November/December Issue of Applause by Strathmore

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The Vital

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The National Philharmonic Messiah is a XFMDPNF IPMJEBZ HJGU

Washington Performing Arts Society New Century Chamber Orchestra makes D.C.-area debut

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prelude

ON THE COVER Illustration by www.JuliaSverchuk.com

APPLAUSE AT STRATHMORE NOVEMBER/DECEMBER 2012

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Nov. 1 24 / WPAS: Joshua Bell

10 The Flight of the Violin

Nov. 3 27 / Strathmore: Keb’ Mo’ Nov. 8 28 / BSO SuperPops: “Songbirds” with Linda Eder Nov. 9 29 / BSO: Off the Cuff—Beethoven’s Fifth Nov. 10 32 / The National Philharmonic: Prokofiev—Beyond Peter and the Wolf Nov. 11 36 / Strathmore: Introducing Nathan Pacheco Nov. 13 37 / Strathmore: Rita Nov. 16 38 / Strathmore: Olivia Newton-John Nov. 17 39 / BSO: Lyrical Dvo!ák and Brahms Nov. 23 42 / Strathmore: Classic Albums Live— Pink Floyd’s Dark Side of the Moon

Nov. 24 44 / Strathmore: Dein Perry’s Tap Dogs Nov. 29 48 / BSO: Elgar Cello Concerto Dec. 3 51 / Strathmore: Dave Koz & Friends Christmas Tour 2012

The violin’s lasting influence in American music

12 A True Wagnerian Opera BSO celebrates 200th anniversary of Richard Wagner’s birth

14 Sing Out, Sisters! Sing the Truth pays homage to African American women in music

15 Need a Little Christmas? Handel’s Messiah means the holidays are near

Dec. 6 54 / Strathmore: Natalie MacMaster— Christmas in Cape Breton

16 Music for the Masses

Dec. 8, 22 and 23 55 / The National Philharmonic: Handel’s Messiah

18 Black Box Goes Green

Dec. 12 60 / BSO SuperPops: Holiday Pops Celebration

New initiatives support The National Philharmonic’s missions

Dec. 13 62 / Strathmore: Mark O’Connor—An Appalachian Christmas Dec. 15 63 / Strathmore: Mannheim Steamroller Christmas by Chip Davis Dec. 18 64 / The National Philharmonic: A Festive Evening with the Washington Symphonic Brass

2 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Pre-concert lectures make classical music more accessible

17 The Cats and the Fiddler Violinist Madeline Adkins has a heart for felines CityDance’s new theater is eco-friendly

19 Invest in the Present, Shape the Future 20 The Joy of Music New Century Chamber Orchestra’s excitement is contagious

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Musings of Strathmore CEO Eliot Pfanstiehl A Note from BSO Music Director Marin Alsop Calendar: January and February performances Encore: National Philharmonic Chorale members and volunteers Jan Schiavone and Ellen van Valkenburgh

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30 Baltimore Symphony Orchestra 34 National Philharmonic Orchestra and Chorale

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STRATHMORE

partners ● Strathmore

Under the leadership of CEO Eliot Pfanstiehl and President Monica Jeffries Hazangeles, Strathmore welcomes thousands of artists and guests to the Music Center, Mansion and 11-acre campus. As well as presenting performing artists and fine art, Strathmore commissions and creates new works of art and music, including productions Free to Sing and Take Joy. Education plays a key role in Strathmore’s programming, with classes and workshops in music and visual arts for all ages throughout the year. From presenting world-class performances by major artists, to supporting local artists, Strathmore nurtures arts, artists and community through creative and diverse programming of the highest quality. Visit www.strathmore.org.

● Baltimore Symphony Orchestra

● National Philharmonic

Led by Music Director and Conductor Piotr Gajewski, the National Philharmonic is known for performances that are “powerful” and “thrilling.” The organization showcases world-renowned guest artists in symphonic masterpieces conducted by Maestro Gajewski, and monumental choral masterworks under Chorale Artistic Director Stan Engebretson, who “uncovers depth...structural coherence and visionary scope” (The Washington Post). The Philharmonic’s long-standing tradition of reasonably priced tickets and free admission to all young people age 7-17 assures its place as an accessible and enriching part of life in Montgomery County and the greater Washington area. The National Philharmonic also offers exceptional education programs for people of all ages. For more information, visit www.nationalphilharmonic.org.

● Washington Performing Arts Society

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

● CityDance Ensemble

CityDance provides the highest quality arts education and performances throughout the metropolitan area including at CityDance Center at Strathmore, where our School, pre-professional Conservatory and Studio Theater are housed. The Resident & Guest Artist Program allows professional dancers and choreographers to create and perform works in a world-class theater. CityDance’s Community Programs provide free performances, after-school programs and camps to over 15,000 students a year in the region’s most under-resourced communities. Visit www.citydance.net.

● Maryland Classic Youth Orchestras

Great music, artistry, plus the passion and exuberance of youth come together in one exceptional program—MCYO, the resident youth orchestra at the Music Center. Established in 1946, MCYO is the region’s premier orchestral training program, seating over 400 students in grades 4-12 in one of five quality orchestras. Concerts, chamber music, master classes and more. Discover MCYO. Hear the difference. Visit www.mcyo.org.

● Levine School of Music

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

● interPLAY

interPLAY company provides adults with cognitive differences with year-round rehearsals and concert experiences performing with traditional musicians. This activity results in a new personal language for those who have no musical education, and enlightened perspectives in the community about who can play serious music. interPLAY is always open for new players, musicians and mentors. Please contact Artistic Director Paula Moore at 301-229-0829.

4 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Applause at Strathmore Publisher CEO Eliot Pfanstiehl Music Center at Strathmore Founding Partners Strathmore Baltimore Symphony Orchestra Resident Artistic Partners National Philharmonic Washington Performing Arts Society Levine School of Music Maryland Classic Youth Orchestras CityDance Ensemble 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 9, Number 2 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

The Grammy Award-winning Baltimore Symphony Orchestra is internationally recognized as having achieved a preeminent place among the world’s most important orchestras. Under the inspired leadership of Music Director Marin Alsop, some of the world’s most renowned musicians have performed with the BSO. Continuing the orchestra’s 96-year history of high-quality education programs for music-lovers of all ages, the BSO presents mid-week education concerts, free lecture series and master classes. Since 2006, the BSO has offered Montgomery County grade schools BSO on the Go, an outreach initiative that brings small groups of BSO musicians into local schools for interactive music education workshops. For more information, visit BSOmusic.org.

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musings from Strathmore Strathmore has the world on a string—a violin string to be exact. Following our previous successful explorations of the history of the piano and the guitar, Strathmore is embarking on Storied Strings: The Violin in America, an 11-concert series celebrating the foundational role of the violin. Vice President of Programming and Artistic Director Shelley Brown, who has shepherded Storied Strings along from its inception, puts it beautifully: “The violin, or fiddle, is the common denominator in Native American, African American and European music, forming a link between classical and traditional music.” To explore the violin’s many inflections and influences, Strathmore is convening masters of many stringed musical genres to the Mansion and Music Center to celebrate generations of American musical exploration and integration—and to glimpse into the future of the instrument—in the 2012-13 season. The Music Center festivities kick off with Christmas in Cape Breton, featuring the frenetic and vivacious fiddlework of Natalie MacMaster. She’ll be illustrating the influence of her homeland’s music on New England styles on Dec. 6. The legendary violinist and composer Mark O’Connor takes over the Concert Hall for a not-to-be-missed tribute to the traditional holiday music of his childhood on Dec. 13.The Music Center excitement continues into the New Year with a new program by Alasdair Fraser. In the Mansion, exciting firsts from The Carpe Diem String Quartet and Jennifer Koh— who will be making the Washington, D.C.-area debut of her “Bach and Beyond” series—nod to the future of the violin. The Aaron Weinstein Trio, violinist Kristin Lee, the Marian Anderson String Quartet and Artist in Residence alumna Chelsey Green—debuting a new work by composer Robert Miller—will continue the series into the spring. May your holidays be bright with family and music this whole season long.

Eliot Pfanstiehl

CEO | Strathmore

from the BSO

Dear Friends,

What a wonderful fall we are enjoying with all of you at Strathmore! Having packed houses and enthusiastic supporters means everything to us, and the musicians and I loved meeting and greeting you all in the lobby during the intermission of the Preview Concert. It was a fantastic way to kick off this exciting 2012-13 season. The Baltimore Symphony Orchestra is in the midst of a busy few months, and we couldn’t be having a better time. I am thrilled to welcome two talented artists making their BSO debuts in November: impressive pianist Denis Kozhukhin, whom I will conduct alongside the orchestra in Brahms’ Piano Concerto No. 2 (Nov. 17), and elegant cellist Sol Gabetta, led by Maestro Mario Venzago in Elgar’s Cello Concerto (Nov. 29). These young artists will electrify the Music Center—catch them while they are here! Come December, the BSO SuperPops has a thrilling holiday celebration planned (Dec. 12). Featuring Maestro Robert Bernhardt, Daniel Narducci as host and vocalist, and the Baltimore Choral Arts Society led by Tom Hall, classical favorites, carols and more will be sure to get you in the holiday spirit. I hope you all have a safe and happy holiday season, and I’ll see you in 2013!

Marin Alsop

Music Director | Baltimore Symphony Orchestra 6 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

ELIOT PFANSTIEHL PHOTO BY MICHAEL VENTURA; MARIN ALSOP PHOTO BY GRANT LEIGHTON

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DBMFOEBS ! FRI., JAN. 25, 8 P.M. Strathmore presents Ladysmith Black Mambazo Rachmaninoff: Piano Concerto No. 3 Grammy Award-winning Ladysmith Black BSO Music Director Marin Alsop Mambazo returns with music from the explores how Rachmaninoff’s music ensemble’s most recent album, Songs moves us more deeply than ever. from a Zulu Farm. Marin Alsop, conductor Garrick Ohlsson, piano

! SAT., JAN 26, 8 P.M. ! SAT., JAN. 19, 8 P.M. The National Philharmonic SUN., JAN. 27, 3 P.M. Brian Ganz Chopin Project The National Philharmonic Telemann: Concerto for Viola Lutosławski’s 100th anniversary: Mendelssohn: String Symphony No. 9 Brian Ganz, piano Remembering Rostropovich Mozart: Sinfonia Concertante Miroslaw Jacek Blaszczyk, conductor Violist Victoria Chiang lends her talents Chopin: 5 Mazurkas, Op. 7 3 Ecossaises, Op. 72, No. 3 Dariusz Skoraczewski, cello to Telemann’s Concerto for Viola. A free pre-concert lecture will be offered Nocturne in C-sharp minor (Posthumous) Tchaikovsky: Variations on a at 6:45 p.m. on Jan. 5 and 1:45 p.m. on Prelude in A-flat Major, Op. 28 Rococo Theme Jan. 6. Ballade No. 1 in G minor, Op. 23 Lutoslawski: Cello Concerto Sponsored by Ameriprise Financial Ballade No. 3 In A-flat Major, Op. 47 Tchaikovsky: Symphony No. 4 24 Preludes, Op. 28 Dariusz Skoraczewski commemorates ! FRI., JAN. 11, 8 P.M. Pianist Brian Ganz’s third recital in his Russian cellist Mstislav Rostropovich Strathmore presents and Polish composer Witold Lutosławski. Alasdair Fraser and Natalie Haas quest to perform all of Chopin’s works over the next decade. A free pre-concert lecture will be offered Jay Ungar and Molly Mason at 6:45 p.m. on Jan. 26 and 1:45 p.m. on and Dirk Powell ! TUES., JAN. 22, 8 P.M. Jan. 27. Renowned Scottish Strathmore presents Sponsored by Ameriprise Financial fiddler Alasdair Sing the Truth Fraser leads a jourwith Angélique Kidjo, Dianne ney of traditional !WED., JAN. 30, 8 P.M. Reeves and Lizz Wright Washington Performing Arts Society American music. Celebrate the legacies of Miriam Nadja Salerno-Sonnenberg, violin This performance Makeba, Odetta and other great female & New Century Chamber Orchestra is part of Strathvocalists. Join the pre-concert lecture, more’s series Legendary Black Women in the Music Mendelssohn: String Symphony No. 10 Storied Strings: The Natalie Haas Industry: Then and Now, at 6:30 p.m. in Bach: Violin Concerto No. 1 in A minor Violin in America. The Mansion at Strathmore. Free with Villa-Lobos: Bachianas Brasileiras, No. 5 concert ticket. R. Strauss: Metamorphosen ! SAT., JAN. 12, 8 P.M. Baltimore Symphony Orchestra ! THUR., JAN. 24, 8 P.M. Nadja Salerno-Sonnenberg joins the Alexander Nevsky Baltimore Symphony Orchestra 19-member chamber orchestra for its Marin Alsop, conductor BSO SuperPops: Hairspray in Washington-area debut. Irina Tchistjakova, mezzo-soprano Concert This performance is made possible Baltimore Choral Arts Society Jack Everly, conductor through the generous support of Bruce Tom Hall, director John Waters, narrator Rosenblum and Lori Laitman. Prokofiev: Alexander Nevsky FEBRUARY This semiThe BSO and Baltimore Choral Arts staged concert !FRI., FEB. 1, 8 P.M. Society perform the rousing score as Strathmore presents production the classic motion picture Alexander China National Symphony Orchestra features full Nevsky is shown. En Shao, conductor orchestra, Peng Peng, piano vocalists and ! FRI., JAN. 18, 8:15 P.M. John Waters as Baltimore Symphony Orchestra The program includes works by Chinese narrator. Off the Cuff: Rachmaninoff’s composers and Beethoven’s Symphony Third Piano Concerto 8 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

HASS PHOTO BY IRENE YOUNG

JANUARY

!SAT., JAN. 5, 8 P.M. SUN., JAN. 6, 3 P.M. The National Philharmonic Mozart and the Voice of the Viola Piotr Gajewski, conductor Stefan Jackiw, violin Victoria Chiang, viola

[January/February]

No. 7. Join the pre-concert lecture, Western Music in a Changing China, at 6:30 p.m. in the Education Center, Room 402. Free with concert ticket. ! SAT., FEB. 2, 8 P.M. Baltimore Symphony Orchestra Pictures at an Exhibition Yan Pascal Tortelier, conductor Orion Weiss, piano Hindemith: Concert Music for Strings and Brass Mozart: Piano Concerto No. 27 Mussorgsky (arr. Ravel): Pictures at an Exhibition Orion Weiss returns with Mozart’s final piano concerto. ! THURS., FEB. 7, 8 P.M. Baltimore Symphony Orchestra Stephen Hough Plays Liszt Hannu Lintu, conductor Stephen Hough, piano

Piotr Gajewski, conductor Danielle Talamantes, soprano National Philharmonic Chorale Ravel: Bolero Poulenc: Gloria Rimsky-Korsakov: Scheherazade Scheherazade is full of dazzling orchestration and splendid violin solos. A free pre-concert lecture will be offered at 6:45 p.m.

Wagner: Die Meistersinger: Prelude to Act I Wagner: Tristan und Isolde: Prelude and Liebestod Wagner: Die Walküre: Act I Wagner’s fiery Act I of Die Walküre is a drama unto itself. ! THUR., FEB. 21, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops: The Best of Broadway with Ashley Brown Jack Everly, conductor Ashley Brown, vocalist Ashley Brown lends stunning richness to beloved Broadway hits.

! SAT., FEB. 23, 8 P.M. ! THURS., FEB. 14, 8 P.M. Strathmore presents Strathmore presents LUMA Theater Flamenco Vivo/Carlota Santana LUMA plunges audiences into darkLa Pasión Flamenca ness and entrances them with aweExperience the passion, energy and ininspiring creations of light. tensity of the folkloric fiesta of Flamenco.

Tchaikovsky: Francesca da Rimini Liszt: Piano Concerto No. 2 Sibelius: Symphony No. 2 Stephen Hough interprets the blistering ! SAT., FEB. 16, 8 P.M. Piano Concerto No. 2. Baltimore Symphony Orchestra Wagner’s Walküre ! SAT., FEB. 9, 8 P.M. Marin Alsop, conductor The National Philharmonic Heidi Melton, soprano Philharmonic of Many Colors

[beyond the stage] Strathmore

You Better Shop Around FLAMENCO VIVO PHOTO BY LOIS GREENFIELD

Brandon Jovanovich, tenor Eric Owens, bass-baritone

Museum Shop Around is Strathmore’s handmade and art-inspired holiday treasure hunt, where 18 of Washington, D.C.’s museums open pop-up shops in the Mansion at Strathmore. Hours are 10 a.m.8 p.m. Nov. 8 and 9, 10 a.m.-6 p.m. Nov. 10 and 10 a.m.-5 p.m. Nov. 11. The Mansion galleries will be bursting with heartfelt holiday gifts, toys, jewelry, one-of-a-kind art, décor and more from The John F. Kennedy Center for the Performing Arts, The Phillips Collection, National Geographic, Shakespeare Theatre Company Shop, the Popcorn Gallery at Glen Echo, President Lincoln’s Cottage, Hillwood Estate, Museum & Gardens and the Audubon Sanctuary Shop, among other museums. Admission is $9 each day; proceeds benefit arts and education programming at Strathmore.

! SUN., FEB. 24, 7 P.M. Washington Performing Arts Society Simone Dinnerstein, piano Bach: The Goldberg Variations Hear the masterpiece that launched her career. ! THUR., FEB. 28, 8 P.M. Baltimore Symphony Orchestra Mozart’s Requiem Ignat Solzhenitsyn, conductor Madeline Adkins, violin Qing Li, violin Susanna Phillips, soprano Marietta Simpson, mezzo-soprano Norman Reinhardt, tenor Robert Gleadow, bass-baritone Baltimore Choral Arts Society Tom Hall, director Arvo Pärt: Tabula Rasa Mozart: Requiem Tabula Rasa features BSO associate concertmaster Madeline Adkins and principal second violinist Qing Li.

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 9

STRATH MORE

t came to the New World in the baggage of immigrants —a link between the land of opportunity and the old world they left behind. But the story of the violin in America is a rich and complex saga— one that’s being examined in depth this season in Strathmore’s Storied Strings: The Violin in America series.

THE FLIGHT PG UIF VIOLIN 4USBUINPSF T Storied Strings TFSJFT USBDFT UIF WJPMJO T SPMF JO "NFSJDBO NVTJD By Chris Slattery

“We chose this theme and planned events to illuminate the significance of the violin in the American repertoire,” says series creator Shelley Brown, Strathmore’s vice president of programming and artistic director. Eleven concerts strong, the series explores the versatile violin and the impact it’s had on the development of different genres of music.

