. (c) Susan Porter Frank H. Rich Albert H. Small Shirley Small The Honorable James W. Symington Stefan F. Tucker, Esq. (c) Paul Martin Wolff

PAST CHAIRS

Todd Duncan †, Past Chairman Laureate William N. Cafritz Aldus H. Chapin † Kenneth M. Crosby † Jean Head Sisco † Kent T. Cushenberry † Harry M. Linowes Edward A. Fox Hugh H. Smith Alexine Clement Jackson Lydia Micheaux Marshall Stephen W. Porter, Esq. Elliott S. Hall Lena Ingegerd Scott (c) James F. Lafond Bruce E. Rosenblum Daniel L. Korengold Susan B. Hepner Jay M. Hammer

WOMEN’S COMMITTEE OFFICERS

Elaine Rose, President Albertina Lane, Recording Secretary Lorraine Adams, 1st Vice President Beverly Bascomb, Assistant Recording Secretary Ruth Hodges, 2nd Vice President Cheryl McQueen, Treasurer Zelda Segal, Corresponding Secretary Janet Kaufman, Assistant Treasurer Gladys Watkins, Immediate Past President

LAWYERS’ COMMITTEE CO-CHAIRS Jerome B. Libin, Esq. James J. Sandman, Esq.

* Executive Committee + Ex Officio † Deceased (c) Committee Chair As of December 1, 2013

WPAS Annual Fund WPAS gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of July 24, 2013)

$100,000+ Altria Group, Inc. Ms. Christina Co Mather and Dr. Gary Mather D.C. Commission on the Arts and Humanities Betsy and Robert Feinberg Mars, Incorporated Ms. Jacqueline Badger Mars Ms. Doris McClary † The Morris & Gwendolyn Cafritz Foundation Mr. Reginald Van Lee

$50,000-$99,999 Abramson Family Foundation Daimler Dallas Morse Coors Foundation for the Performing Arts

FedEx Corporation National Arts and Cultural Affairs Program/The Commission of Fine Arts Park Foundation, Inc. Dr. Paul G. Stern

$35,000-$49,999 Anonymous Mr. Bruce Rosenblum and Ms. Lori Laitman Ms. Wendy Thompson-Marquez

$25,000-$34,999 Ambassador and Mrs. Tom Anderson Bank of America BB&T Private Financial Services BET Networks Billy Rose Foundation

78 Applause at Strathmore • January/february 2014

Mrs. Ryna Cohen Ernst and Young Mark and Terry McLeod Mr. and Mrs. Herbert S. Miller National Endowment for the Arts PEPCO NoraLee and Jon Sedmak Ruth and Arne Sorenson

$15,000-$24,999 Anonymous Arcana Foundation AT &T Services Diane and Norman Bernstein Mr. and Mrs. Arturo E. Brillembourg Embassy of South Africa, His Excellency Ebrahim Rasool Ms. Pamela Farr

Mr. and Mrs. Jose Figueroa Mr. and Mrs. Morton Funger Mr. and Mrs. Bruce Gates Mr. and Mrs. Jay M. Hammer Carl D. † and Grace P. Hobelman Mr. and Mrs. Terry Jones Mr. and Mrs. Steve Kaplan Kiplinger Foundation Inc. KPMG LLP Judith A. Lee, Esq. (L) Ms. Marcia MacArthur Mr. and Mrs. John Marshall Dan Cameron Family Foundation, Inc. The Meredith Foundation PricewaterhouseCoopers LLP Mr. James J. Sandman and Ms. Elizabeth D. Mullin (L) Mr. and Mrs. Hubert M. Schlosberg (L) (W) Mr. and Mrs. Daniel Simpkins Verizon Washington, DC Versar Ms. Mary Jo Veverka Washington Gas Light Company Wells Fargo Bank