10 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Looking back at American composers such as the Gershwin brothers, Duke Ellington and Leonard Bernstein, Brown says, most people hear one instrument: the piano. “But there is a violin component every step of the way; in every subculture and every geographical region,” Brown says. “And while this is not an exhaustive, thorough retrospective of the in-

ILLUSTRATION BY WWW.JULIASVERCHUK.COM

Storied Strings: The Violin in America strument, it is an effort to tell the stories of the performers, the composers, the music itself.” Like the stories Mark O’Connor has been immersed in ever since he can remember. “I grew up around the legend of the music,” says the Seattle-born violinist, a child prodigy and teen virtuoso whose mentors include folk fiddler and innovator Benny Thomasson and French jazz violinist and improviser Stephane Grappelli. “It wasn’t something I found academically later on: I kept on learning about the violin, yes, but a large part of it I experienced as a kid.” Those experiences shaped his critically acclaimed album, An Appalachian Christmas, and the live show O’Connor brings to the Music Center at Strathmore on Dec. 13. O’Connor, who released his first professional recording at age 12, says that he has always been considered a practitioner of American music. “Throughout my career I’ve been asked that question: What is American music?” It’s a question O’Connor answers through his performances, his lectures and the instructional method he developed to nurture creativity in young violinists. American classical music, he believes, never really developed because composers didn’t receive the kind of financial support European composers enjoyed. “Take a look at [Charles] Ives,” he says. “His profession was insurance, but someone with his talent in Vienna would have been commissioned by the Court.” With no royal patronage, however, the American composers were left to their own devices, and O’Connor paints a vivid picture of how, almost unwittingly, a motley collection of pioneers, indentured servants, slaves, masters and gentrified landowners created a patchwork of related genres. “The seeds of the American violin were sown four centuries ago, soon after it arrived in the southern colonies,” O’Connor notes, adding that many

THE MUSIC CENTER AT STRATHMORE

THURSDAY, DEC. 6, 2012, 8 P.M. Natalie MacMaster: Christmas In Cape Breton THURSDAY, DEC. 13, 2012, 8 P.M. Mark O’Connor: An Appalachian Christmas FRIDAY, JAN. 11, 2012, 8 P.M. Alasdair Fraser and Natalie Haas Jay Ungar and Molly Mason and Dirk Powell SATURDAY, MARCH 2, 2012, 8 P.M. National Philharmonic The American Virtuoso Violin Piotr Gajewski, conductor Elena Urioste, violin

THE MANSION AT STRATHMORE

WEDNESDAY, NOV. 14, 2012, 7:30 P.M. “Bach and Beyond,” Part I Jennifer Koh, violin

slaves on plantations not only shared their masters’ violins, they built replicas of an instrument they had played back in Africa: the banjo. “In some ways,” says O’Connor, “It was at the meeting of these two instruments— the European violin and the African banjo—that American music was born.” Mark O’Connor does a great job of explaining the American violin’s past, but Jennifer Koh illuminates its future. “For me, music is my entire life,” says Koh. Her “Bach and Beyond” series has made her a champion of critics and audiences, and it will be a key component of the Storied Strings series at Strathmore. “It’s a metaphor for how I live, and I think art in general is a reflection of who we are as human beings.” Koh is on a mission to expand the violin repertoire, something she does flawlessly with “Bach and Beyond.” The series, which is making its Washington, D.C.-area debut at Strathmore, explores the history of the solo violin repertoire from Bach’s sonatas and

THURSDAY, DEC. 13, 2012, 2-3:30 P.M. Mark O’Connor Strings Method for String Teachers THURSDAY, JAN. 10, 2013, 7-9 P.M. Fiddle Jam/Workshop with Alasdair Fraser THURSDAY, JAN. 17, 2013, 7:30 P.M. Carpe Diem String Quartet THURSDAY, FEB. 7, 2013, 7:30 P.M. Aaron Weinstein Trio THURSDAY, FEB. 28, 2013, 7:30 P.M. “Bach and Beyond,” Part II Jennifer Koh, violin THURSDAY, APRIL 4, 2013, 7:30 P.M. Kristin Lee, violin THURSDAY, APRIL 25, 2013, 7:30 P.M. Marian Anderson String Quartet THURSDAY, MAY 2, 2013, 7:30 P.M. Chelsey Green, violin

partitasand pairs them with works by modern composers. “I want to come to an understanding of how these pieces written 200 years ago by Bach can be so visceral, so moving,” she says. “How does this connect to the present day? It’s about creating a thread to the past.” Part one of “Bach and Beyond” connects Bach’s Partitas Nos. 2 and 3 to works by Ysaÿe, Saariaho, Carter and Salonen. The second part of “Bach and Beyond”— “all about beginnings and who we become,” Koh says—features a new work for solo violin by Phil Kline and Bartók’s Sonata for solo violin, bookended by Bach’s Sonata No. 1 and Partita No. 1. It’s that kind of circular connectivity that Shelley Brown looked for while programming the series. “It’s not done on a timeline,” she explains. “We’re trying to tell the stories of the performers, the composers; to represent epochs and classes and tradition— and to surprise and inspire the violin enthusiasts in our audience.”"

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 11

BALTIMORE SY MPH ONY ORCHESTRA

O rpera

A TRUE WAGNERIAN

The Baltimore Symphony Orchestra celebrates composer’s work and looks at his reality TV-worthy lifestyle

By M.J. McAteer

Wagner portrait by Caesar Willich -1862 12 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

ichard Wagner not only wrote operas, he lived on an operatic scale, or, perhaps more accurately, on a soap-operatic scale. His peripatetic life seethed with radical politics and romantic intrigue, and he alternated living in sultanic splendor with being on the lam from debt collectors and the law. Wagner’s greatest patron, King Ludwig of Bavaria, was equally mercurial and extravagant. The young king’s financial support for the much older Wagner allowed the composer to complete his Der Ring des Nibelungen, or Ring Cycle, as well as Tristan und Isolde and other works. Ludwig also bankrolled the construction and operation of the Bayreuth Festival Theatre, which was and remains devoted solely to Wagner’s works. The theater, however, was the least of Ludwig’s building projects, and his notorious, nonstop construction of ornate palaces and fantastic castles eventually led to his ouster and what is still considered his suspicious death. This year marks the 200th anniversary of Wagner’s birth, and in honor of that occasion, on April 19, 2013 at the Music Center at Strathmore, the Baltimore Symphony Orchestra will present “A Composer Fit for a King,” which examines the tumultuous relationship between the outsized personalities of Wagner and Ludwig. The evening, part of the BSO’s Off the Cuff series, will feature live theater combined with narrative by BSO Music Director Marin Alsop and the orchestra’s performance of excerpts from the Ring Cycle. Writer-director Didi Balle has dubbed this hybridized performance a “symphonic play,” and it is her fourth done in collaboration with Alsop. In 2010,

JOVANOVICH PHOTO BY PETER DRESSEL, MELTON PHOTO BY KRISTIN HOEBERMANN

Brandon Jovanovich

Alsop and Balle teamed up to present â&#x20AC;&#x153;Analyze This: Mahler & Freud,â&#x20AC;? a symphonic play that marked the 100th anniversary of a meeting between the composer and the founder of psychoanalysis. â&#x20AC;&#x153;Marin likes to get behind the scenes in an anecdotal way, and Wagnerâ&#x20AC;&#x2122;s life has so much rich material to share with the audience,â&#x20AC;? says BSO Vice President for Artistic Operations Matthew Spivey. â&#x20AC;&#x153;It could easily be the stuff of a reality TV show.â&#x20AC;? â&#x20AC;&#x153;Wagner was deeply theatrical,â&#x20AC;? Balle explains, and supremely capable of â&#x20AC;&#x153;generating backstage drama worthy of the Ring Cycle.â&#x20AC;? Thus, she explains, her biggest challenge in writing â&#x20AC;&#x153;A Composer Fit for a Kingâ&#x20AC;? was to condense a sprawling life into a manageable lengthâ&#x20AC;&#x201D;a compunction famously disregarded by the composer himself, whose four-opera Ring Cycle clocks in at more than 15 hours. Balleâ&#x20AC;&#x2122;s symphonic play wonâ&#x20AC;&#x2122;t be the BSOâ&#x20AC;&#x2122;s only salute to Wagnerâ&#x20AC;&#x2122;s 200th birthday. At 8 p.m. Feb. 16, the BSO will present soprano Heidi Melton, tenor Brandon Jovanovich and bass-baritone Eric Owens in an all-Teutonic evening featuring Wagnerâ&#x20AC;&#x2122;s Prelude to Act I from Die Meistersinger von NĂźrnberg, the Prelude and Liebestod from Tristan und Isolde and Act I from Die WalkĂźre. The young Melton has been de-

Heidi Melton

scribed by GBOpera magazine as â&#x20AC;&#x153;a singer of huge potential who is already at home in demanding repertoire,â&#x20AC;? and Wagnerâ&#x20AC;&#x2122;s repertoire obviously fits the description of â&#x20AC;&#x153;demanding.â&#x20AC;? â&#x20AC;&#x153;In college, they say Wagner is too hard, that it will ruin your voice,â&#x20AC;? Melton says. â&#x20AC;&#x153;But the first time I sang it, it was like putting a hand in a glove. It fit.â&#x20AC;?

treat to perform with him.â&#x20AC;? A New York Times review of Jovanovichâ&#x20AC;&#x2122;s recent performance as Don JosĂŠ in Carmen lauded the tenor as â&#x20AC;&#x153;theatrically potentâ&#x20AC;? and a â&#x20AC;&#x153;full-bloodedâ&#x20AC;? singer, both qualities made to order for Die WalkĂźre, which has a hyperbolic plot involving spousal abuse, abduction, incest and a really big storm.

â&#x20AC;&#x153;Wagnerâ&#x20AC;&#x2122;s life IBT TP NVDI SJDI NBUFSJBM UP TIBSF XJUI UIF BVEJFODF w Matthew Spivey

Melton will be giving her debut performance of Isoldeâ&#x20AC;&#x2122;s aria at Strathmore. She first heard the music at age 18 and was â&#x20AC;&#x153;paralyzed at the first bar. Then I listened to it ad nauseum for three months,â&#x20AC;? she says. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve been waiting to sing this aria for 12 years. It is daunting, scary, but incredibly thrilling.â&#x20AC;? Sharing the stage with Jovanovich for Act I of Die WalkĂźre should provide a level of comfort for Melton. The two debuted the roles of Sieglinde and Siegmund with the San Francisco Opera in 2011. â&#x20AC;&#x153;Brandon,â&#x20AC;? Melton says, â&#x20AC;&#x153;is the most lovely colleague and person. Itâ&#x20AC;&#x2122;s a

â&#x20AC;&#x153;The role is pretty darn tough for a tenor,â&#x20AC;? Jovanovich admits, and adds that singing it requires a lot of pacing. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a real mental game,â&#x20AC;? he says. But like Melton, Jovanovich is a big Wagner fan. â&#x20AC;&#x153;The music is rapturous,â&#x20AC;? he says, â&#x20AC;&#x153;one long arc of beautiful melody and the constant ratcheting up of emotion. Itâ&#x20AC;&#x2122;s like riding on the water. The ebb and flow is stunning, and everyone is floating and getting swept up in it.â&#x20AC;? Melton dittos that sentiment. â&#x20AC;&#x153;Buckle in,â&#x20AC;? she warns the Strathmore audiences, â&#x20AC;&#x153;because it will be quite a ride.â&#x20AC;? "

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 13

Strathmore presents Sing the Truth

ST RATH MORE

Tuesday, Jan. 22, 2013, 8 P.M.

sing out, SISTERS! Angélique Kidjo, Dianne Reeves and Lizz Wright pay homage to legendary African American women in music with Sing the Truth

hen is a tribute concert not a tribute concert? When it’s Sing the Truth, an evening of searing, soulful music featuring Angélique Kidjo, Dianne Reeves and Lizz Wright performing some of the most passionate songs ever written. And while the concert has evolved to include songs by Billie Holiday, Tina Turner, Joni Mitchell, Sade, Tracy Chapman and Lauryn Hill, Sing the Truth all started with Nina Simone. “Back in ’04 I was asked to create a tribute to Nina Simone at Carnegie Hall,” says Danny Kapilian, the New

York-based music producer-programmer behind Sing the Truth, which comes to the Music Center at Strathmore on Tuesday, Jan. 22, 2013. “Lo and behold: it was an enormous success!” Kapilian decided to try re-creating that success with three of the original concert’s four performers, Kidjo, Reeves and Wright—and a stellar band. “The three leads wanted to celebrate other great women of music for whom the title Sing the Truth rang true,” explains Kapilian. “Multiple stars, multiple lead singers, 50 songs to choose from— this works from top to bottom.” Mainly because of the chemistry, not just between the three singers but also

Lizz Wright, Angélique Kidjo and Dianne Reeves perform songs that speak to them in Sing the Truth.

between the entire band, the audience and the music itself. “We choose what speaks to us,” says four-time Grammy Award winner Dianne Reeves. “Songs that address our hearts and souls, songs about every aspect of life. We do our own songs and the songs of others: songs that mean something. And we invite the audience to be a part of what we do.” What they do, exactly, is explore the music of legendary African American women (and a few legendary white women, too) with a program of classic songs of freedom, transcendence and love. Reeves says her favorite performers “don’t just sing songs: they live them. Their very life becomes a song, a story.” And in these stories, in the lives of Miriam Makeba and Odetta and Marian Anderson and Etta James, Reeves and her fellow Sing the Truth stars have found their own voices. “More than anything we enjoy working together,” she says. “We are right there with each other in the moment, as we celebrate the music of the singers we love, celebrate their lives and legacies.” "

Enjoy a pre-concert lecture, Legendary Black Women in the Music Industry: Then and Now, at 6:30 p.m. Jan. 22 in the Mansion at Strathmore. The lecture is free with your concert ticket, but seating is limited. For more information, go to www.strathmore.org. 14 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

CHORALE PHOTO BY DONLASSELL

By Chris Slattery

THE NATIONAL PHIL HARMONIC

need a little CHRISTMAS? It’s not the holidays without Handel’s Messiah, Washington Symphonic Brass By Roger Catlin

hough composed as a contemplation during the seasons of Easter and Passover, George Frideric Handel’s much beloved Messiah has since become more strongly associated with Christmas—and loved the most in a country that didn’t even exist when he wrote it in 1741. “The Messiah’s popularity is more American than European,” says National Philharmonic Chorale Artistic Director Stan Engebretson, who will conduct

the annual holiday concert with the National Philharmonic Orchestra and Chorale at the Music Center at Strathmore. It’s become such a popular Strathmore tradition that there will be three performances of it—8 p.m. on Dec. 8 and 22 and 3 p.m. on Dec. 23. “My holidays are not complete without it,” Engebretson says. “It’s something you come back to each year and it becomes more exciting. Like other pieces such as the Verdi Requiem or Mozart Requiem, each time you do them they become deeper.” Part of the strength comes from the soloists, which include soprano Danielle Talamantes, mezzo-soprano Magdalena Wór, tenor Matthew Smith and bass Kevin Deas. The nearly 200-voice chorale is powerful as well, knowing the piece almost by heart. What makes the audience embrace the work so? “It’s the music, the clarity and the cleanliness of it,” Engebretson says. “We love Baroque music for its symmetry. As with Baroque architecture, we see all the beauty and the care with how it all fits together.” The chorale will also be included for the first time in the annual “A Festive Evening with the Washington Symphonic Brass” at 7:30 p.m. on Dec. 18. The concert, partially led by Associate Conductor Victoria Gau, will feature the National Philharmonic Cho-

rale singing variations on Beethoven’s “Ode to Joy.” “The audience is looking for a musically satisfying experience, but they are also looking for a holiday experience, which has a certain emotional impact,” Gau says. Phil Snedecor, artistic director of Washington Symphonic Brass, agrees. He’s excited about including “Ode to Joy” in the holiday program. “It’s a very unifying, uplifting, spiritual piece,” he says. In addition to familiar tunes, Snedecor has included some arrangements of international seasonal favorites from Finland, Norway, Poland and Africa amid more familiar works, such as the spiritual “Go Tell It on the Mountain,” an accompanied reading of “ ‘Twas the Night Before Christmas” and what he calls “a stream-of-consciousness type of medley that takes from our subconscious memories of Christmas.” As with Messiah and all National Philharmonic concerts, the holiday brass concert will be free to kids age 7 through 17, a tradition that has meant a generation seeing the concerts annually, Engebretson says. “It’s like a favorite toy under the tree for some of them,” Engebretson says. “You’ll find some of these kids have grown up with the Messiah, saying many years later, ‘I remember the first time I saw it years ago.’ It’s become part of the fabric of their holiday tradition.” "

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 15

BALTIMORE SY MPH ONY ORCHESTRA

music for the MASSES Pre-concert lectures prepare listeners for Baltimore Symphony Orchestra performances

t happened last season at the Music Center at Strathmore, when a lecturer slated to speak before a Baltimore Symphony Orchestra performance didnâ&#x20AC;&#x2122;t show up because of a schedule mix-up. â&#x20AC;&#x153;I happened to be in the audience to attend the lecture and just when people were just starting to file out and realize that there wasnâ&#x20AC;&#x2122;t going to be a lecture, I stood up and said, â&#x20AC;&#x2DC;Hey! I know a few things about Mahler!â&#x20AC;&#x2122; â&#x20AC;? Jason McCool recalls. Luckily for McCool and that audience, â&#x20AC;&#x153;I had actually just lectured on him in Baltimore just a couple of days prior. So I went up to the white board, and took out a pen and improvised a 35-minute lecture on Mahler.â&#x20AC;? It went over so well BSO officials immediately asked if he could do more. Thus McCool became host for a series of Strathmore Classical Saturdays. Heâ&#x20AC;&#x2122;ll talk about Prokofievâ&#x20AC;&#x2122;s Alexander Nevsky on Jan. 12, 2013, Wagnerâ&#x20AC;&#x2122;s Die WalkĂźre on Feb. 16, 2013, Rachmaninoff on March 23, 2013 and Prokofievâ&#x20AC;&#x2122;s Romeo & Juliet on May 25, 2013. (Melinda Baird will host a separate series of Strathmore Classical Saturdays as well). The 45-minute classes are free to ticket holders of those performances and are an opportunity to delve into the his-

torical context and the composers. A Boston native who studied jazz trumpet at the Eastman School of Music in Rochester, N.Y., McCool toured with the modern incarnation of the Tommy Dorsey Orchestra before moving to New York for an acting career. He came to the Washington, D.C. area to be a teaching assistant at the University of Maryland and work on a musicology degree. A faculty lecturer at the Levine School of Music who has been teaching in recent years at Montgomery College, McCool has also kept active running the social media for the advocacy group theatreWashington. Therefore, he says, â&#x20AC;&#x153;I know how to work a room.â&#x20AC;? McCoolâ&#x20AC;&#x2122;s presentations are supercharged and full of fast moving PowerPoint slides in a â&#x20AC;&#x153;TED talkâ&#x20AC;? manner

16 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

By Roger Catlin

that young people in particular seem attuned to. â&#x20AC;&#x153;All too often we go to these concerts, and we sort of let the music wash over us and we have no idea what weâ&#x20AC;&#x2122;re supposed to be listening to,â&#x20AC;? he says. â&#x20AC;&#x153;Obviously, classical music can be an extremely intimidating thing to people who arenâ&#x20AC;&#x2122;t already familiar with it, which probably describes 99 percent of the people under the age of 50 in American today.â&#x20AC;? His job is to remove any barriers to the music itself and point out â&#x20AC;&#x153;the relevance to your life that this music might have.â&#x20AC;? Given the success of last yearâ&#x20AC;&#x2122;s impromptu lecture, McCool says, â&#x20AC;&#x153;I only hope with preparation I can do as good of a job as I did without preparation.â&#x20AC;? "

4USBUINPSF $MBTTJDBM 4BUVSEBZT TFTTJPOT CZ +BTPO .D$PPM UBLF QMBDF CFGPSF TFMFDUFE QFSGPSNBODFT BU Q N JO 3PPN BU UIF .VTJD $FOUFS BU 4USBUINPSF GPMMPXFE CZ UIF #40 QFSGPSNBODF BU Q N 3FHJTUSBUJPO JT SFRVJSFE For more information, call 202-686-8000, Ext. 1547.

BALTIMORE SY MPH ONY ORCHESTRA

the cats and the FIDDLER Violinist Madeline Adkins’ heart strings are pulled every time she cuddles kittens at an animal rescue center By Christianna McCausland

CASSIDY DUTTON

he only thing Madeline Adkins is more passionate about than the violin is animals, an interest that began in childhood. Though raised with cats and dogs, “I have a special place in my heart for cats,” explains the 35-year-old associate concertmaster of the Baltimore Symphony Orchestra. “I appreciate that they’re unique and have a mind of their own.” Given the large number of animals in need of homes, Adkins became particularly interested in working as a foster parent. She volunteers once a week at Small Miracles Cat and Dog Rescue in her hometown of Ellicott City, cleaning, socializing animals and arranging adoptions. Many cats arrive at the no-kill shelter with a brood of kittens in need of affection. If they’re raised by their mothers in the shelter, they won’t be socialized to human contact—they’d be basically feral and not fit as pets. Adkins fosters and interacts with them until they’re old enough to be adopted. Over four years as a volunteer, Adkins and her husband have cared for and socialized more than 50 kittens. Adkins, who owns four cats of her own, encourages others to spay and neuter their pets and to adopt from a shelter. “There are so many cats, even specific breeds like Siamese, in every shelter,” she states. Curbing the population of stray animals remains a challenge: “The animal-rescue world depends on volunteers and what I do is just a small part,” she says. “But if everyone chips in just a little bit, we can move toward a solution to the problem of homeless cats and dogs.” Playing mother to kittens is hardly a tough job, which makes it a nice counterpoint to Adkins’ demanding schedule of practice, rehearsals and performances with the BSO. “It’s so easy when you’re in a highly focused field like classical music to lose perspective that there’s a wider world out there that you can help with,” she states. “This helps keep me grounded.” "

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 17

STRATH MORE

BLACK BOX HPFT HSFFO CityDance’s new theater marries performance, education and community service By Caroline Gerdes a 125-seat theater that gives audiences the opportunity to see local, national and international performances. “The theater is the hub of learning and performing for CityDance Conservatory. Everything happens in that space—classes, performances, rehearsals, auditions, residencies and musical partnerships,” said Lorraine Spiegler, artistic director of CityDance School and Conservatory. “This space has an intimate yet professional quality, allowing us to attract a spectrum of talented professional artists from all over the world.” Since it opened in November 2011, the theater has hosted the CityDance Conservatory dancers in many performances, including an evening with the Baltimore Symphony Orchestra. In addition several artists will hold classes and residencies in the theater, giving the students the opportunity to work with professionals in a real theater environment. Such opportunities prepare young dancers for prestigious college programs. CityDance alumni have gone on to the Ailey/Fordham B.F.A. Program, Point Park University’s Conservatory of Performing Arts and the Conservatory of Dance at SUNY Purchase, among other schools. “Because of this dynamic green space, a new generation of dance has found its home here at the Music Center at Strathmore,” Spiegler said. "

18 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

CITYDANCE STUDIO THEATER AT STRATHMORE UPCOMING PERFORMANCES Ticket prices range from $15 to $25. Tickets will be on sale at Strathmore’s box office.

FRIDAY, NOV. 2 AND SATURDAY, NOV. 3, 2012, 8 P.M. Hubbard Street 2 & CityDance Conservatory Dancers SATURDAY, DEC. 1, 2012, 8 P.M. SUNDAY, DEC. 2, 2012, 7:30 P.M. Erica Rebollar/Rebollar Dance in Space Junk* MONDAY, FEB. 18, 2013 Discover Strathmore Open House performances featuring dancers from CityDance School & Conservatory. The free performances take place throughout the day. SATURDAY, FEB. 23, 2013, 5 P.M. and 8 P.M. SUNDAY, FEB. 24, 2013, 1 P.M. and 6 P.M. The CityDance Conservatory Dancers’ Creating the Magic Concert SATURDAY, APRIL 27, 2013, 7:30 P.M. SUNDAY, APRIL 28, 2013, 6 P.M. Asanga Domask Nruthya Manjarie * Tickets for this performance will be available through www.CulturalDC.org and not Strathmore’s box office.

MARTYN LEES AND LETITIA HAYS

ityDance has been nurturing students’ love of contemporary dance through its Strathmore programming since 2005. Now, CityDance is giving back to Montgomery County and the global community with an eco-friendly black box theater, the CityDance Studio Theater at Strathmore. The new theater features LED and HID lights, which decrease the amount of electricity needed to illuminate the space. Insulation shades over windows also reduce heating and cooling costs. In the next phase, CityDance will install solar panels on Strathmore’s roof that will provide energy for the theater and dispatch surplus energy throughout the building. “CityDance is constantly thinking of ways to give back to the community by providing transformative experiences that are both artistically meaningful and educational for audiences,” said Alexe Nowakowski, CityDance executive director. “The green theater further fulfills this goal by prompting conversation and providing a new type of educational opportunity for patrons.” By day, the theater is used as a rehearsal space for the more than 600 students enrolled at CityDance Center at Strathmore. At night, the space transforms into

THE NATIONAL PHIL HARMONIC

invest in the present, SHAPE THE FUTURE New initiatives help donors support The National Philharmonic’s missions to educate children and support artists By Meredith Carlson Daly

CHORALE PHOTO BY DONLASSELL

ongtime National Philharmonic donor Anne Claysmith knows the impact educational outreach can have. While growing up in Arizona, one of Claysmith’s instructors, Sister Mary St. Donald, taught the fifthgraders a Gregorian chant and a Requiem for infants in Latin. “I will never forget her,’’ Claysmith said. Claysmith sang throughout high school and in college. She joined the National Philharmonic Chorale 15 years ago when it was called Masterworks. “I just love to be able to sing with others and to perform live in front of an audience,’’ Claysmith said. “I want to preserve that for myself and others.’’ This season, The National Philharmonic is introducing new ways for donors and ticket subscribers to get more excited about and involved in the organization. By leaving a legacy or longterm committed gift and naming a principal’s chair or concertmaster’s seat, donors will have the opportunity to etch their names into the structural framework of The National Philharmonic. “The time to engage is now,” said Ken Oldham, president of The National Philharmonic. “The National Philharmonic is in a period of change.” Government funding is expected to be cut by $150,000, with the first year of the cuts beginning July 1, 2013. That

Benefits to supporting The National Philharmonic include access to the Comcast Lounge before performances and during intermission.

amounts to 6 percent of the organization’s $2.5 million annual budget, Oldham said. Over six years, the cut will accumulate to a 22 percent reduction. “This presents a financial challenge,’’ Oldham said. “The need is crystal clear,’’ he added, “but one that is surmountable with the support of our donors.’’ “In this day and age, every single donor, whether they are a subscriber or donating back the value of one ticket, is invaluable to us,’’ said Leanne Ferfolia, director of development. The National Philharmonic has more than 400 donors; about 35 percent of them are major donors, contributing $1,000 and above. Gifts of $125 or more are recognized in Applause magazine. Higher-level contributors receive benefits that include access to the private Comcast Circles Lounge, where donors can often meet performers and special guests

For more information about contributing to The National Philharmonic, visit www.nationalphilharmonic.org or contact Leanne Ferfolia at leanne@nationalphilharmonic.org.

before a concert, and stretch their legs and enjoy snacks during intermission. The National Philharmonic’s many programs include educational outreach programs to area students. That outreach inspired Claysmith to step up her commitment to the Philharmonic. “One of the greatest rewards for becoming an annual National Philharmonic donor is the satisfaction of supporting local arts and local artists,” said Oldham. “By supporting The National Philharmonic, you are supporting our roots in this community,’’ Oldham said. “It is the purist sense of community engagement and community involvement.’’ "

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 19

WASH INGTON PERFORMING ARTS S OCIETY

Joy the

of music

New Century Chamber Orchestra—led by music director/violinist Nadja Salerno-Sonnenberg —promises plenty of excitement during its Washington, D.C.-area debut By Pamela Toutant

Washington Performing Arts Society presents Nadja Salerno-Sonnenberg and New Century Chamber Orchestra Wednesday, Jan. 30, 2013, 8 P.M. 20 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

CHRISTIAN STEINER

here will be no conductor’s flailing arms or excited gesticulations during the allstring New Century Chamber Orchestra’s area debut later this season. But there will still be plenty of excitement. The orchestra—led by music director, concertmaster and renowned violinist Nadja Salerno-Sonnenberg—is one of only a handful of conductorless ensembles in the world. “I do lead from the concertmaster chair, but do not conduct in the conventional sense,” explains Salerno-Sonnenberg. This creates the conditions for exciting musical collaborations, she says. Launched in 1992 in the San Francisco Bay area and directed since 2008 by Salerno-Sonnenberg, the 19-member orchestra has become one of the most impressive and increasingly popular chamber orchestras at work today. The ensemble will make its Washington, D.C.-area debut Jan. 30, 2013 at the Music Center at Strathmore. The performance will be presented by the Washington Performing Arts Society. “When I began with the orchestra,” says Salerno-Sonnenberg, “the orchestra was known in the Bay area, but they didn’t know how good they were or how far they could reach. Now when we go on tour and hear the thunderous applause, they realize that they are a part of a unique and hot ensemble.” And an ensemble where musicians feed off each other’s creativity. “From the first rehearsal, making decisions about how to approach the music is a very democratic process,” says Salerno-Sonnenberg. “The musicians are very, very talkative. We have the intelligence and experience of all 19 musicians putting in their two cents. We have become a family and have built up a tremendous amount of trust.” The collaborative process also produces stellar individual and group per-

formances. “In a conductorless ensemble, the musicians have to be more alert; the level of concentration, precision and playing all gets bumped up,” notes Salerno-Sonnenberg. “Given my background as a soloist, my challenge has been to lead but at the same time blend. On the other hand, as a soloist, I have no fear. Ultimately in our performances, they will follow me where I lead.” Because the musicians have to rely on each other, performances are as much a visual experience as an auditory one. Salerno-Sonnenberg’s highly expressive—at times volcanic—performance style combined with the constant flow of eye contact and engagement between the musicians makes the orchestra’s excitement and joy particu-

ber Orchestra had the work specially arranged for the ensemble. The program finale features Strauss’ lush Metamorphosen, which is, according to Salerno-Sonnenberg, “the height of great string composition. It is one of the greatest pieces of music ever written—a masterpiece.” Strauss wrote the work for 24 solo instruments, which means that everyone in the orchestra will have his or her own parts and moments. In addition to playing well-known repertoire, the New Century Chamber Orchestra is committed to providing audiences with a deeper understanding of today’s living composers by commissioning and performing new works. Highlighted composers include Clarice Assad, William Bolcom, Mark

“While the New Century Orchestra is an all-string ensemble… our sound is rich and grand. Nothing is missing.” Nadja Salerno-Sonnenberg

larly contagious for audiences. “Our members are all excellent musicians who play in other ensembles and orchestras,” says Salerno-Sonnenberg. “But when they come to New Century practices and performances, they come with a very different mindset. It is like going from regular TV to HD.” The January concert opens with Mendelssohn’s effervescent String Symphony No. 10. “This is a vibrant appetizer for the audience and it charges up the orchestra,” says Salerno-Sonnenberg. Bach’s lively Violin Concerto No. 1 in A Minor follows and showcases the virtuosic Salerno-Sonnenberg as soloist. Twentieth-century Brazilian composer Heitor Villa-Lobos’ famous Bachianas Brasileiras No. 5 appears next on the program. Although this sublime piece was originally written for voice and cellos, the New Century Cham-

O’Connor and Ellen Taaffe Zwilich. Under Salerno-Sonnenberg’s leadership during the past few years, the New Century Chamber Orchestra has recorded several CDs and recently released a DVD titled, On Our Way, which features electrifying footage of the group’s performances and comments by Salerno-Sonnenberg. “While the New Century Orchestra is an all-string ensemble, smaller than a symphonic string section, our sound is rich and grand. Nothing is missing,” she says. “Playing with New Century is the most vibrant music-making experience I have had,” enthuses Salerno-Sonnenberg. “While I’ve played Strathmore many times, I am particularly excited to be returning in January for New Century’s Washington-area debut. Get ready to experience the joy.” "

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 21

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the Puppet Co. November 23 – December 30 A holiday classic with marionettes and larger-than-life costume characters. A treat for the entire family! TICKETS: $10. Thursdays & Fridays at 10 a.m. & 11:30 a.m.; Saturdays & Sundays at 11:30 a.m. & 1 p.m. Please see our website for additional dates and times. Recommended for ages 5+. www.thepuppetco.org

Create Arts Center Register for Winter Arts Camps (Dec. 24-28 and Dec. 31-Jan. 4) and Winter Session Classes (starts Jan. 20, 2013). Exciting arts programs for all ages in stone carving, family pottery, drawing, painting, cartooning and more. Come CREATE with us. www.createartscenter.org 301-588-ARTS

Parties, Anniversaries, Classes, Meetings

Feliz Navidad: A Festive Christmas Serenade

Historic Silver Spring B&O Railroad Station 8100 Georgia Avenue, Silver Spring, MD Let us offer you a unique and memorable location for your next special event at 8100 Georgia Avenue. www.montgomerypreservation.org 301-495-4915

Coral Cantigas December 15, 7pm Cultural Arts Center at Silver Spring Join Cantigas, Washington’s Premier Latino Chorus for a magical evening of song and music. www.cantigas.org 301-230-1361

Handel’s Messiah National Philharmonic The Music Center at Strathmore December 8, 22, 23 Usher in the holidays with Handel’s masterpiece and enjoy such favorites as “And the Glory of the Lord” and the “Hallelujah Chorus.” www.nationalphilharmonic.org 301-581-5100

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In Celebration of the Winter Solstice Early music, dance and drama of Britain and Europe

December 8-9 & 14-16, 2012 Lisner Auditorium, 21st & H Sts, NW

Enroll Now for Adult Classes Live & Learn Bethesda Arts/Music/Humanities classes for adults at the Bethesda-Chevy Chase Regional Services Center adjacent to the Bethesda Metro. View our catalog and register for classes at www.liveandlearnbethesda.org, or call us at 301-740-6150.

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THURSDAY, NOVEMBER 1, 2012, 8 P.M.

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Joshua Bell, violin Sam Haywood, piano Rondo brillant in B minor for Violin and Piano, D.895

Franz Schubert

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Richard Strauss

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Violin Sonata No. 2 in D Major, Op. 94bis Sergei Prokofiev .PEFSBUP

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Additional works to be announced from the stage.

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Joshua Bell, violin Joshua Bell has enchanted audiences worldwide with his breathtaking virtuosity and tone of rare beauty. Bell, an Avery Fisher Prize recipient and Musical Americaâ&#x20AC;&#x2122;s 2010 Instrumentalist of the Year, is the new music director of The Academy of St. Martin in the Fields. Bell came to national attention at age 14 in his debut with Riccardo Muti and the Philadelphia Orchestra. Today 24 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

he is equally at home as a soloist, chamber musician, orchestra leader and composer who performs his own cadenzas to several of the major concerto repertoire. Bellâ&#x20AC;&#x2122;s 2012 summer appearances included the premiere of a new concerto for violin and double bass by Edgar Meyer that was performed by them at Tanglewood, Aspen and the Hollywood Bowl. He kicked off the San Francisco Symphonyâ&#x20AC;&#x2122;s fall season and is scheduled to perform with the Philadelphia Orchestra and the Boston, Seattle, Omaha, Cincinnati and Detroit symphonies. Fall highlights also include a tour of South Africa, a European tour with the Academy of St. Martin in the Fields and a European recital tour with Sam Haywood. In 2013 Bell will appear in a U.S. tour with the Cleveland Orchestra and a European tour with the New York Philharmonic, as well as performances with the Tucson, Pittsburgh, San Diego and Nashville symphony orchestras. Bell released French Impressions, his new album of French sonatas with pianist Jeremy Denk, in January 2012. An exclusive Sony Classical artist, Bell has recorded more than 36 CDs garnering Mercury, Grammy, Gramophone and Echo Klassik awards. Recent releases include At Home With Friends, the Defiance soundtrack, Vivaldiâ&#x20AC;&#x2122;s The Four Seasons and The Tchaikovsky Violin Concerto with the Berlin Philharmonic. His CD Romance of the Violin was named Billboardâ&#x20AC;&#x2122;s 2004 Classical CD of the Year and Bell was named Classical Artist of the Year. He has recorded critically acclaimed performances of Sibelius and Goldmark and the Beethoven and Mendelssohn concertos both featuring his own cadenzas; and the Oscar-winning soundtrack, The Red Violin. In 1989, Bell received an artist diploma in violin performance from Indiana University, where he currently serves as a senior lecturer at the Jacobs School of Music. His alma mater honored him with a Distinguished Alumni Service Award, and he has also received the Indiana Governorâ&#x20AC;&#x2122;s Arts Award. Other honors include receiving the 2008 Academy of Achievement Award,

BELL PHOTO BY LISA MARIE MAZZUCCO

Thursday, November 1, 2012, 8 p.m.

given by the non-profit Education Through Music, for exceptional accomplishment in the arts. In 2007 he was awarded the Avery Fisher Prize and was recognized as a young global leader by the World Economic Forum. He was inducted into the Hollywood Bowl Hall of Fame in 2005. Bell serves on the artist committee of the Kennedy Center Honors and is on the board of directors of the New York Philharmonic. He has performed before President Barack Obama at Ford’s Theatre and at the White House. In addition, he returned to Washington, D.C. in February 2012 to perform for Vice President Joe Biden and Xi Jinping, vice president of the People’s Republic of China. Bell received his first violin at age 4 and by age 12 was serious about the instrument thanks to violinist and pedagogue Josef Gingold. He performs on the 1713 Gibson ex Huberman Stradivarius.

HAYWOOD PHOTO BY PANOS DAMASKINIDIS

Sam Haywood, piano

Sam Haywood is a critically acclaimed British pianist whose performances have thrilled audiences worldwide. Haywood is a regular partner to violinist Joshua Bell, with whom he tours this season to China, Europe and the United States. He also regularly appears with cellist Steven Isserlis. Chopin has been a central theme throughout Haywood’s musical life. Haywood’s latest release, Chopin’s Own Piano, is the first to have been made on Chopin’s own 1846 Pleyel piano. To celebrate the Chopin anniversary, he performed at Lancaster House with Isserlis in the presence of HRH Princess Alexandra on the same day and at the same venue as Chopin’s own performance for Queen Victoria and Prince Albert in 1848. Haywood has composed several small-scale works for solo piano and

various duos, including the “Song of the Penguins,” published by Emerson Editions, which was inspired by the film March of the Penguins. He is also involved in educational projects and has co-written a children’s opera. Haywood began playing the piano at age 4, inspired by evenings listening to crackly LPs of Beethoven sonatas with his grandmother. Following his success at age 13 in the BBC Young Musician of the Year competition, he received the Isserlis prize from the Royal Philharmonic Society and later studied with Paul Badura-Skoda, and at the Royal Academy of Music with the late Maria Curcio, a pupil of Artur Schnabel. Haywood is keen to include lesserknown works in his solo recital programs. Rosetti, Gade, Franz Xaver Mozart, Alkan, Field, Isserlis, McLeod (commission) and Hummel have recently been featured. He has also edited a new edition of piano works by Julius Isserlis and Carl Frühling’s Clarinet Trio, and a new solo piano transcription of the Romance from Chopin’s First Piano Concerto. In addition to his solo and chamber music career and his work as a composer, Haywood also is a transcriber and artistic director of the Solent Music Festival in England. Outside his musical world he is passionate about wildlife, hiking in his native England’s Lake District, magic, literature and technology.