$10,000-$14,999 Mr. and Mrs. Eliezer H. Benbassat Booz Allen Hamilton Diamondrock Hospitality Company Mr. and Mrs. Kenneth R. Feinberg George Wasserman Family Foundation, Inc. Ms. Carolyn Guthrie Dr. Maria J. Hankerson, Systems Assessment & Research J. Willard and Alice S. Marriott Foundation Mr. Jake Jones and Ms. Veronica Nyhan-Jones Robert P. and Arlene R. Kogod Family Foundation June and Jerry Libin (L) Macy’s Foundation The Max and Victoria Dreyfus Foundation, Inc. The Honorable Bonnie McElveenHunter Microsoft Corp. Mr. and Mrs. Herbert Milstein John F. Olson, Esq. (L) Ms. Janice J. Kim and Mr. Anthony L. Otten Ms. Aileen Richards and Mr. Russell Jones Mr. and Mrs. Stefan F. Tucker (L) Mrs. Judith Weintraub Wiley Rein LLP Mr. and Mrs. Bernard Young

$7,500-$9,999 Anonymous Apollo Group Mr. Wes Combs and Mr. Greg Albright Hilton Worldwide David and Anna-Lena Kamenetzky Ms. Danielle Kazmier and Mr. Ronald M. Bradley Mr. and Mrs. Paul Liistro The Hon. Mary V. Mochary and Dr. Philip E. Wine Ourisman Automotive of VA Prince Charitable Trusts Mr. Eric Collins and Mr. Michael Prokopow Dr. Irene Roth Sutherland Asbill & Brennan

$5,000-$7,499 Dr. and Mrs. Clement C. Alpert

Katherine M. Anderson Ludmila and Conrad Cafritz Capitol Tax Partners Mrs. Dolly Chapin Mr. Henry Armour and Ms. Natalie Clark Ms. Josephine S. Cooper Mr. Joaquin Fajardo Bob and Jennifer Feinstein James A. Feldman and Natalie Wexler Mr. and Mrs. Stephen Graham Mr. and Mrs. Brian J. Hardie Host Hotels & Resorts Ms. Debra Lee Ms. Sandy Lerner Mr. Mark London and Ms. Dania Fitzgerald Mr. and Mrs. David O. Maxwell Dr. Robert Misbin Mr. and Mrs. Glenn A. Mitchell Ms. Rachel Tinsley Pearson The Honorable and Mrs. Stephen Porter Renah Blair Rietzke Family and Community Foundation Mr. and Ms. Steve Silverman Mr. and Mrs. John V. Thomas Venable Foundation The Washington Post Company

$2,500-$4,999 Anonymous (2) Mr. Alvin Adell Mr. and Mrs. Barry Barbash Mr. and Mrs. Boris Brevnov Mr. Peter Buscemi and Ms. Judith Miller Mr. and Mrs. William N. Cafritz The Charles Delmar Foundation Dr. and Mrs. Abe Cherrick Ms. Nadine Cohodas Mr. and Mrs. J. Bradley Davis Dr. Morgan Delaney and Mr. Osborne P. Mackie Mr. and Mrs. Guy O. Dove III DyalCompass Mr. and Mrs. Melvin Eagle (L) Mr. and Mrs. Glenn Epstein Linda R. Fannin, Esq. (L) Mr. and Mrs. Burton J. Fishman Mr. and Mrs. Wayne Gibbens Dr. and Mrs. Michael S. Gold James R. Golden Mr. and Mrs. Rolf Graage Mr. and Mrs. Raymond Hardwick James McConnell Harkless, Esq. Ms. Dena Henry and Mr. John Ahrem Alexine and Aaron † Jackson (W) Mr. and Mrs. Joseph Jacobs Drs. Frederick Jacobsen and Lillian Comas-Diaz Mr. and Mrs. Merritt Jones Mr. and Mrs. David T. Kenney Arleen and Edward Kessler (W) Mr. Daniel L. Korengold and Ms. Martha Dippell Mrs. Stephen K. Kwass Mr. and Mrs. Steve Lans Mr. and Mrs. Harry M. Linowes James M. Loots, Esq. and Barbara Dougherty, Esq. (L) Mr. and Mrs. Christoph E. Mahle (W) The Honorable and Mrs. Rafat Mahmood Mr. and Mrs. Ralph Manaker Marshall B. Coyne Foundation Mr. Scott Martin Mr. Larry L. Mitchell Mr. and Mrs. Robert Monk

Dr. William Mullins and Dr. Patricia Petrick Ms. Catherine Nelson Mr. Paul Nelson and Mrs. Labrenda Garrett-Nelson New England Foundation for the Arts Jerry and Carol Perone Ms. Nicky Perry and Mr. Andrew Stifler Mr. Trevor Potter and Mr. Dana Westring Adam Clayton Powell III Mr. and Mrs. Robert Ramsay Dr. and Mrs. Douglas Rathbun Mrs. Lynn Rhomberg Mr. and Mrs. Peter Rich Mr. Ken Rietz and Ms. Ursula Landsrath Mr. and Mrs. David Roux Ms. Christine C. Ryan and Mr. Tom Graham Mr. Claude Schoch Lena Ingegerd Scott and Lennart Lundh Peter and Jennifer Seka Mr. and Mrs. Albert H. Small Mr. Eric Steiner Ms. Mary Sturtevant and Mr. Alan Asay Mr. and Mrs. George R. Thompson Jr. Mr. and Mrs. R. Moses Thompson Mr. and Mrs. Brian Tommer Mr. Richard M. Tuckerman Drs. Anthony and Gladys Watkins (W) Dr. Sidney Werkman and Ms. Nancy Folger Dr. and Mrs. William B. Wolf Mr. Bruce Wolff and Ms. Linda Miller

$1,500-$2,499 Anonymous (4) Ms. Lisa Abeel Mr. and Mrs. James W. Abelsmith Mrs. Arthur Arundel Lisa and James Baugh Robert and Arlene Bein Mr. and Mrs. Robert S. Bennett Jane C. Bergner, Esq. (L) Ms. Bunny Bialek (W) Ms. Carol A. Bogash Mr. and Mrs. Leonard Burka Dr. C. Wayne Callaway and Ms. Jackie Chalkley Mr. and Mrs. Jordan Casteel Dr. and Mrs. Purnell W. Choppin Drs. Judith and Thomas Chused Dr. Mark Cinnamon and Ms. Doreen Kelly Mr. and Mrs. Douglas Cook Mr. Paul D. Cronin Dr. and Mrs. Joseph H. Danks DCI Group Ms. Lynda Ellis Mrs. John G. Esswein Mrs. Sophie P. Fleming Friday Morning Music Club, Inc. Mr. Tom Gallagher Mrs. Paula Seigle Goldman (W) Mrs. Barbara Goldmuntz Mr. J. Michael Hall and Dr. Natalie Hall Dr. and Mrs. Joseph E. Harris (W) Mr. and Mrs. James Harris, Jr. Ms. Leslie Hazel Ms. Gertraud Hechl Dr. Charlene Drew Jarvis Mrs. Enid T. Johnson (W) Mr. and Mrs. Elliott Kagan

Mr. E. Scott Kasprowicz Stephen and Mary Kitchen (L) Ms. Betsy Scott Kleeblatt Mr. and Mrs. Steven Lamb Mr. and Mrs. Gene Lange (L) Mr. and Mrs. Richard F. Larkin Dr. and Mrs. Lee V. Leak (W) Ms. Jacqueline Rosenberg London and Mr. Paul London Rear Adm. and Mrs. Daniel P. March Mr. and Mrs. Michael Marshall Mrs. Gail Matheson Ms. Katherine G. McLeod Ms. Cheryl C. McQueen (W) Mr. and Mrs. Samuel Muscarella Lt. Gen. and Mrs. Michael A. Nelson Ms. Michelle Newberry The Nora Roberts Foundation Mr. and Mrs. Jack H. Olender Ms. Jean Perin Mr. James Rich Ms. Mary B. Schwab Virginia Sloss (W) Mrs. Nadia Stanfield Mr. Richard Strother Ms. Loki van Roijen Ms. Viviane Warren A. Duncan Whitaker, Esq. (L)