Program Notes Rondo brillant in B minor for Violin and Piano, D.895

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

Schubert composed the Rondo brillant in B minor for Violin and Piano in October 1826, and it was published the following year, one of his few works to appear in print during his lifetime. Schubert wrote this music for the Bohemian violinist Josef Slavik and pianist Karl von Bocklet, who were active in promoting Schubert’s music during

the final years of his all-too-brief life. Schubert played both violin and piano, so the graceful and idiomatic writing for the two instruments here is no surprise, but the unusual feature of this music is its difficulty. Perhaps the knowledge that he was writing for virtuoso players encouraged Schubert to compose very demanding music, and one of the early reviewers in Vienna noted, “Both the pianoforte and the fiddle require a practiced artist, who must be prepared for passages which have not by any means attained to their right of citizenship by endless use, but betoken a succession of new and inspired ideas.” The music’s publisher also recognized its difficulty: Schubert had himself called it only Rondo, but the publisher added the adjective brillant. The Rondo brillant is in two parts: a slow introduction followed by the animated rondo. The opening Andante alternates the piano’s pounding dotted chords with fiery runs from the violin, and this music in turn frames a haunting middle section that Schubert marks dolce. The introduction concludes with an almost timid two-note cadence: B rising to C-sharp. But this restrained figure promptly becomes the basis for the rondo itself, marked Allegro: both violin and piano hammer it out to launch the rondo, and this rising motif will figure as an important thematic element throughout. The rondo section itself combines equal parts virtuosity (busy passagework, high positions, surprising accidentals and difficult string-crossing) with the most melting lyricism, as Schubert breaks into the bustle of this music with gentle interludes. Along the way, he brings back reminiscences of the slow introduction before a più mosso coda drives this music to its spirited close. Violin Sonata in E-flat Major, Op. 18

Richard Strauss Born June 11, 1864 in Munich; died Sept. 8, 1949 in Garmisch-Partenkirchen, Germany

The Violin Sonata came at a pivotal point in Richard Strauss’ career. He

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wrote it in 1887-88, when he was only 24 and just beginning work on the symphonic poem Don Juan. The success of Don Juan would lead Strauss to concentrate on the symphonic poem and later on opera; the Violin Sonata, in fact, was his final piece of chamber music. Coming at so important an intersection in his career, the Violin Sonata shows features of both the world Strauss was leaving and the world he was about to enter. In its structure and harmonic language, the sonata looks back to the classical tradition of Brahms and Schumann, but in its dramatic scope and the sheer panache of the writing, it looks ahead to the symphonic poems. Not all listeners have found this combination convincing, and some have questioned whether Strauss’ Violin Sonata, full of volcanic fury and dense textures, is chamber music at all. Strauss’ biographer Norman Del Mar notes that “the piano part resembles nothing so strongly as a Liszt Piano Concerto, while the violin line…rather suggests a full body of strings.” The fusion of styles in Strauss’ Violin Sonata can be jarring, but this is nevertheless brilliant, exciting music. Strauss played both piano and violin, and the writing for the two instruments is virtuosic. The piano opens the Allegro, ma non troppo, and its first figure—immediately picked up the by the violin—contains the rhythmic cell that will animate the entire movement: a sixteenth-note pickup leading into a triplet. This figure, full of the rhythmic snap so typical of Strauss’ tone poems, recurs throughout the movement. The second theme soars through a range of two and a half octaves, while the third—marked appassionato—climbs into the violin’s highest register. This sonata-form movement, marked by an exceedingly active development, closes on a restatement of the first idea. The Andante cantabile was written after the outer movements were completed and published separately under the title Improvisation. It is in ABA form, with an opening section that has reminded many of Mendelssohn’s Songs Without Words. The interior sequence

is impassioned, with the violin line riding high above shimmering arpeggios of 64th-notes in the piano; Strauss quotes Schubert’s song Erlkönig in the turbulent middle section and the slow movement of Beethoven’s “Pathétique” Sonata in the coda. Nowhere does the transitional nature of this sonata appear more clearly than at the opening of the finale. After an Andante introduction that sounds as if it might have been written by Brahms, the first theme rockets upward at the Allegro, sounding very much like the great upward rush of orchestral sound at the beginning of Don Juan, written at almost the same time. The finale is much in the manner of the opening movement, with an espressivo second theme, a soaring third and a superheated development. The coda is a graceful and imaginative extension of the opening theme. Violin Sonata No. 2 in D Major, Op. 94bis

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

This sonata, probably the most popular violin sonata composed in the 20th century, was originally written for the flute. But when David Oistrakh heard the premiere on Dec. 7, 1943, he immediately suggested to the composer that it was ideal music for the violin. Together, composer and violinist prepared a version for violin and piano, and Oistrakh gave the first performance of this version on June 17, 1944. The music remains very much the same (the piano part is identical in both versions), but Prokofiev altered several passages to eliminate awkward string crossings for the violinist and added certain violinistic features impossible on the flute: pizzicatos, doublestops, harmonics. Ironically, the violin version, which profits enormously from the flexibility and range of sound of the violin, has become much more popular than the original. In contrast to the bleak First Violin Sonata (which the composer said should sound “like wind in a graveyard”), the Second Sonata is one of Prokofiev’s

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sunniest compositions. There is no hint in this music of the war raging in Russia at this time, none of the pain that runs through the earlier sonata. The third movement is quietly wistful and the music is full of Prokofiev’s characteristically pungent harmonies, but the sonata is generally serene, a retreat from the war rather than its mirror. The sonata is in the four-movement slow-fast-slow-fast sequence of the Baroque sonata. The opening Moderato, in sonata form, begins with a beautifully poised melody for the violin, a theme of classical purity. The violin also has the second subject, a singing dotted melody. Prokofiev calls for an exposition repeat, and the vigorous development leads to a quiet close on a very high restatement of the opening idea. The Presto sounds so brilliant and idiomatic on the violin that it is hard to imagine that it was not conceived originally for that instrument. This movement was in fact marked Allegretto scherzando in the flute version, but—taking advantage of the violin’s greater maneuverability—Prokofiev increased the tempo to Presto in the violin version, making it a much more brilliant movement. It falls into the classical scherzo-and-trio pattern, with two blazing themes in the scherzo and a wistful melody in the trio. The end of this movement, with the violin driving toward the climactic pizzicato chord, is much more effective in the violin version than in the original. The mood changes markedly at the Andante, which is a continuous flow of melody on the opening violin theme. The violin part becomes more elaborate as the movement progresses, but the quiet close returns to the mood of the beginning. The Allegro con brio finale is full of snap and drive, with the violin leaping throughout its range. At the center of this movement, over steady piano accompaniment, Prokofiev gives the violin one of those bittersweet melodies so characteristic of his best music. Gradually the music quickens, returns to the opening tempo, and the sonata flies to its resounding close. Program notes by Eric Bromberger

Saturday, November 3, 2012, 8 p.m.

SATURDAY, NOVEMBER 3, 2012, 8 P.M.

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Keb’ Mo’

Singer-songwriter and guitarist Keb’ Mo’s music is a living link to the seminal Delta blues that traveled up the Mississippi River and across the expanse of America, informing all of its musical roots before evolving into a universally-celebrated art form. Born Kevin Moore in Los Angeles to parents originally from the Deep South, he adopted his stage name when he was a young player

who became inspired by the force of African-American legacy. In the storied tradition of Muddy Waters (formerly McKinley Morganfield) and Taj Mahal (who began as Henry St. Clair Fredericks), Moore became known as Keb’ Mo’. His music is also a purely post-modern expression of the artistic and cultural journey that has transformed the blues, and his own point of view, over time. His distinctive sound embraces multiple eras and genres, including pop, rock, folk and jazz. Keb’ Mo’s sound owes as much to contemporary music’s singer-songwriter movement, encompassing his longtime friends and collaborators Bonnie Raitt and Jackson Browne, as to the spirit of blues godfather Robert Johnson that dwells in his work. For Keb’ Mo’, the common bond between these influences is the underlying storytelling ethic, the power of song to convey human experience and emotional weight. Keb’ Mo’ is a three-time Grammy winner for Contemporary Blues Album and was Grammy-nominated for Country Song of the Year for “I Hope,” which he co-wrote with the Dixie Chicks. His songs have been covered by B.B. King, Wynonna Judd, Joe Cocker, Buddy Guy, Robert Palmer and Tom Jones, among others. On camera he has appeared and performed music for television shows including The West Wing and Memphis Beat, and in motion pictures including

John Sayles’ Honeydripper and Martin Scorcese’s PBS special Feel Like Going Home and concert documentary Lightning in a Bottle. The Reflection is the first new studio album by Keb’ Mo’ since Suitcase in 2006. The record’s 12 songs are the product of an important period of personal and professional growth; in between albums he started a new family, moved from Los Angeles to Nashville, built a home studio and founded his own label, Yolabelle International, distributed by Ryko and the Warner Music Group. “I worked on this record for the better part of two years,” Keb’ Mo’ says of The Reflection. “It took me some time as this was an educational process for me and my engineer John Schirmer. I didn’t want to let it go until I had something that I was proud to share with the public. It’s the culmination of all of my influences throughout my career.” In sound and spirit, The Reflection is closer to the work of African American “folk soul” singer-songwriters such as Bill Withers, Bobby Womack and Terry Callier. The Reflection brings together all of Keb’ Mo’s diverse influences, from pre-disco R&B to American folk and gospel to rock and blues. Through all the changes of the past several years, Keb’ Mo’ found time to play hundreds of shows on several continents, all while writing for The Reflection. The album features notable guests including Vince Gill, India.Arie, Dave Koz and veteran session guitarist David T. Walker. Other projects Keb’ Mo’ has worked on include soundtracks for the films One Fine Day, Tin Cup, Madeline, Who Do You Love and Down in the Delta. He also worked performed “I’m So Lonesome I Could Cry” on the album Timeless, a Hank Williams tribute, and hosted The Blues, a series of 13 hour-long programs for Public Radio International. He also performed in Infinity Hall Live, a public television series that featured concerts from the historic Infinity Hall in Connecticut.

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THURSDAY, NOVEMBER 8, 2012, 8 P.M.

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“Songbirds” with Linda Eder Linda Eder, vocalist

Program to be announced from the stage Please note: The BSO does not perform on this program.

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Linda Eder

Showcasing one of the greatest contemporary voices of our time, Linda Eder’s diverse repertoire spans Broadway, standards, pop, country and jazz.

Most recently, Eder crowned her two-decade recording career with a new album, Now, which reunites Eder with Broadway and pop composer Frank Wildhorn. Eder auditioned before Wildhorn for the role of Lucy Harris in his production of Jekyll & Hyde. She appeared in that and in several other musicals by Wildhorn. Her career soared after appearing on Star Search in the 1987 season, where she won for an unprecedented 12 consecutive weeks. This TV success led to a leading role on Broadway as Lucy Harris in Jekyll & Hyde, where she was nominated for a Drama Desk Award and an Outer Critics Circle Award. Other theater credits include the musicals Svengali, The Civil War and Camille Claudel. Eder launched her recording career in 1991 with her self-titled debut album. She soon established her niche as an interpreter of pop standards and theatrical songs with such releases as And So Much More, It’s No Secret Anymore, Christmas Stays the Same, Gold, Storybook, Broadway My

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Way and By Myself: The Songs of Judy Garland. She followed up with The Other Side of Me, a country pop blend of contemporary music. She also appears on the Broadway cast recording for Jekyll & Hyde and the concept albums for The Scarlet Pimpernel, Cyrano de Bergerac and Tears of Heaven. Eder also sang the part of Wendy in the world premiere recording of Leonard Bernstein’s complete score for Peter Pan, released in 2005. In the fall of 2010 Eder released Soundtrack. The 12 tracks span the last 50 years in cinema, from Henry Mancini’s “Charade,” the title tune of the 1963 movie starring Cary Grant and Audrey Hepburn, to “Falling Slowly,” which won an Academy Award for Best Original Song in 2007 In June 2010 Eder and Clay Aiken covered Roy Orbison’s “Crying” as a duet on Aiken’s new album Tried & True. Recently she was featured on the PBS specials Tried & True and Hallelujah Broadway. The concert stage remains the mainstay of Eder’s career. She has performed for sold-out crowds and venues across the country and throughout Europe. Her concerts have been televised on Bravo and PBS. Trail Mix, her primetime Animal Planet special, was a natural extension of her love of animals. In addition, she has made frequent appearances on Late Show With David Letterman, The Rosie O’Donnell Show and Live with Regis and Kathie Lee. Eder has performed at many prestigious venues such as Carnegie Hall, the Kennedy Center, Davies Hall, Radio City Music Hall, Wolf Trap and the Ravinia Festival. Eder has collaborated with the late Academy Award-winning composer pianist Marvin Hamlisch, Tony-winner Michael Feinstein and Keith Lockhart, conductor of the Boston Pops Orchestra. Eder has cited Barbra Streisand and soprano Eileen Farrell among her inspirations, and has called Judy Garland her greatest influence.

CAROLINA PALMGREN

Thursday, November 8, 2012, 8 p.m.

Friday, November 9, 2012, 8:15 p.m.

FRIDAY, NOVEMBER 9, 2012, 8:15 P.M.

Program Notes

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Symphony No. 5 in C Minor

Ludwig van Beethoven

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Off the Cuff: Beethovenâ&#x20AC;&#x2122;s Fifth Marin Alsop, conductor

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DEAN ALEXANDER

Marin Alsop, conductor Hailed as one of the worldâ&#x20AC;&#x2122;s leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural 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 Orchestra in the U.K., where she served as the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award.

In 2008, she was inducted as a fellow into the American Academy of Arts & Sciences, and in 2009 Musical America named her Conductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In February 2011, Alsop was named the music director of the Orquestra SinfĂ´nica do Estado de SĂŁo Paulo, or the SĂŁo Paulo Symphony Orchestra, effective for the 2012-13 season. And in March 2011, Alsop was named to The Guardianâ&#x20AC;&#x2122;s Top 100 Women list. She was also named an artist-in-residence at the Southbank Centre in London in 2011. Alsop is a regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra and London Symphony Orchestra. Alsop attended Yale University and received her masterâ&#x20AC;&#x2122;s degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.

For many generations, Beethovenâ&#x20AC;&#x2122;s Fifth has defined the symphonic experience in the popular imagination, just as Hamlet stands for classical drama and Swan Lake for the ballet. It established the dramatic scenario of the symphony as a heroic progression from tragedy to triumphâ&#x20AC;&#x201D;and musically here from the minor mode to the majorâ&#x20AC;&#x201D;that was imitated by countless later composers from Brahms to Shostakovich. Europe was a troubled place when Beethoven wrote this work. The Napoleonic Wars surged across Europe, and the martial tone of many of the Fifthâ&#x20AC;&#x2122;s themes and the prominent role for trumpets and timpani reflected a society constantly on military alert. And, until Napoleonâ&#x20AC;&#x2122;s defeat in 1815, Beethoven lived on the losing side. In July 1807, when he was in his most intense phase of work on the Fifth, the signing of the Treaty of Tilsit brought a temporary truce in favor of the French emperor, with the capitulation of Prussia and the cession of all lands between the Rhine and Elbe to France. This humiliation stimulated an uprising of patriotic feeling among the German-speaking countries, and Beethoven shared in this fervor. Thus, it is not surprising that the triumphant song of the Fifthâ&#x20AC;&#x2122;s finale seems as much a military victory as a spiritual one. Beethoven himself gave the description of the four-note motive that pervades the first movement:â&#x20AC;&#x153;Thus Fate knocks at the door!â&#x20AC;? This is the most famous of the pithy rhythmic ideas that animated many of Beethovenâ&#x20AC;&#x2122;s middle-period masterpieces; its dynamism as entrance is piled upon entrance drives this movement on its relentless course. Beethoven pauses for breath only briefly as the violins introduce a gentler, more feminine second theme, and more tellingly later as the solo oboe interrupts the recapitulation of the Fate

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themeâ&#x20AC;&#x201D;brought back with pulverizing power by the entire orchestraâ&#x20AC;&#x201D;with a plaintive protest of a mini-cadenza. The second movement might be called Beethovenâ&#x20AC;&#x2122;s War and Peace. In an original treatment of the double-variations form devised by Haydn (two different themes alternating in variations), he mixes variants on a peaceful, pastoral melody with episodes of martial might in C major that foretell the victory to come. Ultimately, even the pastoral music is trumpeted forth in military splendor. The movement closes with a haunting, visionary coda. E.M. Forsterâ&#x20AC;&#x2122;s novel Howardâ&#x20AC;&#x2122;s End contains one of the most eloquent passages ever about classical music as it describes the Fifthâ&#x20AC;&#x2122;s quirkily ominous scherzo. â&#x20AC;&#x153;The music started with a goblin walking quietly over the universe, from end to end. Others followed him. They were not aggressive creatures; it was that that made them so terrible to Helen. They merely observed in passing that there was no such thing as splendour or heroism in the world.â&#x20AC;? Horns respond to the cello goblins with a military fanfare derived from the Fate motive. After the comical trio section in which Beethoven asks double basses to be agile melodists (a feat beyond playersâ&#x20AC;&#x2122; capacities in his period though not today), the goblins return, even more eerily in bassoons and pizzicato strings. Then ensues one of Beethovenâ&#x20AC;&#x2122;s greatest passages: a dark, drum-filled journey groping toward the light. The music finally emerges into Cmajor daylight with the finaleâ&#x20AC;&#x2122;s joyful trumpet theme. Here for the first time in a symphony, Beethoven adds the power of three trombones, plus contrabassoon and the military skirl of piccolo. This is the grandfather of all symphonic triumphant endings and remains the most exhilarating and convincing. In a masterstroke, Beethoven brings back the scherzo music to shake us from any complacency. Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani and strings. Notes by Janet E. Bedell copyright 2012

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 +POBUIBO $BSOFZ Concertmaster, Ruth Blaustein Rosenberg Chair .BEFMJOF "ELJOT Associate Concertmaster, Wilhelmina Hahn Waidner Chair *HPS :V[FGPWJDI Assistant Concertmaster 3VJ %V Acting Assistant Concertmaster +BNFT #PFIN ,FOOFUI (PMETUFJO 8POKV ,JN (SFHPSZ ,VQFSTUFJO .BSJ .BUTVNPUP +PIO .FSSJMM (SFHPSZ .VMMJHBO 3FCFDDB /JDIPMT & $SBJH 3JDINPOE &MMFO 1FOEMFUPO 5SPZFS "OESFX 8BTZMVT[LP Second Violins 2JOH -J Principal, E. Kirkbride and Ann H. Miller Chair *WBO 4UFGBOPWJD Assistant Principal -FPOJE #FSLPWJDI -FPOJE #SJTLJO +VMJF 1BSDFMMT $ISJTUJOB 4DSPHHJOT 8BZOF $ 5BZMPS +BNFT 6NCFS $IBSMFT 6OEFSXPPE .FMJTTB ;BSBZB Violas 3JDIBSE 'JFME Principal, Peggy Meyerhoff Pearlstone Chair /PBI $IBWFT Associate Principal ,BSJO #SPXO Acting Assistant Principal 1FUFS .JOLMFS

30 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

4IBSPO 1JOFP .ZFS %FMNBS 4UFXBSU +FGGSFZ 4UFXBSU .BSZ 8PFIS Cellos %BSJVT[ 4LPSBD[FXTLJ Principal $IBOH 8PP -FF Associate Principal #P -J Acting Assistant Principal 4FUI -PX 4VTBO &WBOT &TUIFS .FMMPO ,SJTUJO 0TUMJOH Paula 4LPMOJDL $IJMESFTT Basses 3PCFSU #BSOFZ Principal, Willard and Lillian Hackerman Chair )BNQUPO $IJMESFTT Associate Principal 0XFO $VNNJOHT "SOPME (SFHPSJBO .BSL )VBOH +POBUIBO +FOTFO %BWJE 4IFFUT &SJD 4UBIM Flutes &NJMZ 4LBMB Principal, Dr. Clyde Alvin Clapp Chair .BSDJB ,Ă&#x160;NQFS Piccolo -BVSJF 4PLPMPGG Oboes ,BUIFSJOF /FFEMFNBO Principal, Robert H. and Ryda H. Levi Chair .JDIBFM -JTJDLZ English Horn +BOF .BSWJOF Kenneth S. Battye and Legg Mason Chair

Clarinets 4UFWFO #BSUB Principal, Anne Adalman Goodwin Chair $ISJTUPQIFS 8PMGF Assistant Principal 8JMMJBN +FOLFO Bass Clarinet &EXBSE 1BMBOLFS E-flat Clarinet $ISJTUPQIFS 8PMGF Bassoons Fei Xie Principal +VMJF (SFFO (SFHPSJBO Assistant Principal &MMFO $POOPST Contrabassoon %BWJE 1 $PPNCT Horns 1IJMJQ .VOET Principal, USF&G Foundation Chair (BCSJFMMF 'JODL Associate Principal #FUI (SBIBN Assistant Principal .BSZ $ #JTTPO #SVDF .PPSF Trumpets "OESFX #BMJP Principal, Harvey M. and Lyn P. Meyerhoff Chair 3FOF )FSOBOEF[ Assistant Principal 5IPNBT #JUIFMM Trombones $ISJTUPQIFS %VEMFZ Principal, Alex. Brown & Sons Chair +PTFQI 3PESJHVF[ Acting Principal +BNFT 0MJO Co-Principal +PIO 7BODF Bass Trombone 3BOEBMM 4 $BNQPSB

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1 0 T H A NNIV ER S ARY S AP P HI R E E X I B I T I O N Carol Trawick and the Bethesda Arts & Entertainment District invite you to The Trawick Prize: Bethesda Contemporary Art Awards 10th Anniversary Sapphire Exhibition featuring Best in Show winners from the past 10 years.

Featured Artists Lillian Bayley Hoover Richard Cleaver

November 3 – December 1, 2012

Mia Feuer

Gallery Hours: Wednesday-Saturday, 12-6pm

Jiha Moon

Gallery B – 7700 Wisconsin Avenue, Suite E, Bethesda, MD

David Page

Opening Reception Friday, November 9, 6-9pm

Maggie Michael

James Rieck Jo Smail René Treviño

For more info, please call 301/215-6660 or visit www.bethesda.org.

Saturday, November 10, 2012, 8 p.m.

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Prokofiev: Beyond Peter and the Wolf Victoria Gau, conductor Brian Ganz, piano Magdalena WĂłr, mezzo-soprano National Philharmonic Chorale

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32 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Victoria Gau, conductor

Lauded by critics for her â&#x20AC;&#x153;strong sense of style and dramaâ&#x20AC;? and her â&#x20AC;&#x153;enthusiastic and perceptive conducting,â&#x20AC;? National Philharmonic Associate Conductor Victoria Gau is also artistic director and conductor of the Capital City Symphony. She is the former conductor and music director of the Richmond Philharmonic Orchestra. Gau is a familiar face in the Washington 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 include the Akron (Ohio) Symphony and the Kennedy Center Messiah Sing-Along. She is in demand as a conductor and string educator at youth orchestra festivals and workshops and has been conductor of the Young Virtuosi Chamber Orchestra of the D.C. Youth Orchestra Program, the Akron Youth Symphony and assistant conductor of the Northern Ohio Youth Orchestra.

Brian Ganz, piano

Brian Ganz is widely regarded as one of the leading pianists of his generation. A laureate of the Marguerite Long Jacques Thibaud and the Queen Elisabeth of Belgium International piano competitions, Ganz has appeared as 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. Ganz has embarked on a multi-year project with the National Philharmonic in which he will perform the complete works of Chopin. The inaugural recital featured solo works of

GAU AND GANZ PHOTOS BY MICHAEL VENTURA

SATURDAY, NOVEMBER 10, 2012, 8 P.M.

Saturday, November 10, 2012, 8 p.m.

the romantic composer. Future recitals will include all the chamber works and songs as well as the complete solo works. Ganz has performed the Grieg piano concerto with the National Philharmonic and Music Director Piotr Gajewski, and Beethoven with the National Symphony of Costa Rica under the baton of Mykola Diadiura.

Magdalena Wór, mezzo-soprano

Magdalena Wór is the first place winner of the Heinz Rehfuss Vocal Competition (2005), a Metropolitan Opera Competition national finalist (2002) and a winner of the Mozart Society of Atlanta Competition. She also is an alumna of the San Francisco Opera’s Merola Summer Opera Program, Chautauqua Music Institution’s Marlena Malas Voice Program and St. Louis Opera Theatre’s Gerdine Young Artist Program. Wór was a member of the Domingo-Cafritz Young Artist Program at the Washington National Opera from 2006 to 2008. She has recently appeared with the Metropolitan Opera, National Symphony Orchestra, Atlanta Symphony Orchestra and New Trinity Baroque.

Program Notes Suite from the film Lieutenant Kijé, Op. 60

Sergei Prokofiev

MAGDALENA MOULSON

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

Sergei Prokofiev, a 20th century Russian composer, lived and worked in the West as well as in his homeland. He was born in a remote Ukrainian village, where his agronomist father worked as manager of a large estate, and his mother gave him his first music lessons. Later, he studied at the Conservatory in St. Petersburg and became a brilliant pianist. After the

Russian Revolution, Prokofiev came to America; after some time, he settled in Paris, where he was an influential figure, until his return to Russia in 1933. Of his homecoming to Russia, Prokofiev wrote, “Foreign air does not suit my inspiration because I am a Russian, and that is to say the least suited of men to be an exile, to remain myself in a psychological climate that is not of my race.” Prokofiev’s first major work after going back to Russia was the score for the film Lieutenant Kijé, written after years of self-imposed exile in the West. Prokofiev had passed through Hollywood during his time in the States, and there had learned much about the process of film making. He was able to draw on what he had learned in Lieutenant Kijé, a satirical comedy set in the reign of the half mad Czar Paul I, from 1796 to 1801. In the film, an imaginary soldier, Lieutenant Kijé, is created when the Russian czar misread a smudged name on one of his aide’s reports of his men. Since the courtiers do not dare to find their despotic ruler wrong, out of fear they create a persona and fabricate an entire life history for him. They invent a name constructed of the syllable ki, which ended the aide’s name, and a Russian expletive ji. Later, the czar and his clerk believe they have come upon an account of the bravery of a Lieutenant Kijé, even though no such person exists. When the czar asks that the mythical hero be presented to him at court, the courtiers realize that they have let things go too far, so they report that he has died in battle. Prokofiev composed some of his most charming and witty music for this suite, and, in 1934, he arranged a five movement suite from the film. It was first performed on Feb. 20, 1937, in Paris, with the composer conducting. The suite opens with a distant trumpet call and a little march that announces “The Birth of Kijé.” A contrasting lyrical theme is Kijé’s musical motto. It is repeated again later. The second movement, “Romance,” is

based on an old Russian ballad, “The Little Gray Dove is Cooing.” In it, the fictional lieutenant falls in love. It exists in two versions; a baritone sings one; the other is a purely orchestral setting with double bass and tenor saxophone solos. The third movement depicts “Kijé’s Wedding,” including the pomp of ceremony of the fake wedding the administrators arrange, as well as the festivities in a tavern afterwards, and leads directly into the fourth, a “Troika Song,” that may be either sung or played. The rhythms and the bells of a three-horse sleigh accompany the rollicking song about the fickleness of women. The trumpet call is heard again, introducing the last movement, “The Burial of Kijé.” This movement sums up the hero’s brief, but colorful, existence by recalling fragments of themes heard earlier. The music’s character is one of mock sadness for the death of the non-existent lieutenant; it culminates in the trumpet sounding faintly from far away as Kijé is laid quietly to rest. The score calls for an orchestra of piccolo, two flutes, two oboes, two clarinets, two bassoons, tenor saxophone (where there is no vocal soloist), four horns, two trumpets, three trombones, tuba, cornet, bass drum, military drum, cymbals, triangle, tambourine, sleigh bells, celesta, piano, harp and strings. Concerto for Piano and Orchestra No. 3 in C Major, Op. 26

Sergei Prokofiev Prokofiev accumulated ideas for this concerto over a period of years. Some originated as early as 1911, but he did not plan the work as a whole until 1917, a year of intense creative activity, in which he also worked on his Violin Concerto No. 1, the Classical Symphony; two piano sonatas; and the opera, The Love of Three Oranges. In 1918, he was allowed to leave Russia for a long trip across Asia and the Pacific Ocean to the United States and, eventually, to Western Europe.

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 33

Saturday, November 10, 2012, 8 p.m.

He finished the concerto in France in October 1921, and on Dec. 16, he was the soloist in the first performance with the Chicago Symphony Orchestra. Piano Concerto No. 3 was a success in Chicago, with public and press, but failed in New York 10 days later. It soon made its way to London and Paris, however, and even to Moscow. Since then, it has become one of the most popular of the 20th century piano concertos. Alfred Frankenstein, the distinguished critic, who, as a young man, was present at the concerto’s American premiere, wrote more than 40 years later, “To hear Prokofiev play the piano was an utterly shattering experience. The piano seemed to bend and sway under the impact of Prokofiev’s assault, and, yet, his playing was monumental in its clarity and in the sharp, steely planes of sound. He created the pianistic style of the 20th century— a classically inspired style, in keeping with the character of the music, but one which over-whelmed the listener with its elemental force.” The first movement begins with a slow introduction, Andante, in which a solo clarinet presents a lyric melody that will be transformed into the two contrasting subjects of the Allegro main section. The first subject is vigorously athletic, while the second may be interpreted as either witty or grotesque, but Prokofiev also returns, in the course of the movement, to the opening clarinet theme, to be sure that the listener not forget it. The second movement presents a march-like theme, Andantino, a series of five inventive variations on it, and a coda in which the theme is restated. The last movement is a brilliant scherzo-finale, Allegro ma non troppo, constructed, like the first, on the classical principle of contrast between two themes. The Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, cornet, two trumpets, three trombones, timpani, cymbals, tambourine, castanets and strings.

National Philharmonic Orchestra and Chorale First Violins Justine Lamb-Budge, Concertmaster Jody Gatwood, Concertmaster emeritus Brenda Anna Michael Barbour Eva Cappelletti-Chao Maureen ConlonDorosh Claudia Chudacoff Lisa Cridge Doug Dubé Lysiane Gravel-Lacombe 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 Oboes Mark Hill, Principal

34 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

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 Ying-Ting Chiu Contrabassoon Nicholas Cohen French Horns Michael Hall, Principal Mark Wakefield Justin Drew Mark Hughes Ken Bell Trumpets Chris Gekker, Principal Robert Birch 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 Nancy Dryden Baker Marietta R. Balaan Kelli Bankard Ahdia Bavari Mary Bentley* Jocelyn Bond Cheryl Branham Rosalind Breslow Dara Canzano Rebecca Carlson** Anne P. Claysmith Nancy A. Coleman** Victoria Corona Eileen S. DeMarco Lauren Drinkwater Alejandra Durán-Böhme Lisa Edgley Amy Ellsworth Shirley J. Fan Sarah B. Forman Caitlin A. Garry Debbie Henderson Julie Hudson Robyn Kleiner Carrie Henderson Jessica Holden Kloda Stephanie Link Kaelyn Lowmaster Sharon Majchrzak-Hong

Anaelise Martinez Kathryn McKinley Sara W. Moses Katherine NelsonTracey* Mary Beth Nolan Gloria Nutzhorn Juliana S. O’Neill Lynette Posorske Maggie Rheinstein Carlotta Richard Lisa Romano Theresa Roys Aida L. Sánchez Katherine Schnorrenberg Shelly A. Schubert Michelle Strucke Carolyn J. Sullivan Chelsea Toledo Ellen van Valkenburgh Susanne Villemarette Louise M. Wager Amy Wenner Emily Wildrick Alison Williams Lynne Woods Altos Marsha Adler Helen R. Altman Sybil Amitay Lynne Stein Benzion Carol Bruno Erlinda C. Dancer Sandra L. Daughton Jenelle M. Dennis Corinne Erasmus Robin Fillmore Shannon Finnegan Elissa Frankle Francesca Frey-Kim Maria A. Friedman Julia C. Friend 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 Alexandra Kemp Irene M. Kirkpatrick Martha J. Krieger** Melissa J. Lieberman* Julie S. MacCartee Nansy Mathews Caitlin McLaughlin Susan E. Murray Daryl Newhouse Martha Newman Patricia Pillsbury Patricia Pitts Elizabeth Riggs Beryl M. Rothman Lisa Rovin Jan Schiavone Deborah F. Silberman Elizabeth Solem Lori J. Sommerfield Carol A. Stern Pattie Sullivan-Sten Bonnie S. Temple Renée Tietjen Susan Trainor Virginia Van Brunt Christine Vocke Sarah Jane Wagoner**

Tenors Kenneth Bailes Philip Bregstone J.I. Canizares Colin Church Spencer Clark Gregory Daniel Paul J. DeMarco Ruth W. Faison* Greg Gross Carlos A. Herrán Dominick Izzo Don Jansky Curt Jordan Tyler A. Loertscher Ryan Long Jane Lyle David Malloy Michael McClellan Chantal McHale Eleanor McIntire Wayne Meyer* Tom Milke Carl Morgan Tom Nessinger Steve Nguyen Anita O’Leary E.J. Pavy Joe Richter Drew Riggs Jason Saffell Robert T. Saffell Dennis Vander Tuig Basses Russell Bowers Albert Bradford Ronald Cappelletti Pete Chang Dale S. Collinson Stephen Cook Clark V. Cooper Bopper Deyton J. William Gadzuk Robert Gerard Mike Hilton Chun-Hsien Huang John Iobst William W. Josey** Allan Kirkpatrick Ian Kyle Jack Legler Larry Maloney Ian Matthews Alan E. Mayers Dugald McConnell David J. McGoff Kent Mikkelsen* John Milberg** Oliver Moles Mark Nelson Leif Neve Devin Osborne Tom Pappas Anthony Radich Harry Ransom, Jr. Edward Rejuney* Frank Roys Kevin Schellhase Harold Seifried Charles Serpan Carey W. Smith Charles Sturrock Alun Thomas Donald A. Trayer Wayne R. Williams Theodore Guerrant, Accompanist, Theodore M. Guerrant Chair * section leader ** asst. section leader

Saturday, November 10, 2012, 8 p.m.

Alexander Nevsky Cantata, Op. 78

Sergei Prokofiev In 1938, five years after Prokofiev had finished the score for the film Lieutenant Kijé, Eisenstein, the greatest of Russian film directors, suggested collaborating on a film that would tell the tale of the Russian defense in 1242 of Novgorod against the invading Teutonic knights. Many film scholars consider the result of that collaboration, Alexander Nevsky, one of the best films ever made, unmatched in its ability to join pictures with music. Writing of the composer, Eisenstein said, “The Prokofiev of our time is a man of the screen...in that special sense which makes it possible for the screen to reveal not only the appearances and subjects of objects, but also, and particularly, their special inner structure. Having grasped this structural secret of all phenomena, he clothes it in the tonal camera angles

of instrumentation, compelling it to gleam with shifts in timbre, and forces the whole inflexible structure to blossom into the emotional fullness of orchestration.” The national epic of Russia follows the invading German knights, who were originally an order of crusaders, and who periodically overran Eastern Europe, cruelly slaughtering thousands of people. This time, the Russian people called upon Prince Alexander Yaroslavich Nevsky to lead them against the enemy as he had against the Swedes two years before. Nevsky, who took his name from the Neva River on whose banks he had defeated the Swedes, organized a large troop of militia to supplement the regular Army. On April 5, 1242, the people of Novgorod met the Germans on the ice of Lake Chud, near Pskov. In a fierce battle, they drove the Germans onto the ice, which broke underneath them and drowned the invading horde. An enormous success in the Soviet

Union, the film was to have an unusual history as the actual events in the Soviet Union developed in the late 1930s and early 1940s. The Soviet dictator, Stalin, was not displeased to have comparisons made between Nevsky and himself. However, when the U.S.S.R. and Germany signed a nonaggression pact, just nine months after the premiere, the film was withdrawn from distribution. The pact was short-lived and ended in June 1941, after which Alexander Nevsky was once again welcomed on the movie screens of the country in which it was set, serving as a rallying point against yet another German invasion, 700 years after the one portrayed on film. The Cantata has seven sections: “Russia Under the Mongolian Yoke;” “Song About Alexander Nevsky;” “The Crusaders in Pskov;” “Arise, Ye Russian People;” “The Battle on the Ice;” “Field of the Dead;” and “Alexander’s Entry into Pskov.” Copyright Susan Halpern, 2012

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Introducing Nathan Pacheco

It’s a

Celebration! The November/December issue of Bethesda Magazine marks our

Nathan Pacheco

50th edition.

Join us as we revisit the captivating people and moments that we’ve featured throughout the years

You don’t want to miss this issue! On newsstands October 26

bethesdamagazine.com

After making waves with the Voices project in 2009, rising vocal superstar Nathan Pacheco now takes the spotlight with his self-titled debut Disney Pearl album. Produced by Leo Z (Josh Groban, Andrea Bocelli, and Tom Hanks’ “Electric City”), the album showcases Pacheco’s remarkable versatility. Over the 12 tracks, he sings in four languages and multiple genres, from pop to folk to opera. From the opening track, “Avatar,” which he co-wrote, Pacheco’s warm, passionate vocals convey tales of love, hope and glory. With his opera background, Italian comes naturally to Pacheco, as is clear in ballads “Infinito Amore,” “Caruso” and “La Scelta.” Keeping things Mediterranean, Pacheco sings “Perdona” and “Oyela,” both performed in Spanish, as well

36 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

as the lilting “Que L’Amour,” sung in French. He also does a soaring rendition of “Now We Are Free,” from the 2001 Oscar-winning film Gladiator. The Washington, D.C. native grew up listening to classic American pop. Pacheco developed a love for music as a child. His mother, a piano teacher, started Pacheco early on with piano and violin lessons. Though basketball was his focus for a while, by high school he was a serious student of voice. There were other artists he loved— The Three Tenors, Andrea Bocelli and Josh Groban, each pioneers in pop-classical fusion. During his vocal studies at Brigham Young University he contemplated a similar path. After a mission to Brazil, the ancestral home of his grandfather, and a study-abroad program in Italy, Pacheco met with producer Ric Wake, who sought talented singers for a new project with Yanni. The audition led to him and three other singers writing, recording and ultimately performing 80 concerts across the U.S., Canada and Mexico. That whirlwind led Pacheco to sign with Disney Pearl. His album was then recorded in Los Angeles and at London’s Air Lyndhurst Studios with The London Philharmonic Orchestra. Pacheco appears in two new PBS concert specials, taped at Santa Monica’s Broad Theater, Introducing Nathan Pacheco: Live In Concert and Nathan Pacheco: Christmas, which airs in December.

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Rita

Known to the world simply as Rita, Rita Yahan-Foruz emigrated from Iran to Israel in 1970 at age 8, and 15 years later became the most successful singer in the country. In 2008, after 25 years in the business, she was named “top female singer in the past 60 years” during a special countdown for Israel’s 60th anniversary. Not only is she a huge star in Israel, Rita’s voice has also won her international acclaim, with appearances across the globe. Her debut album was released in 1987 and went triple platinum, after which she launched her first international release, Breaking Those Walls, which sold more than 50,000 copies. Rita’s career went into overdrive in the early 1990s after she released her version of The Police song “Roxanne,” selling more than 140,000 copies. Throughout the 1990s Rita took to the stage thousands of times at

festivals and for Jewish communities worldwide, and released multiplatinum albums. However it wasn’t until the year 2000 that she was to release another international album, Time for Peace. During the rest of the 2000s Rita toured Israel extensively and, with Rami Kleinstein, released a new live album that went triple platinum. Rita also decided to bring a different kind of entertainment experience to Israel. Her show, One, was a musical cabaret featuring dozens of dancers and acrobats, and attracted audiences of more than 90,000. Over the years, Rita has performed with many orchestras including the Israel Philharmonic Orchestra, the Ra’anana Symphonette and the Belgrade Philharmonic. In 2010 Rita was the closing act for the Israeli stand at the Shanghai world expo, where she performed to the delight of her many enthusiastic Chinese fans. In 2011 she represented Israel at the Istanbul Jazz Festival. In recent years, Rita felt the need to reconnect with the Persian music of her childhood. To this end she performed with the Israeli band The Mind Church and produced “Stop the Pain,” a song based on a traditional Iranian song. Rita also recently completed a world music-oriented album called My Joys. The album was released in December 2011, and had its debut at Tel Aviv’s Hangar 11 to an ecstatic audience including many from the Persian community.

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APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 37

FRIDAY, NOVEMBER 16, 2012, 8 P.M.

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Olivia Newton-John 5IF .VTJD $FOUFS BU 4USBUINPSF .BSSJPUU $PODFSU 4UBHF

Olivia Newton-John

With a career spanning more than four decades, Olivia Newton-John shows that she is still a vibrant, creative individual who is adored by fans across the world. Born in Cambridge, England in 1948, Newton-John and her family moved to Melbourne, Australia when she was 5. By age 15 she had formed an all-girl group called Sol Four. Later that year she won a talent contest that earned her a trip to London. By 1963, NewtonJohn was appearing on local daytime TV shows and weekly pop music programs in Australia. Her first single,a version of Jackie DeShannon’s “Till You Say You’ll Be Mine,” was cut in 1966. In 1971, she recorded a cover of Bob Dylan’s “If Not

For You,” co-produced by John Farrar, whom she continues to collaborate with today. Newton-John’s U.S. album debut, Let Me Be There, produced her first top 10 single; she was honored by the Academy Of Country Music as Most Promising Female Vocalist and received a Grammy Award for Best Country Vocalist. With more than 100 million albums sold, Newton-John’s successes include four Grammy Awards and numerous Country Music, American Music and Peoples Choice awards. Her 10 No. 1 hits include “Physical,” which topped the charts for 10 consecutive weeks, and she also has had more than 15 top 10 singles. In 1978, Newton-John’s co-starring role with John Travolta in Grease and the film’s best-selling soundtrack catapulted her into superstardom. Other film credits include Toomorrow, Xanadu, Two Of A Kind, It’s My Party, Sordid Lives, Score: A Hockey Musical and A Few Best Men. Newton-John overcame a battle with breast cancer in the 1990s and was inspired to write and produce the album GAIA. Her personal triumph over cancer led her to announce her partnership with Austin Health and the creation of the Olivia Newton-John Cancer and Wellness Centre on the Austin Campus in Melbourne. In April 2008, Newton-John led a team of cancer survivors, celebrities and

38 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Olympians on a trek along the Great Wall of China and raised more than $2 million toward treating cancer. A companion CD, Olivia Newton-John & Friends: A Celebration In Song, features duets with Keith Urban, Delta Goodrem, Sir Cliff Richard, Richard Marx, Amy Sky and Barry Gibb. Newton-John earned an Emmy Award in 1999 for her songwriting and returned to work as a touring performer, touring for the first time in 17 years. Her 2007 holiday recording, Christmas Wish, features both new and classic holiday favorites and duets with Barry Manilow, Michael McDonald, David Foster and Jon Secada. In 2007, Newton-John premiered her first concert special for public television—Olivia Newton-John: Live From Sydney! was filmed at the historic Sydney Opera House with the Sydney Symphony Orchestra. A DVD of the performance was released in January 2008. Newton-John’s other projects include appearing in two episodes of the television show, Glee and starring in the breast cancer docudrama 1 A Minute. She also has written the 2011 book LivWise: Easy Recipes For A Healthy, Happy Life. In LivWise, Newton-John explains her belief in the importance of eating a healthy diet in order to maintain wellness and balance. She also appears in and recorded music for the 2011 film A Few Best Men. Newton-John also is active in humanitarian causes. She has served as goodwill ambassador to the United Nations Environment Programme and was a national spokeswoman for the Colette Chuda Environmental Fund / Children’s Health Environmental Coalition. Newton-John has also launched Liv Aid, a breast self-examination aid that helps women perform breast self-exams correctly. Newton-John also has created Gaia Retreat & Spa in Byron Bay, New South Wales, Australia, which she opened with business partners in 2005. She also has launched Koala Blue, a line of Australian wines that she created with friend and business partner Pat Farrar.