$1,000-$1,499 Anonymous Ruth and Henry Aaron Mrs. Rachel Abraham Mr. John B. Adams Mr. and Mrs. James B. Adler Ms. Carolyn S. Alper Mr. and Mrs. Michael Barnello Hon. and Mrs. John W. Barnum Mr. Mark Bisnow and Ms. Margot Machol Mr. A. Scott Bolden Ms. Liz Buchbinder Amelie and Bernei Burgunder Edison W. Dick, Esq. (L) Mr. and Mrs. Sidney Dickstein Mr. Anthony E. DiResta (L) Ms. Nancy Ruyle Dodge Daniel J. DuBray and Kayleen M. Jones Marietta Ethier, Esq. (L) Dr. Irene Farkas-Conn Ms. Janet Farrell Mr. Gregory I. Flowers Mr. Donald and Mrs. Irene Gavin Gelman, Rosenberg & Freedman The Hon. Ruth Bader Ginsburg Mr. and Mrs. William L. Goldman (W) Mrs. Barbara W. Gordon (W) Ms. Gail Harmon Mr. Charles E. Hoyt and Ms. Deborah Weinberger (L) Mr. David Kahn and Ms. Sherry A. Bindeman Mrs. Carol Kaplan Mr. and Mrs. Sherman E. Katz (L) Dr. Marvin C. Korengold Simeon M. Kriesberg and Martha L. Kahn Sandra and James Lafond Mr. and Mrs. Eugene I. Lambert (L) Dr. Jeanne-Marie A. Miller Mr. and Mrs. Adrian L. Morchower (W) Mr. Richard Moxley Mr. and Mrs. Daniel Mulcahy Nancy Peery Marriott Foundation, Inc. Mr. and Mrs. Patrick Nettles Mr. and Mrs. Lawrence C. Nussdorf

Mr. and Mrs. John Oberdorfer Mrs. Elsie O’Grady (W) Tom and Thea Papoian with Mr. Smoochy Mrs. Linda Parisi and Mr. J.J. Finkelstein Dr. Gerald Perman Mr. and Mrs. Arnold Polinger Mr. and Mrs. Hunter Rawlings Reznick Group Mr. and Mrs. Martin Ritter Mr. and Mrs. Michael Rowan Ms. Yvonne Mentzer Sabine Steven and Gretchen Seiler Ms. Karen Sowell Steinway Piano Gallery Ann and Stuart Stock Sid Stolz and David Hatfield Mr. and Mrs. Thomas Strong Chris Syllaba Mr. and Mrs. Aaron Tomares Mr. and Mrs. Jim Trawick Mr. and Mrs. J. Christopher Turner G. Duane Vieth, Esq. (L) Mr. John Warren McGarry (L) Mr. and Mrs. Stanley Weiss Mr. and Mrs. Stephen Weiswasser Drs. Irene and John White Mr. Peter L. Winik Mr. and Mrs. Robert H. Winter Mr. John C. Wohlstetter Christopher Wolf, Esq. (L)

$500-$999 Anonymous (4) Ms. and Mrs. Edward Adams (W) Mr. Donald R. Allen Mr. and Mrs. Gary Altman, Esq. Mr. and Mrs. Ricardo Andrade Ms. Amy Ballard Miss Lucile E. Beaver Ms. Patricia N. Bonds (W) Ms. Francesca Britton (W) Mrs. Elsie Bryant (W) Mrs. Gloria Butland (W) Ms. Deborah Clements and Mr. Jon Moore Ms. Johnetta B. Cole Mr. Andrew Colquitt Mr. John W. Cook Dr. and Mrs. Chester W. De Long Mr. and Mrs. James B. Deerin (W) Mr. John Driscoll Ms. Sayre E. Dykes Mrs. Yoko Eguchi Mr. and Mrs. Harold Finger Fitness For Older Adults, LLC Mr. Michael Frankhuizen Mr. Juan Gaddis Dr. and Mrs. Robert Gagosian (W) Dr. Melvin Gaskins Jack E. Hairston Jr. Ms. June Hajjar Dr. and Mrs. Harry Handelsman (W) Mrs. Robert A. Harper Ms. Tatjana Hendry Mr. and Mrs. Carl F. Hicks, Jr. Mr. and Mrs. Laszlo Hogye J.S. Wagner Company Ralph N. Johanson, Jr., Esq. (L) Ms. Anna F. Jones (W) Mr. and Mrs. Charles Jones Mr. and Mrs. Sunny Kapoor Ms. Janet Kaufman (W) Dr. Allan Kolker Mr. and Mrs. John Koskinen Ms. Albertina D. Lane (W) Mr. William Lascelle and Blanche Johnson The Honorable and Mrs. Jan Lodal