MICHELLE DAY

Friday, November 16, 2012, 8 p.m.

Saturday, November 17, 2012, 8 p.m.

SATURDAY, NOVEMBER 17, 2012, 8 P.M.

director of the Orquestra SinfĂ´nica do Estado de SĂŁo Paulo, or the SĂŁo Paulo Symphony Orchestra, effective for the 2012-13 season. Alsop attended Yale University and received her masterâ&#x20AC;&#x2122;s degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.

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Lyrical Dvo!ĂĄk & Brahms

Denis Kozhukhin, piano

Marin Alsop, conductor Denis Kozhukhin, piano

Symphony No. 8 in G Major, Op. 88 "MMFHSP DPO CSJP

AntonĂn Dvo!ĂĄk

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Piano Concerto No. 2 in B-flat Major, Op. 83

Johannes Brahms

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Marin Alsop, conductor

Hailed as one of the worldâ&#x20AC;&#x2122;s leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural 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 Orchestra in the

U.K., where she served as the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Alsop was named a MacArthur Fellow, the first conductor ever to receive this award. In 2007, she was honored with a European Women of Achievement Award. In 2008, she was inducted as a fellow into the American Academy of Arts & Sciences, and in 2009 Musical America named her Conductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In February 2011, Alsop was named the music

Denis Kozhukhin won first prize in the Queen Elisabeth Music Competition in 2010 and was the winner of the 2009 Vendome Prize. He studied with Dmitri Bashkirov, and subsequently with Kirill Gerstein, and has appeared at many of the most prestigious concert halls worldwide. Recent highlights have included the complete cycle of Prokofiev piano concertos with the BBC Scottish Symphony Orchestra, working with Jun Maerkl, Xian Zhang, Lan Shui, Ludovic Morlot and Martyn Brabbins; and visits to the St. Petersburg Philharmonic, Bournemouth Symphony, Orchestre National de Lille, Luxembourg Philharmonic and Netherlands Philharmonic. Concerto highlights of the 2012-13 season include engagements with the Vienna Symphony, Baltimore Symphony, Seattle Symphony, Yomiuri Nippon Symphony, St. Petersburg Philharmonic and Royal Liverpool Philharmonic orchestras. Kozhukhin is making his BSO debut.

Program Notes Symphony No. 8 in G Major

AntonĂn Dvo!ĂĄk

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

Even after he had become an internationally famous composer, Dvo!ĂĄk remained close to his Bohemian roots:

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 39

Saturday, November 17, 2012, 8 p.m.

“a simple Czech musician” in his own words. The son of a small-town innkeeper and butcher, and originally destined for a butcher’s career himself, he remained largely unaffected by his fame. When his compositions had earned him some financial security, he used his money not for a grand townhouse in Prague, but to purchase a small farm in rural Vysoká. Here, he soaked up the beauties and rhythms of the Czech countryside during the summer months, raised pigeons and composed much of his mature music, including the Symphony No. 8. His mentor, Johannes Brahms, repeatedly urged him to move to Vienna, the capital of European music, as well as of the Austro-Hungarian Empire, but Dvo!ák always refused. Brahms had persuaded his Viennese publisher Simrock to take on Dvo!ák’s music in the 1870s. But by the late 1880s when the Symphony No. 8 was written, relations between Dvo!ák and Simrock were becoming strained. The firm urged him to keep writing his popular Slavonic Dances and other shorter, lighter pieces, which they claimed were more lucrative than his symphonies and concertos. For his Symphony No. 8, they offered an insultingly low price, one-third of the fee for his Symphony No. 7. By then hugely popular in England, however, Dvo!ák was able to sell his new symphony to the London publisher Novello for a more attractive fee. Composed between August and November 1889 and premiered on Feb. 2, 1890, under the composer’s baton in Prague, the Symphony No. 8 reflects the world of Vysoká and of Czech folk song and dance. After his rather Germanic No. 7, Dvo!ák wrote that he wanted to create something “different from the other symphonies, with individual thoughts worked out in a new way.” In the first, second and fourth movements of No. 8, he used freer forms and a flexible mixing of major and minor modes to produce marvelous shadows and nuances in a fundamentally happy work. No. 8 is also the most melodious of his symphonies and wonderfully orchestrated, with the woodwind and string

sections used throughout as contrasting color families. The first movement begins with a short introduction. Cellos, reinforced by clarinets, bassoons and horns, sing a gently melancholy theme in the minor. Then a piping-birdsong flute idea opens the main Allegro section in G major, and the orchestra gathers its forces in an exciting crescendo. Divided violas and cellos introduce a stately repeatednote theme, and the orchestra bursts into vivacious life. This unconventional, yet highly effective, opening could be a portrait of daybreak in the Czech countryside, with the flute-bird greeting the first rays of the sun and then daylight flooding the landscape as man and beast awaken to bustling activity. A second, more lyrical group of themes opens with a rocking melody in the violins, followed by an upward-leaping tune for woodwinds. The development section, launched by the flute birdcall, is full of rustic -at mosphere and wit, rather than heavybreathing dramatics. At its close, trumpets blaze forth the opening cello theme, giving it an altogether new character. The much-compressed recapitulation flows into an exuberant closing coda. An atmospheric mood piece, the Adagio second movement weaves between minor and major, lightheartedness and a sense of sadness, even tragedy. It opens in C minor with a dark, yearning melody in the strings, punctuated by more woodwind birdcalls. Then the picture brightens to C major, and solo oboe and flute sing a soaring, idyllic tune above delicate down-rushing strings; this section gradually grows weightier and more passionate. After a reprise of the opening music, horns introduce a tragic mood to funeralmarch-like blows on the timpani. An airy coda gathers together all the contrasting emotional colors of this subtle movement. A delicately soaring waltz in G minor forms the third movement, surrounding a bucolic trio section in G major led by the woodwinds. So fertile are his powers of melodic invention that Dvo!ák even throws in a brand-new folk dance in

40 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

duple meter to wrap up the movement. A trumpet fanfare opens the finale, which is, in Michael Steinberg’s words, a series of “footloose variations” on a warm, folksy theme introduced by the cellos. The most striking variations come in an exotic, earthy section in C minor, reminiscent of some of Dvo!ák’s Slavonic Dances. Toward the end, the tempo keeps accelerating as the whole orchestra—but the whooping horns most of all—cut loose in an uninhibited dance of joy. Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings. Piano Concerto No. 2 in B-flat Major

Johannes Brahms Born May 7, 1833 in Hamburg, Germany; died April 13, 1897 in Vienna, Austria

In April 1878, Johannes Brahms decided to treat himself to a vacation in Italy. And, like many travelers before and since, he fell in love with this land of sunshine, good living and even greater art, and would return there eight more times. To his longtime friend, the celebrated pianist Clara Schumann, he penned a “wish you were here” letter: “How often do I not think of you, and wish that your eye and heart might know the delight which the eye and heart experiences here! If you stood for only one hour in front of the facade of the Cathedral of Siena, you would be overjoyed. …On the following day, in Orvieto, you would be forced to acknowledge that the cathedral there was even more beautiful; and after all this to plunge into Rome is a joy beyond words…” Though his eyes were dazzled by what he saw in Italy, the composer found little in Italian music to please his German ears. But the rich visual stimulation did indeed inspire a new work, which would eventually become his Piano Concerto No. 2. In July 1881, he announced the concerto’s birth in a series of teasing letters

Saturday, November 17, 2012, 8 p.m.

to several friends. To Dr. Theodor Billroth, the companion of his Italian sightseeing, he sent a copy of the bulky score with a note identifying it as “a couple of little piano pieces.” To his current muse, the lovely and safely married Elizabeth von Herzogenberg, he revealed: “I have written a tiny little piano concerto with a tiny wisp of a scherzo.” More appropriately, the composer revealed the true nature of his newest creation to von Herzogenberg when he described it as “the long Terror.” For the Piano Concerto No. 2 is long indeed: with four substantial movements lasting approximately 50 minutes, it is the size of two ordinary concertos put together. And it is monumental in its architecture, emotional scope and the demands it places on the pianist (for many, this is a more difficult work to pull off successfully than the notorious Rachmaninoff No. 3). Brahms scholar Malcolm MacDonald describes its technical challenges well: “In its massive chording, wide [finger] stretches, vigor, richness and textural variety, the piano writing is the most elaborate result of his lifelong fascination with virtuoso technique. …Above all, the role of the soloist is fluid… he or she must…dominate with the utmost power at certain junctures, but other moments call for extreme delicacy and limpidity of touch, the reticence and self-effacement of the ideal accompanist.” The successful interpreter of “the long Terror” must have limitless technique and stamina, but, more importantly, the brains of a scholar and the heart of a poet. And he or she must also be a colleague in the spirit of chamber music, for the Concerto No. 2 is a truly symphonic conception in the manner of Beethoven’s concertos, with orchestra and pianist equal participants in the musical journey. Brahms ranges over a broad emotional territory, and he uses everything at his disposal: from the most massive orchestral sounds to the most intimate chamber effects—such as the dialogue between horn and piano that begins the work, or the partnership of solo cello and oboe that glorifies the slow movement. Of his four concertos,

this is his most mature and comprehensive masterpiece. Movement one: The concerto’s chamber-music opening is utterly unique. A solo horn sings out the gently rising principal theme, and the piano echoes each phrase. Suddenly, the pianist throws off his reserve and plunges into a titanic monologue, the first of many mini-cadenzas Brahms embeds throughout his structure rather than giving the soloist a single extended opportunity for display. This, in turn, galvanizes the orchestra into action, transforming the horn’s shy theme into a mighty march. And soon we hear the first suggestion of the movement’s second theme: a supple, swaying melody in D minor in the violins that is quickly broken off. The pianist now expands this thematic material, and, when he comes to the swaying second theme, he reveals its character as passionate rather than nostalgic, hardening its curves with stentorian chords. By now, the music has taken a very dramatic and even ominous turn from its tender beginning. It culminates in a fierce declamation of the principal theme by the full orchestra, before the horn quietly sounds that theme again, and the music merges into the development section proper. (In fact, Brahms has already been busy developing and transforming his themes from the very beginning.) The arrival home at the recapitulation section is one of Brahms’ most magical and moving. He keeps trying to get there by gestures of musical willpower. But finally only gentle acceptance succeeds, as the piano floats in shimmering arpeggios, and the horn warmly welcomes it back. In his closing coda, Brahms combines mysterious reminiscences of the horn theme over a dark piano march, a last grand summing up of themes, and a heroic windup, accented by triumphantly trilling woodwinds. The “tiny wisp of a scherzo” in D minor forms the pianist-killer second movement, a fierce Allegro appassion ato. Brahms’ friends asked him why he had added this extra component to the customary three-fold concerto formula;

he replied—in another fit of ironic understatement—that he felt it was necessary because the first and third movements were so “harmless.” The pianist hurls out a boldly rhythmic first theme, and the strings contribute a contrasting sighing melody that the piano elaborates soulfully. This music is repeated, then rolls into a development section. But in this formal hybrid—part scherzo dance, part sonata form, the music suddenly shifts into a radiant tolling-bells episode in D major, which is the trio section. Note the piano’s ardently rhapsodic passage here. After two movements of almost unremitting intensity, Brahms at last provides repose with perhaps the most beautiful slow movement he ever composed. The pianist takes a needed rest while the solo cello sings a melody of heartbreaking loveliness; a solo oboe soon joins in, intensifying the poignancy. As in the slow movement of Brahms’ Violin Concerto, the soloist never sings this eloquent theme, but instead weaves marvelous variants on it. The movement’s most haunting moment occurs midway through when the piano—now stranded in the distant key of F-sharp major and accompanied by two clarinets—seems to float in some timeless, otherworldly realm. The cello’s reappearance with its glorious melody seems no intrusion. While some commentators have criticized the finale, Brahms showed sure instincts when he chose to crown his three imposing movements with a relaxing finale of light-hearted melodiousness. Beginning with the piano’s buoyantly skipping theme, he concocts a beguiling succession of melodies in the genial spirit of his Hungarian Dances. Notable among them is the lushly swaying Viennese dance shared by piano and strings. Throughout, the pianist’s virtuoso figurations sparkle like diamonds, especially in Brahms’ vivacious sped-up conclusion. Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. Notes by Janet E. Bedell copyright 2012

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 41

Friday, November 23, 2012, 8 p.m.

FRIDAY, NOVEMBER 23, 2012, 8 P.M.

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Classic Albums Live: Pink Floyd’s Dark Side of the Moon 5IF .VTJD $FOUFS BU 4USBUINPSF .BSSJPUU $PODFSU 4UBHF

Classic Albums Live

Classic Albums Live takes classic albums and re-creates them live onstage—note for note, cut for cut. Founded in 2003 by Craig Martin, Classic Albums Live has become the “ultimate destination for music lovers wanting to hear the greatest albums performed live” (BroadwayWorld.com) without all the gimmicks and cheesy impersonations. Relying only on the music, using “the world’s best musicians,” according to Martin, Classic Albums Live has defined itself as a

mainstay in performing arts centers across North America. The series has garnered a stellar reputation for its note-perfect recitals, performing more than 100 shows each year. Fans in Texas, Nevada, Florida, New York and in Canada have all continued to support the series and make it a sustaining, successful concert experience. With hits like “Money,” “Wish You Were Here” and “Us and Them,” The Dark Side of the Moon was on

42 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

the Billboard charts longer than any other album in history. The Dark Side of the Moon was released in March 1973, and is Pink Floyd’s eighth studio album. The album traverses many genres, from ponderous, neopsychedelic art rock to jazz-fusion and blues-rock. The album’s iconic art—a prism with white light going through it and breaking into the spectrum— represents the band’s stage lighting, the record’s themes and keyboardist Richard Wright’s desire for a “simple and bold” design. Each side of the original record is a continuous piece of music, and the tracks on each side are meant to reflect various stages of human life. It was recorded at Abbey Road Studios between May 1972 and January 1973. The Dark Side of the Moon was an immediate success and remained on the Billboard charts for 741 weeks from 1973 to 1988. A 1973 review in Rolling Stone called The Dark Side of the Moon “a fine album with a textural and conceptual richness that not only invites, but demands involvement.” With an estimated 50 million copies sold, The Dark Side of the Moon is Pink Floyd’s most commercially successful album and has been remastered twice. The Dark Side of the Moon’s release is often considered a pivotal point in the history of rock music, and music from the album has been covered by Adrian Belew, the band Phish and several other performers. The Dark Side of the Moon is frequently ranked as one of the greatest albums of all time, and has been on greatest lists compiled by Rolling Stone, the Australian Broadcasting Corporation, The Guardian and others. Like a symphony orchestra performing the works of Mozart, Classic Albums Live forgoes the pageantry of costumes and impersonations, putting the music first. These world-class musicians will tackle this iconic album, concentrating solely on re-creating it as it is so fondly remembered by audiences worldwide.

THIS IS THE SHOW YOU DONâ&#x20AC;&#x2122;T WANT TO MISS

Indulge Your Senses Exquisite Brownstones adjoining The Music Center at Strathmore, in North Bethesda, Maryland. An internationally-inspired setting focused on the arts, personal wellness and fine living. Call our sales gallery to schedule your personal tour. Elevator included for a limited time!*

2012 Builderâ&#x20AC;&#x2122;s Choice Award Winner 10846 Symphony Park Drive, North Bethesda, Maryland | Open Daily 11am - 5pm From $1 Million to $2 Million | LiveatSymphonyParkAP.com | 301-493-0010

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MHBR #3552

Saturday, November 24, 2012, 4 p.m. and 8 p.m.

SATURDAY, NOVEMBER 24, 2012, 4 P.M. AND 8 P.M.

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Dein Perry’s Tap Dogs Original design and direction by Nigel Triffitt Music composed by Andrew Wilkie James Doubtfire, performer Mackenzie Greenwell, performer Donovan Helma, performer Anthony Locascio, performer Dominic Mortezadeh, performer Chaise Rossiello, performer Anthony Joseph Russo, performer Matt Saffron, performer Stephen Ferradino, percussion Gavin Norris, lighting design Darrel Lewis, original sound design Shannon Slaton, tour sound design Laurence Maddy, additional orchestrations Bridget K. Welty, production manager

England Team (Tap Attack) and Break The Beat.

Mackenzie Greenwell

Following his passion for music and dance, MacKenzie Greenwell has been performing for audiences all over North America. Coming from Cochrane, Alberta he is thrilled to be traveling the world and sharing his love of dance. His recent credits include Toronto Rhythm Initiative’s shows Ray, Oscar and Stevie, Tap Dogs, West Coast Tap Dance Collective’s Tap Day Show and the opening ceremonies of the 2010 Winter Olympic Games.

Donovan Helma

Donovan Helma began dancing at age 3 at his mother’s dance studio, Miller’s Dance Studio in Denver, Colo. He currently continues his education in New York City. Credits include corporate performances for General Motors, Charles Schwab and a Monday Night Football halftime performance with Big Bad Voodoo Daddy. Donovan performed for Montreal’s Danse Encore International Festival in a production with the group Tap’d Out. In 2009 and 2010, he toured with the new Gregory Hines tribute show, Thank You Gregory.

Anthony Locascio Aldo Scrofani, executive producer Dein Perry, creator and choreographer 5IF .VTJD $FOUFS BU 4USBUINPSF .BSSJPUU $PODFSU 4UBHF

Tap Dogs

James Doubtfire

James Doubtfire has been withTap Dogs for 15 years as a performer, dance captain and resident director, touring Europe, Asia, Australia and London’s West End. This is Doubtfire’s first time touring the U.S. He has also performed in 42nd Street, Me & My Girl and Australian and U.K. tours of Hot Shoe Shuffle. At age 12, he created the role of Laughing Boy in the original cast of Bugsy Malone at Her Majesty’s Theatre in London. Doubtfire is also choreographer for the

44 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Anthony Locascio is a native New Yorker who resides in San Jose, Calif. An original New York cast member, and the first American to earn a role in the show, a large part of Locascio’s career has been spent playing the roles of Funky, The Enforcer and 2IC with, Tap Dogs.

Dominic Mortezadeh

Dominic Mortezadeh started dancing when he was only 6 years old. While working on Disney’s Harriet the Spy:Blog Wars, Mortezadeh received news that Tap Dogs wanted him on board for its North American tour in 2010.

Chaise Rossiello

Chaise Rossiello started dancing and singing at age 5 in his hometown of Geelong, Australia. He joined Tap Dogs

Saturday, November 24, 2012, 4 p.m. and 8 p.m.

in 2007 and has toured throughout the U.K., the Mediterranean and Europe.