Mr. and Mrs. David Maginnes (W) Mr. and Mrs. Glenn Marshall Mr. Winton E. Matthews, Jr. John C. McCoy, Esq. (L) Mr. and Mrs. Paul McDonnell Ms. Hope McGowan Mr. and Mrs. James McIntyre Mr. and Mrs. Rufus W. McKinney (W) Ms. Jacqui Michel Ms. Rachel Mondl Mrs. Ann Morales Mr. and Mrs. David Neal Mr. Frank Pietrano and Mrs. Diane Mooney Mr. and Mrs. Herbert Posner Dr. and Mrs. Linwood Rayford Mr. Spencer K. Raymond Mr. and Mrs. Robert Rosenfeld Mr. Lincoln Ross and Changamire (W) Mr. Burton Rothleder Anne & Henry Reich Family Foundation Lee G. Rubenstein, Co-President Dr. and Mrs. Jerome Sandler Mr. and Mrs. Michael Schultz in memory of Mr. H. Marc Moyens Mrs. Zelda Segal (W) Dr. Deborah Sewell (W) Mrs. Madelyn Shapiro (W) Dr. Deborah J. Sherrill Daniel and Sybil Silver Dr. and Mrs. Michael H. Silver Mr. Jeffrey Z. Slavin Mr. and Mrs. Stephen Smith Mrs. Therrell C. Smith (W) Mr. and Mrs. L. Bradley Stanford Mr. and Mrs. David Sulser

Mr. Akio Tagawa Maria Voultsides and Thomas Chisnell, II Dr. June Whaun and Dr. Pauline Ting Mr. William H. Wheeler Mr. and Mrs. John Wilner Mr. and Mrs. James D. Wilson (W) Ms. Christina Witsberger Dr. Saul Yanovich Mr. James Yap Paul Yarowsky and Kathryn Grumbach

IN-KIND DONORS Booz Allen Hamilton Mr. and Mrs. Charles Both Embassy of Japan Embassy of Spain JamalFelder Music Productions LLC The Hay-Adams Hotel Mr. Daniel L. Korengold and Ms. Martha Dippell Dr. and Mrs. Marc E. Leland The Honorable and Mrs. Jan Lodal Mars, Incorporated Mr. Neale Perl St. Gregory Luxury Hotels & Suites Mr. Anthony Williams Kathe and Edwin D. Williamson Elizabeth and Bill Wolf Key: (W) Women’s Committee (L) Lawyers’ Committee † Deceased

Washington Performing Arts Society Staff Jenny Bilfield President & CEO Douglas H. Wheeler President Emeritus Allen Lassinger Chief Administrative Officer Murray Horwitz Director of Special Projects Leah Manning Administrative Assistant Development Mitchell Bassion Director of Development Meiyu Tsung Assistant Director of Development/Director of Major Gifts Daren Thomas Director of Leadership and Institutional Gifts Michael Syphax Director of Foundation and Government Relations Helen Aberger Membership Coordinator and Tessitura Application Specialist Catherine Trobich Development Associate Education Michelle Hoffmann Director of Education Katheryn R. Brewington Assistant Director of Education/ Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate Finance and Administration Erica Hogan Accounting Manager

Rebecca Tailsman Accounting Associate Robert Ferguson Database Administrator Marketing and Communications Jonathan Kerr Director of Marketing and Communications Hannah Grove-DeJarnett Associate Director of Marketing and Communications Scott Thureen Creative Media and Analytics Manager Wynsor Taylor Audience Engagement Manager Celia Anderson Graphic Designer Brenda Kean Tabor Publicist Michelle Eider Marketing Intern Programming Samantha Pollack Director of Programming Torrey Butler Production Manager Rachael Patton Programming and Production Coordinator Stanley J. Thurston Artistic Director, WPAS Gospel Choirs Ticket Services Ofﬁce Folashade Oyegbola Ticket Services Manager Stephanie Aboukasm Ticketing and Marketing Coordinator Edward Kerrick Group Sales Coordinator

Applause at Strathmore • january/february 2014 79

Trumpeter/composer Wynton Marsalis, WPAS Board Chairman Reginald Van Lee and donors Keiko and Steve Kaplan