Anthony Joseph Russo

Anthony Joseph Russo had his feet in tap shoes at just 2 years old. Before his senior year of high school, he was hired for a national tour of Tap Dogs and has continued with them for more than 10 years, performing all six roles in the show. National and international performance credits include Tap Dogs, The Bad Boys of Dance and Cirque Du Soleil.

Matt Saffron

Matt Saffron joined the cast of Tap Dogs in 2006. His stage credits include Guys and Dolls,The Will Rogers Follies, Oklahoma, 42nd Street, Beauty and the Beast and A Chorus Line.

Stephen Ferradino

A student of the University of NevadaLas Vegas, Stephen Ferradino performs regularly in Las Vegas for various

strathmore

2013 SPRING GALA AT

conventions and private functions. In 2005 Ferradino was a featured performer in Wally Eastwood’s Iron Beats at Busch Gardens in Tampa, Fla.

Dein Perry

Dein Perry won the Laurence Olivier Award for best choreography in 1995 for Hot Shoe Shuffle and in 1996 for Tap Dogs. In 1994 Dein conceived and choreographed Tap Dogs, which was the hit of the 1995 Sydney Festival and has since toured five continents and 300 cities worldwide. Perry also directed and choreographed the film Bootmen and choreographed the final segment of the opening ceremonies of the 2000 Summer Olympic Games.

Nigel Triffitt

Nigel Triffitt was a leader in the field of visual theater in Australia and had shows that have toured to more than 20 countries. As a designer, devisor and director of his own shows, Triffitt created

Momma’s Little Horror Show, The Illustrated History of Rock and Roll, The Fall of Singapore and Moby Dick. Triffit directed and designed the finale of the opening ceremonies of the 2000 Summer Olympic Games. Triffit passed away July 20, 2012.

Andrew Wilkie

Andrew Wilkie’s involvement with musical theater began in 1982 when he was principal percussionist in the Queensland Theatre Company production of Anna. Since then he has been principal percussionist for the Sydney productions of Hot Shoe Shuffle, Porgy and Bess, Me and My Girl, Nine, HMS Pinafore and I Do! I Do!

Shannon Slaton

Shannon Slaton is a sound designer and mixer and he has worked with Tap Dogs for the past 15 years. He designed the tours of Shrek, Hairspray, The Producers, Kiss Me Kate, Bring in ’da Noise, Bring in ’da Funk, The Full Monty, Contact, Tap

MICHAEL FEINSTEIN:

THE GERSHWINS AND ME

SATURDAY, APRIL 20, 2013, 9PM

“Strike Up the Band” because the incomparable Michael Feinstein is coming to Strathmore! Dubbed “Ambassador of the Great American Songbook,” the two time Emmy and five time Grammy Award nominee has collected a “S’Wonderful” evening of music celebrating the legacy of George and Ira Gershwin. Feinstein doesn’t stop there, sharing personal stories from his recent book The Gershwins and Me about his six-year collaboration with Ira that shaped his early career. To purchase Gala Packages, which include the Gala dinner, premium concert seating and After Party, contact Sorelle Group at (202) 248-1930 or strathmore@sorellegroup.com. Single tickets to the concert include access to our After Party. Order at www.strathmore.org or (301) 581-5100 If you are interested in sponsoring the Gala, our signature fundraiser, please contact Bill Carey at (301) 581-5135 or bcarey@strathmore.org

www.strathmore.org | (301) 581-5100 Strathmore Ticket Office 5301 Tuckerman Lane, North Bethesda, MD Groups Save! (301) 581-5199

By sponsoring or attending the 2013 Spring Gala at Strathmore, you give children, rising artists, and our community transcendent arts experiences through Strathmore’s education and artistic programming, master classes, in-school outreach, Title I programs, Artist in Residence program, free community events and festivals.

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 45

Saturday, November 24, 2012, 4 p.m. and 8 p.m.

Dogs, Aeros, Sweeney Todd, The Wizard of Oz, The Drowsy Chaperone and The Wedding Singer.

original practice productions of Measure for Measure and Twelfth Night and Elaine Stritch At Liberty.

Bridget Welty

Theatre Management Associates/Aldo Scrofani

Bridget Welty recently finished touring Merchant of Venice. Her prior tours include Camelot, Dirty Rotten Scoundrels, Joseph and the Amazing Technicolor Dream Coat and Oliver! Her previous tours were Wonderful Town, Love Janis and Tap Dogs Rebooted.

Paul M. Rambacher

Paul M. Rambacher has represented more than 110 productions for over 25 years. His credits include Merchant of Venice, Messiah Rocks, Dirty Rotten Scoundrels, Joseph and the Amazing Technicolor Dreamcoat, Oliver!, Wonderful Town, Love Janis, Nobody Donâ&#x20AC;&#x2122;t Like Yogi and Stand By Your Man. His credits also include the U.S. debut tours of the International Shakespeare Globeâ&#x20AC;&#x2122;s Merry Wives, Loveâ&#x20AC;&#x2122;s Labourâ&#x20AC;&#x2122;s Lost, the

Aldo Scrofani was one of the original producers who brought Tap Dogs to North American audiences in 1997 Scrofani has produced, co-produced and/or been associated with more than 100 productions on Broadway, London, national touring companies and in numerous foreign territories. Productions include Gone With The Wind, Dirty Rotten Scoundrels, Chita Rivera: The Dancerâ&#x20AC;&#x2122;s Life, Lovemusik, STOMP, Stomp Out Loud, Tap Dogs, Grand Hotel directed by Tommy Tune, City of Angels directed by Michael Blakemore, Youâ&#x20AC;&#x2122;re a Good Man Charlie Brown directed by Michael Mayer, M. Butterfly directed by John Dexter, Into the Woods, Gypsy with Tyne Daly, Cat On A Hot Tin Roof with Kathleen Turner and Big River.

ill and Linda Ratcliff love their life at Ingleside at King Farm. They were drawn to Ingleside not only for the quality services and amenities or the great location and residential choices but for the residents and management. â&#x20AC;&#x153;We have a care-free lifestyle and weâ&#x20AC;&#x2122;ve made so many new friends with interesting life experiences and backgroundsâ&#x20AC;&#x201D;itâ&#x20AC;&#x2122;s fascinating and fun,â&#x20AC;? says Linda.

By volunteering as a raiser family for service dogs The Ratcliffâ&#x20AC;&#x2122;s contribute to the greater community of King Farm. For 12 to 15 months they give time, energy and love to a future service dog.

Tap Dogs wear Blundstone Boots, Australiaâ&#x20AC;&#x2122;s authentic work boots. Staff members for Tap Dogs include Tara Troutman, associate producer/ publicity; Bridget K. Welty, production manager; Heather Moss, company manager; Caskey Hunsader, production coordinator; Brian Canonico, head sound; Daniel Ware, head carpenter; Jason Bielsker, head electrician; Brittany Deventer, swing technician. General management services provided by Theatre Management Associates, Professional Management Resources and Paul M. Rambacher. Staff members for Theatre Management Associates include Aldo Scrofani, Tara Troutman, Maria Di Dia, Joseph Polack and Alexandra Lau. Additional services provided by Castellana Services Inc. and Road Rebel Entertainment Touring. Tour direction provided by Columbia Artists Theatricals.

The Remarkable

Members

Of Ingleside

A Remarkable Retirement Community

701 King Farm Blvd t Rockville, MD 240-499-9019 46 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Call 240-499-9019 today to schedule a visit. Visit us at www.inglesidekingfarm.org

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Elgar Cello Concerto Mario Venzago, conductor Sol Gabetta, cello Mephisto Waltz No. 1 Cello Concerto in E Minor, Op. 85 "EBHJP

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Edward Elgar

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Mario Venzago, conductor Mario Venzago was born in Zurich, studied in Zurich and Vienna with Hans Swarowsky, and started his career as pianist of the Swiss broadcast station in Lugano. From 1986 to 1989, he was music director of the Heidelberg Opera House and Philharmonic Orchestra and later served as chief conductor of the German Kammerphilharmonie Bremen, Graz Opera, Basque National Orchestra,

Basel Symphony Orchestra and the Swedish National Orchestra in Gothenburg. He was artistic director of the Baltimore Summer Music Fest and from 2002 to 2009, music director of the Indianapolis Symphony Orchestra. In 2010, he was named principal conductor of the Northern Sinfonia in Newcastle and, in the same year, was appointed chief conductor of the Bern Symphony Orchestra, as well as artistin-association with the Tapiola Sinfonietta. He is also Schumann guest conductor of the DĂźsseldorfer Symphoniker

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and holds the position of conductor laureate of the Basel Symphony Orchestra. Venzagoâ&#x20AC;&#x2122;s conducting career includes engagements with the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Munich Philharmonic, London Philharmonic Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Vienna Symphony, La Scala di Milano, Melbourne Symphony Orchestra and the NHK Symphony in Tokyo. In North America, he has appeared with the symphony orchestras of Boston, Philadelphia, Toronto and Baltimore. Several of his CDsâ&#x20AC;&#x201D;which include orchestral works of Robert Schumann, Luigi Nono, Othmar Schoeck, Alban Berg and Maurice Ravelâ&#x20AC;&#x201D;have been awarded international prizes (including the Grand Prix du Disque, Diapason dâ&#x20AC;&#x2122;or and the Edison Award). Venzago last appeared with the BSO in March 2011, conducting Schubertâ&#x20AC;&#x2122;s Symphony No. 5, Bergâ&#x20AC;&#x2122;s Violin Concerto featuring Baiba Skride and Beethovenâ&#x20AC;&#x2122;s Symphony No. 5.

Sol Gabetta, cello

Internationally acclaimed since her 2004 debut with the Wiener Philharmoniker and winner of the Credit Suisse Young Artist Award, cellist Sol Gabetta already holds several impressive awards. Born in Cordoba, Argentina, she won her first competition at age 10, soon fol lowed by the Natalia Gutman Award and commendations at the Moscow Tchaikovsky Competition. A Grammy Award nominee, Gabetta became the youngest winner of the Aargau Kulturpreis in 2008. She has also been awarded Argentinaâ&#x20AC;&#x2122;s Konex prize and, in 2010, received the Gramophone Young Artist of the Year award. Additionally, she has won three ECHO Klassik awards (2007, 2009 and 2011). Gabettaâ&#x20AC;&#x2122;s performances include appearances with Bamberger Symphoniker, Kammerorchesterbasel, Orchestre National de Radio France, the Czech Philharmonic, City of Birmingham

VENZAGO PHOTO COURTESTY OF BSO; SOL GABETTA PHOTO BY MARCO BORGGREVE

THURSDAY, NOVEMBER 29, 2012, 8 P.M.

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Symphony, Royal Philharmonic and Russian National orchestras. She has also played with the Bolshoi, Finnish Radio Symphony and the Philadelphia, Detroit Symphony and Seoul Philharmonic orchestras, plus the Orchestre National de Belgique and Orquesta Nacional de España. In addition to her career as a soloist, Gabetta is a chamber musician and performs with distinguished partners such as Yo-Yo Ma, Patricia Kopatchinskaja and Hélène Grimaud. Thanks to a generous stipend by the Rahn Kulturfonds, Gabetta is in a position to play one of the very rare and precious cellos by G.B. Guadagnini from 1759. Gabetta is making her BSO debut.

Program Notes Mephisto Waltz No. 1

Franz Liszt Born Oct. 22, 1811 in Raiding, Hungary; died July 31, 1886 in Bayreuth, Germany

The devil and his doings was a subject of great fascination for most Romantic artists, and Franz Liszt was as Romantic as they come. Like his colleagues Berlioz and Schumann, he adored Goethe’s Faust, in which the title character sells his soul to Mephistopheles in exchange for youth, pleasure and knowledge. In 1854, he composed his monumental A Faust Symphony, in which the devil has his own lengthy movement. But another version of the Faust story also attracted him: the much darker, more nihilistic Faust written in 1836 by the Hungarian-German poet Nikolaus Lenau. Lenau was a tormented figure who briefly emigrated to Ameri ca, living in Baltimore—which he declared an accursed place because it had no nightingales (the favorite bird of Romantic poets and musicians). In 1860, Liszt composed his orchestral Two Episodes from Lenau’s “Faust,” comprised of “The Night Procession” and “Dance in the Village Inn.” While the first of these movements is now largely forgotten, the second, now

known as Mephisto Waltz No. 1, has become one of Liszt’s most popular works. Later, he arranged it for piano and, late in life, added three more piano works under the same title. For Liszt, the devil apparently was associated with dancing. In this movement’s scenario, Faust and Mephistopheles eavesdrop on a dance at a country inn. Mephistopheles cries out that the musicians are too tame and, seizing a fiddle, plays a waltz tune to make the blood boil. We first hear the orchestra tuning up, its intervals piled on top of each other to create what were for Liszt’s era lurid dissonances. Then cellos and violas launch the wild and wayward waltz, embellished with macabre trills. Faust has spied a dark-eyed beauty, whom he courts with a slower, more hesitant melody, also sung by the cellos. Soon he lures her away from the inn, and woodwind birds and eerie harmonies describe their amorous tryst in the forest. And Liszt doesn’t forget the nightingale that Lenau longed for in America: a solo flute imitates its call as the lovers embrace. The inventive orchestra and daring harmonies of this little tone poem splendidly evoke both demonic powers and human lust. Instrumentation: Three flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Cello Concerto in E Minor

Sir Edward Elgar Born June 2, 1857 in Broadheath, England; died Feb. 23, 1934 in Worcester, England

One of the masterpieces of the cello literature, Sir Edward Elgar’s Cello Concerto is also a powerful, poignant farewell to an era irretrievably destroyed by World War I. Its creator was a true product of the late-Victorian and Edwardian age who needed the cushioned security of pre-war England in order to flourish as an artist. The war’s wanton slaughter horrified and depressed Elgar. He mourned the innocence of an earlier England.

“Everything good & nice & clean & fresh & sweet is far away—never to return,” he wrote in 1917, during the war’s darkest days, to his friend Alice Stuart-Wortley, the inspiration for his Violin Concerto. And yet out of his despair came a final quartet of masterpieces, including three chamber works and the Cello Concerto. The Concerto, with its mournful, elegiac quality, seems like a very personal war requiem, and Elgar marked it with the enigmatic words “Finis. R.I.P.” What Elgar couldn’t know as he completed the work on Aug. 3, 1919, was that “R.I.P.” would soon apply to his beloved wife of 30 years and even to his career as a composer. Five months after the work’s premiere that October, Alice Elgar, eight years older than her husband, was dead. She had been his indispensable prop: supporting him with intelligent criticism, pushing him back into his study when he lost heart over a composition, and even ruling his score paper for him. After her death, Elgar’s creative life was over, though he lived on for another 14 years. Without Alice, he seemed to lack the discipline to master his depressions and drive his musical inspirations through to completion. After the Cello Concerto, he wrote nothing of consequence. But what a swan song it is! Masterfully drawing on the cello’s power to speak with an almost human voice, it expresses all of Elgar’s regret and nostalgia for his lost past. Although he wrote the work for a fairly large orchestra, Elgar contrived to use this ensemble in such a spare and subtle way that the cello is nearly always in the foreground, singing its song of loss. First movement: The concerto begins with a grand rhetorical gesture from the soloist: a sweep of chords suggesting the opening of a bardic tale. Then the violas launch a wandering theme that is quickly passed to the soloist and eventually the entire orchestra. The mood and key brighten somewhat from E minor to E major in the movement’s pastoral middle section, introduced by a lilting theme in the clarinets and bassoons and a swaying response from the cello. The second movement, a scherzo predominantly in G major, is as nervous and high-strung as its creator and a challenge

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to the nimble fingers of the soloist. She begins with a recitative passage of agitated repeated notes, punctuated by pizzicato snaps. Eventually she flings herself into a flurry of sixteenth notes; these are periodically interrupted by a bold downward-upward leaping phrase that is a characteristically Elgarian assertion of selfhood and confidence. Abruptly, the movement bursts like a balloon, with a pizzicato pop. Although brief, the Adagio third movement in B-flat major is the emo tional heart of the work. Here, the soloist pours out a magnificent long-lined la ment, while the orchestra is reduced to woodwinds and strings to throw the spotlight on the cello’s song. Upward leaps of an octave in the soloist’s melody gradually slip to leaps of a seventh, making the mood yet more poignant as the cello is unable to reach its longed-for goal. In the rondo finale, the orchestra tries to launch the refrain theme, but is unable to budge the soloist from her mood of mourning. Eventually, she is willing to take up the quicker tempo and the rondo theme, which is very rhythmic and marked risoluto (resolute). This is bitter, dark music, and it becomes truly sardonic in a passage begun by the soloist and the cello section in unison, to which the rest of the orchestra gives savage commentary. The closing coda is the finale’s most remarkable feature. The tempo slows, and the cello descends into a world of grief, dragging the orchestra with it. A quotation of the third movement’s lament is followed by the dramatic chords of the Concerto’s opening. Then Elgar abruptly jerks the music back to Allegro for a frenzied, fast finish. Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings. Symphony in D Minor

César Franck Born Dec. 10, 1822, in Liège, then in Belgium; died Nov. 8, 1890, in Paris

Though he lived to nearly 70 and was one of the Paris Conservatoire’s most

remarkable teachers, César Franck was largely ignored by the French musical establishment during his lifetime. His Belgian birth contributed to his outsider status; in order to become the Conservatoire’s professor of organ in 1871, he had to take out French citizenship. Moreover, Franck was a gentle, unworldly man—serious, sincere and a fervent Catholic—and, thus, was poorly equipped to deal with the frivolous and highly politicized Parisian musical scene in the second half of the 19th century. But if he was unable or unwilling to fight for recognition, his devoted pupils—among them men soon to become famous themselves, such as Vincent d’Indy, Henri Duparc, Paul Dukas and Ernest Chausson—were eager to proclaim his greatness. To them, he was almost a living saint—“Pater seraphicus” they called him—and Beethoven’s true heir. Their proselytizing and the strength of his late works, including the D Minor Symphony, made him famous within a few years of his death in 1890. Presiding for decades at the console at St. Clotilde’s Church in Paris, Franck contributed greatly to the celebrated French organ repertoire. A very late bloomer as a composer, he created all the works for which he is remembered during the last decade and a half of his life. His only symphony was written between 1886 and 1888 when he was in his mid-60s. And one can hear the sumptuous sound of the organ, swelling rank by rank, in its rich orchestral textures and pealing brass climaxes. Franck’s musical idols were Bach, Beethoven and Liszt. It was his reverence for Beethoven that inspired him to write a symphony, a form French composers of the 19th century rarely attempted. Berlioz’s symphonies had been highly unconventional programmatic works, but Franck was determined to write a “traditional” symphony, based on thematic development and following, though very freely, the established German symphonic forms. But it is Liszt’s influence we hear most. Franck promi nently uses Liszt’s and Berlioz’s principle of a motto or “idée fixe”: a theme that recurs in different guises throughout the

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work. In Franck’s hands, several motives and themes return in later movements to unify the work. The first of these—a three-note ques tioning motive in the low strings— launches the opening movement. This question generates a lengthy slow introduction, brooding but also expectant. The questioning idea then erupts into a bold Allegro, but Franck immediately short-circuits that and reprises the slow introduction in a higher key. After this, the Allegro finally takes wing and soon introduces us to the second of the symphony’s motto themes: an optimistic tune rocking around the note A, which is introduced fortissimo by the full orchestra. After developing his materials, Franck recapitulates the slow introduction, its original brooding quality now transformed into a blaze of brass. A short but powerful coda decisively changes the question into a ringing affirmation in D major. By contrast, the second movement is all French subtlety and delicate scoring, a combination of slow movement and scherzo. Harp and plucked strings outline the theme; then the English horn sings it in full: a grave and melancholy melody with an old-fashioned modal flavor. The remainder of the movement is devoted to variations on this theme. An extended section of rapid, fluttering string patterns contribute a scherzo lightness while retaining the theme’s outline. The finale opens boldly with an exultant tune that sounds oddly familiar. We find out why later in the movement, when the first movement’s optimistic second theme returns and proves to be a close cousin. Reminiscences of earlier music keep reappearing, led off by the return of the second movement’s grave dance. The closing coda reprises the opening question motive, now combined with the optimistic theme and elevated by harps. But it is the finale’s own exultant theme that finally sweeps aside nostalgia for a joyous conclusion. Instrumentation: Two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, harp and strings. Notes by Janet E. Bedell copyright 2012

Monday, December 3, 2012, 8 p.m.

as global ambassador for the Starlight Children’s Foundation—an organization dedicated to improving the quality of life for children with chronic and life-threatening illnesses and life-altering injuries. He served on the Grammy Foundation Artists Committee for four years, has been a national trustee for the National Academy of Recording Arts & Sciences and is an ongoing member of the Board of Governors for the Grammy Foundation.