WPAS Legacy Society Legacy Society members appreciate the vital role the performing arts play in the community, as well as in their own lives. By remembering WPAS in their will or estate plans, members enhance our endowment fund and help make it possible for the next generations to enjoy the same quality and diversity of presentations both on stages and in our schools. Mrs. Shirley and Mr. Albert H. Small, Honorary Chairs Mr. Stefan F. Tucker, Chair Anonymous (6) Mr. David G.† and Mrs. Rachel Abraham Dr. and Mrs. Clement C. Alpert Mr. and Mrs. George A. Avery Mr. James H. Berkson † Ms. Lorna Bridenstine † Ms. Christina Co Mather Mr. and Mrs. Douglas Cook Mr. and Mrs. F. Robert Cook Ms. Josephine Cooper Mr. and Mrs. James Deerin Mrs. Luna E. Diamond † Mr. Edison W. Dick and Mrs. Sally N. Dick Mr. and Mrs. Sidney Dickstein Ms. Carol M. Dreher

Mr. and Mrs. Melvin Eagle Ms. Eve Epstein † Mr. and Mrs. Burton Fishman Mrs. Charlotte G. Frank † Mr. Ezra Glaser † Dr. and Mrs. Michael L. Gold Ms. Paula Goldman Mrs. Barbara Gordon Mr. James Harkless Ms. Susan B. Hepner Mr. Carl Hobelman † and Mrs. Grace Hobelman Mr. Craig M. Hosmer and Ms. Daryl Reinke Charles E. Hoyt Josephine Huang, Ph.D. Dr. † and Mrs. Aaron Jackson Mrs. Enid Tucker Johnson Mr. and Mrs. Charles Jones Mr. Sherman E. Katz

Mr. and Mrs. Bruce Kimble Mr. Daniel L. Korengold Dr. Marvin C. Korengold Mr. and Mrs. James Lafond Ms. Evelyn Lear † and Mr. Thomas Stewart† Mrs. Marion Lewis † Mr. Herbert Lindow † Mr. and Mrs. Harry Linowes Mr. and Mrs. David Maginnes Ms. Doris McClory † Mrs. Carol Melamed Robert I. Misbin Mr. Glenn A. Mitchell Ms. Viola Musher Mr. Jeffrey T. Neal The Alessandro Niccoli Scholarship Award The Pola Nirenska Memorial Award Mr. Gerson Nordlinger † Mrs. Linda Parisi and Mr. J.J. Finkelstein Mr. and Mrs. Neale Perl Dr. W. Stephen and Mrs. Diane Piper Mrs. Mildred Poretsky † The Hon. and Mrs. Stephen Porter Mrs. Betryce Prosterman † Miriam Rose †

Mr. James J. Sandman and Ms. Elizabeth D. Mullin Mrs. Ann Schein Mr. and Mrs. Hubert (Hank) Schlosberg Ms. Lena Ingegerd Scott Mrs. Zelda Segal Mr. Sidney Seidenman Ms. Jean Head Sisco † Mr. and Mrs. Sanford L. Slavin Mr. and Mrs. Albert H. Small Mr. Robert Smith and Mrs. Natalie Moffett Smith Mrs. Isaac Stern Mr. Leonard Topper Mr. Hector Torres Mr. and Mrs. Stefan Tucker Mr. Ulric † and Mrs. Frederica Weil Mr. and Mrs. Douglas Wheeler Mr. and Mrs. Robert H. Winter WPAS Women’s Committee Ms. Margaret S. Wu In memory of Y. H. and T. F. Wu For more information, please contact Douglas H. Wheeler at (202) 533-1874, or e-mail dwheeler@wpas.org.

2014 SPRING GALA AT STRATHMORE

Julio Iglesias SATURDAY, APRIL 26, 9PM MUSIC CENTER

He’s not just a performer, he’s a phenomenon! Julio Iglesias is an entertainer who inhabits a select pantheon with a handful of the world’s greatest artists. The iconic smile and velvet voice that’s sold 300 million records worldwide in a career spanning 45 years—the Madrid-born crooner is a favorite in every corner of the globe. Reservations for Gala Sponsors at $25,000 and $10,000 Table Sponsorships are now available, which include prime orchestra seats to Mr. Iglesias’ concert, the After Party featuring Big Ray and the Kool Kats—and a tax-deductible contribution to Strathmore. Concert Tickets $58—$125 (includes admission to the After Party)

www.strathmore.org | (301) 581-5100

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