MONDAY, DECEMBER 3, 2012, 8 P.M.

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Dave Koz and Friends Christmas Tour 2012

David Benoit

starring David Benoit, Javier Colón, Sheila E. and introducing Margo Rey

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BENOIT PHOTO BY LORI STOLL

Dave Koz

In a career that spans 20 years and a dozen albums, saxophonist Dave Koz has established himself as one of the most prominent figures in contemporary music. His latest album, Hello Tomorrow, embraces the change he has noticed in the music landscape, as well as the promise and uncertainty of new beginnings. Produced by Grammy-winners John Burk and Marcus Miller, the album features guest performers Herb Alpert, Jonathan Butler, Brian Culbertson, Sheila E., Boney James, Jeff Lorber, Keb’ Mo’, Ray Parker Jr., Lee Ritenour, Christian Scott and others. Koz started playing saxophone in order to land a spot in his brother’s band, but along the way he unintentionally tapped into his life’s passion. After earning a degree in mass communications from the University of California-Los Angeles, Koz took the leap into a career as a professional musician, a decision that immediately led to touring gigs with vocalist/multi-instrumentalist Bobby Caldwell, keyboardist Jeff Lorber and pop-singer Richard Marx. He released his self-titled solo debut in 1990. Note-

worthy follow-ups included the goldcertified Lucky Man (1993) and Off the Beaten Path (1996). He’s also recorded the holiday albums December Makes Me Feel This Way (1997), Dave Koz & Friends: A Smooth Jazz Christmas (2001) and Memories of a Winter’s Night (2007). The gold-certified The Dance (1999) and Saxophonic (2003) each spawned five Top 5 hits on the contemporary jazz charts, and the latter album scored two Grammy nominations. In addition to the 2007 Christmas album, Koz also released At the Movies that same year. Koz’s celebration of timeless melodies from cinema spent 12 weeks at the top of Billboard’s Contemporary Jazz chart and scored a second Grammy nomination for Best Pop Instrumental Album. A year later, Koz followed up with Dave Koz at the Movies Double Feature CD + DVD, which included the original CD with two new bonus tracks, a new DVD and track-bytrack commentary. In addition to his discography, Koz also hosts a weekday afternoon radio program that’s nationally distributed on the Smooth Jazz Radio Network; on weekends, he hosts the syndicated Dave Koz Radio Show—now in its 15th year— in approximately 120 markets. Koz is also the founder of Rendezvous Records and has served for 17 years

Since launching his recording career in 1977, contemporary jazz pianist and composer David Benoit’s work has included more than 25 solo recordings. His 1980s releases This Side Up, Freedom at Midnight and the Grammy-nominated Every Step of the Way are considered influential genre classics. Among his other Grammy nominations are those for Best Instrumental Composition and Best Large Jazz Ensemble Performance. His output since 2000 includes several Charlie Brown-related projects (including Here’s To You, Charlie Brown: 50 Great Years and the star-studded 40 Years: A Charlie Brown Christmas) that reflect his lifelong passion for the music of original Peanuts composer Vince Guaraldi. Benoit has also released the albums Fuzzy Logic; Right Here, Right Now; Full Circle and Heroes. Benoit’s ever-expanding slate of orchestral music endeavors include his ongoing role as conductor of the Asia America Symphony Orchestra. He also has led the Los Angeles Philharmonic and the symphonies of London, Nuremberg, San Francisco, Atlanta, San Antonio and San Jose. Concurrent with his burgeoning career as a conductor, he recorded 1996’s American Landscape with the London Symphony Orchestra and 2005’s Orchestral Stories with members of the Asia America Symphony Orchestra and the Czech National Symphony Orchestra. Orchestral Stories featured his first piano concerto, “The Centaur and the Sphinx,” and his acclaimed sym-

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phonic piece “Kobe,” both of which he has performed in live settings across the country. In 2009, Benoit performed and conducted Leonard Bernstein’s West Side Story with the Asia America Symphony Orchestra in a show that included Broadway great Lea Salonga; he later conducted Beethoven’s Symphony No. 9 with the same orchestra in his critically acclaimed debut at Los Angeles’ Disney Hall. Benoit’s notable film scores include The Stars Fell on Henrietta, produced by Clint Eastwood and starring Robert Duvall; and The Christmas Tree, produced by Sally Field, voted Best Score of 1996 by Film Score Magazine. Benoit has also been a longtime guest educator with the Mr. Holland’s Opus Foundation. In October 2008, Benoit headed up to the mountains near Saratoga, Calif., to become an artist-in-residence at the Montalvo Arts Center, where he wrote “Botswana Bossa Nova” and “Will’s Chill,” which became the foundation of his 2012 album, Earthglow.

On Oct. 29, 2010, the pianist/composer was honored with the Lifetime Achievement Award at the American Smooth Jazz Awards in Michigan City, Ind. His latest album, Conversation, was released May 2012.

Javier Colón

Since the release of his debut album, Come Through For You, Javier Colón has been igniting a worldwide buzz while touring the nation in support of his album. The New York Times hailed, “The album stays kindly, polished and simpering all the way through. …Mr. Colón’s skill as singer and songwriter is obvious.” Colón’s soulful voice and command of his guitar hypnotize music lovers of all genres. Described by Rolling Stone as “puretoned tenor voice, sitting cozily between

an old-fashion soul croon and a MayerMraz style sensitive-dude,” Colón is especially excited about this album, as it allows him to showcase his songwriting. Colón found a wide audience with his victory as winner during the inaugural season of NBC’s The Voice. Prior to The Voice, Colón toured with the Derek Trucks Band for two years before releasing Javier (2003) and Left of Center (2006). Colón released The Truth – Acoustic EP on his own label, Javier Colón Music, in 2010.

Sheila E.

Emmy-nominee Sheila E. picked up drumsticks and started making music at age 3, while watching her legendary father, percussionist Pete Escovedo, rehearse. Sheila Escovedo delivered her first solo performance to a live audience two years

A community must have music! Without it, there is no song, no dance, no harmony.

Maryland | Washington, DC | Virginia www.eaglebankcorp.com | 301.986.1800 52 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Monday, December 3, 2012, 8 p.m.

Capturing the Magic...

later and has since established herself as one of the most talented percussionist/drummers and performers in the world. Best known to music fans as Sheila E., she became a top session and touring musician before age 19, performing and/or recording with George Duke, Herbie Hancock, Billy Cobham, Con Funk Shun and countless others, including stints with Marvin Gaye on his final world tour, Diana Ross, Lionel Richie, Gloria Estefan, Babyface, Patti LaBelle and Stevie Nicks. In the 1980s, Sheila E.’s friend Prince helped catapult her to pop superstardom. Her obvious talent and hits like “The Glamorous Life” and “Love Bizarre,” plus her pivotal work on other Prince-related projects contributed to her international fame. In recent years, she has served as musical director for Jennifer Lopez, Beyoncé and Prince. Her producing and arranging talents have been showcased on the Latin Grammy, ALMA and Image awards shows. She also was a

featured performer during the 2012 84th Annual Academy Awards. Sheila E. appeared for three consecutive runs as drummer for Ringo Starr’s All Starr Band. She also appeared as one of the celebrity judges on Fox’s The Next Great American Band, and was the grand prize winner on Gone Country 3 on CMT. She maintains a heavy involvement in charitable organizations as a philanthropist and is co-founder and chair of the Elevate Hope Foundation, focusing on the needs of victims of child abuse by promoting music and arts education as an alternative form of therapy.

Margo Rey

Born in Acapulco, Mexico, and raised in Fort Worth, Texas, singer/songwriter Margo Rey is an artist whose talents span

from musical theater and film acting to voiceovers and hit singles on the jazz, dance and pop charts. She has had two No. 1 dance hits, an original Christmas hit and an adult contemporary pop hit. Rey spent the early part of her career in New York and finally settled in Los Angeles to pursue and create music. She was signed by the Abrams Artist Agency and has a long roster of national commercial spots, as well as a role in the Disney movie, Beverly Hills Chihuahua. Rey’s music caught the attention of two-time Grammy-nominated comedian Ron White, television mogul Phil McGraw and five-time Grammy-nominated record producer Michael Blakey. Together, they formed Organica Music Group and made Rey their first signing. The record label is distributed by Fontana Distribution, a division of Universal Music Group. The song, “Let The Rain,” which Rey co-wrote with John Oates, was released in August 2011.

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Thursday, December 6, 2012, 8 p.m.

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Natalie MacMaster: Christmas in Cape Breton 5IF .VTJD $FOUFS BU 4USBUINPSF .BSSJPUU $PODFSU 4UBHF

Natalie MacMaster

Juno Award-winning fiddler Natalie MacMaster is a Cape Breton girl. Lest there be any reservation concerning this declaration, you’re invited to check out Cape Breton Girl, her 11th and latest collection of jubilant instrumental music. This invigorating collection of toe-tapping jigs, reels

and strathspeys—with titles such as “Alex MacMaster’s Jig,” “My Brother Kevin” and “Stoney Lake Reels”—embraces the values MacMaster holds dear: family, tradition, home and faith. “Those are the things most important to me,” says MacMaster. “I work through my music, to strike a proper balance between life and work wherever possible.” MacMaster’s honors include two Grammy nominations and one win for her contribution to Yo-Yo Ma’s Songs Of Joy & Peace, a Juno Award for Best Instrumental Album for In My Hands, eight Canadian Country Music Awards, 10 East Coast Music Awards, an honorary doctorate from St. Thomas University and honorary degrees from Niagara University and Trent University. She also has received the Arts & Letters Award from the Canadian Association of New York. MacMaster has captivated audiences from Carnegie Hall in New York to Massey Hall in Toronto. She’s made radio appearances on CBC, Canada AM and Garrison Keillor’s A Prairie Home Companion, and TV appearances on Christmas specials like Rita MacNeil Christmas and Holiday Festival on Ice, with Olympic ice skaters Jamie Sale, David Pelletier, Kurt Browning

54 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

and Jeffrey Buttle. MacMaster has contributed to albums by Yo-Yo Ma, The Chieftains, Raffi, Béla Fleck, Alison Krauss, Michael McDonald and Thomas Dolby, among others. More recently, MacMaster’s talents have expanded to include authoring, co-writing and publishing the picturesque 161-page coffee-table book Natalie MacMaster’s Cape Breton Aire with Pulitzer Prize-winning wordsmith Eileen McNamara, and featuring Boston-based Eric Roth’s photography. But music is as important as home and tradition, her beloved family now shapes and informs her musicianship as much as the jigs, reels and waltzes feed her soul. “Not so much the sound as the delivery,” states MacMaster. “I am a mom now. I am a wife. Faith is also important. Those things are my priorities in life, and I think people get a sense of that—of that part of who I am—through my show. But my music itself hasn’t changed.” MacMaster, though, has branched out somewhat. And she’s not simply sticking to her roots. “I love music, and I don’t just love Cape Breton fiddling, although it’s my favorite: I love pop, rock, country, classical, jazz, bluegrass, Latin, and so on. I grew up listening to Michael Jackson, Whitney Houston, Def Leppard, AC/DC, Anne Murray. If I hear something I really like, like Bonnie Raitt’s ‘Good Man, Good Woman,’ I want to be a part of it.” “That love spawned a few tunes like ‘Catharsis,’ which I recorded on No Boundaries—my first rock piece—and ‘Flamenco Fling’ on In My Hands. I heard flamenco guitar playing and I thought it was awesome, and thought I could put a fiddle tune over flamenco rhythms.” “Being from Cape Breton has never made me feel restricted to playing only that tradition,” MacMaster says. “I’ve always felt I can be a part of any type of music. But certainly, no matter how it comes out, it always has the Cape Breton groove.”

Saturday, December 8, 2012, 8 p.m., Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.

SATURDAY, DECEMBER 8, 2012, 8 P.M. SATURDAY, DECEMBER 22, 2012, 8 P.M. SUNDAY, DECEMBER 23, 2012, 3 P.M.

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APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 55

Saturday, December 8, 2012, 8 p.m. , Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.

In demand throughout the United States and Europe, Stan Engebretson has led choirs in Venice’s Cathedral of St. Mark and taught in Cologne, Trier, St. Moritz and Barcelona. He has studied with the great masters of choral music, including Robert Shaw, Gregg Smith, Richard Westenburg, Roger Wagner and Eric Ericson. After attending the University of North Dakota and earning his doctorate from Stanford University, Engebretson taught at the University of Texas of the Permian Basin and the University of Minnesota. He also was the artistic director of the Midland-Odessa Symphony Chorale and the associate conductor of the Minnesota Chorale. In Washington since 1990, Engebretson is professor of music and director of choral studies at George Mason University and is the director of music at the historic New York Avenue Presbyterian Church. From 1993 to 2003, he was the artistic director of the predecessor to the National Philharmonic Chorale, the Masterworks Chorus, and the semi-professional National Chamber Singers. Engebretson remains active in other areas, including performing as a professional chorister and lecturer, and leading the Smithsonian Institution’s Study Journeys at the Spoleto-USA Festival of the Arts.

Danielle Talamantes, soprano

Having returned to her native Washington, D.C. area, Danielle Talamantes has quickly become one of the regions most sought after soloists. She recently debuted as Violetta in Verdi’s La Traviata with Fremont Opera to rave reviews. She was also thrilled to fulfill her debut contract in the spring of 2011 with the Metropolitan Opera covering the role of Najade in Strauss’

Ariadne auf Naxos. Recent concert performances featured Talamantes as soprano soloist with the Nashville Symphony, Baltimore Symphony Orchestra, Choralis and the Oratorio Society of Virginia. She made her debut with the Baltimore Choral Arts Society in May 2012 in Mendelssohn’s Elijah and was scheduled to perform with the New Dominion Chorale in an October 2012 production of Orff’s Carmina Burana. She also is scheduled to perform Poulenc’s Gloria with the National Philharmonic in February 2013.

Magdalena Wór, mezzo-soprano

Matthew Loyal Smith, tenor

56 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Matthew Loyal Smith is an accomplished tenor who has performed with many prestigious ensembles including the Washington Bach Consort,

Cathedral Choral Society, Washington Concert Opera, Niagara Symphony Orchestra, Pennsylvania Chamber Orchestra and the Mendelssohn Club of Philadelphia. His operetta and operatic roles have included Frederic in Pirates of Penzance, Baron Zsupàn in Countess Maritza, The Prologue in The Turn of the Screw, Kaspar in Amahl and the Night Visitors, the Mayor in Albert Herring and Torquemada in L’heure Espagnol. Smith received the Carmel Bach Festival’s Adams Fellowship in 2008. He studied voice with Beverley Rinaldi and Christine Anderson while earning his bachelor’s degree in voice at the Cleveland Institute of Music and a master’s degree in opera from Temple University. Smith serves with the Air Force Singing Sergeants in Washington, D.C.

Kevin Deas, bass

American bass Kevin Deas is especially celebrated for his riveting portrayal of the title role in Porgy and Bess with the New York Philharmonic, National Symphony, St. Paul Chamber Orchestra, Philadelphia Orchestra, the symphonies of San Francisco, Atlanta, San Diego, Utah, Houston, Baltimore and Montreal, and at the Ravinia and Saratoga festivals. His recent recordings include Die Meistersinger with the Chicago Symphony under the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO Ensemble under Ricardo Chailly, both on Decca/London. Other releases include Bach’s B minor Mass and Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To Hope! with the Cathedral Choral Society on the Telarc label.

Program Notes Messiah

George Frideric Handel Born Feb. 23, 1685 in Halle, Germany; died April 14, 1759 in London

ENGERBRETSON PHOTO BY JERRY FERNANDEZ; TALAMANTES PHOTO BY TOM RADCLIFFE, WOR PHOTO BY MAGDALENA MOULSON

Stan Engebretson, conductor

Saturday, December 8, 2012, 8 p.m., Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.

During the last decades of his life, beginning in the 1730s, Handel began to turn away from the world of the opera in order to devote more and more of his effort to the oratorio. The oratorio was a similar and closely related kind of musical presentation to the opera; it differed little outwardly in structure and content from the opera musically, but it required no costumes, scenery or staging, and the subjects, generally elevated and noble, were more often taken from the Bible, or classic myths or other legends. Handel’s oratorios (and Messiah in particular) became the first “immortal masterpieces,” and were performed over and over again, long after their novelty was gone, even after their composer’s death. Unlike now, until some 75 years after Handel’s death, novelty was a supremely important factor in musical life. Music of the past, even of the recent past, was performed only with a sense of participating in a revival of something long gone. The then-current repertoire was always contemporary and, thus, always in flux. Immediately, Handel’s oratorios captivated the English people. The fame of these oratorios inspired Haydn, Mozart and Beethoven when their popularity spread to the European continent. Gradually, the oratorios established the new idea that some “old” music was too good to abandon, and that, in fact, sometimes, established pieces should actually be given precedence over the new. Handel composed Messiah during the few weeks from Aug. 22 to Sept. 14, 1741. Presumably, his friend, Charles Jennens, assembled the text from the Bible, assisted by his private chaplain and in consultation with the composer. This theory is not definitive, and there are others who hold that the text was the careful work of Handel’s secretary, a clergyman named Pooley. A few weeks after the score was complete, William Cavendish, duke

of Devonshire and lord lieutenant of Ireland, invited Handel to give some benefit concerts of his music in Dublin for several charities. He left London early in November, spent a few days at Chester awaiting good weather for the Irish Sea crossing, and arrived on Nov. 18. In December, he began his successful series of subscription concerts. On March 23, 1742, a notice appeared in two Dublin newspapers: “For the Relief of the Prisoners in the several Gaols, and for the Support of Mercer’s Hospital, in Stephen’s-street, and of the Charitable Infirmary on the Inn’s Quay, on Monday, the 12th of April, will be performed at the Musick Hall in Fishamble-street, Mr. Handel’s new Grand Oratorio, called the Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Concertos on the Organ, by Mr. Handel.” A public rehearsal of the Messiah was held on April 8 before a large audience, and the next day a newspaper reported, “It was allowed by the greatest Judges to be the finest Composition of Musick that ever was heard.” The paper also suggested that ladies should come to the concert without hoops, and the gentlemen without swords, in order to make room for a larger than normal audience. The public cooperated and 700 people attended the premiere; although the hall really accommodated only 600. Handel returned to London in the fall, and in March 1743, he began a series of performances of the Messiah at Covent Garden. London did not immediately share Dublin’s enthusiasm, and the clergy even attempted to close the theater on the grounds that “any Work about the Omnipotent should never be performed in a playhouse.” However, Handel’s old patron, George II, attended the London premiere, and legend has it that he was so moved by the Hallelujah Chorus that he rose and remained standing until its end. Of course, when the king stood up, the rest of the audience stood, too,

and since that time, almost all audiences have traditionally risen at that point in the performance. Handel said of the Hallelujah Chorus that while composing it, “I did think I did see all Heaven before me, and the great God Himself.” It is a glorious musical moment, but cynical historians think that if the reputed incident took place at all, the king probably thought that intermission came before, not after it. In 1749, Handel presented an organ to the chapel of the Foundling Hospital, a home for abandoned and maltreated children founded in 1739 by a retired American sea captain. On May 1, 1750, he dedicated the organ with a revival of the Messiah that turned out to be the first in a series of annual benefits that continued long after his death, and that initiated Messiah’s great popular appeal. Handel himself made many changes in both the text and music during his lifetime, and in the long years since his death, countless variants have crept into the score. It is impossible now to hear the oratorio exactly as it was originally conceived and as it was performed in Handel’s time. No one absolutely authentic version of the music has come down to us. The singers’ art of decorating the composer’s simple melodic lines with brilliant ornament was lost for about 200 years and is now being revived only tentatively, or sometimes, clumsily. We no longer have the altered male sopranos and altos who sang the treble solos in Handel’s time. In addition, we do not know Handel’s exact scoring. Thirty years after Handel’s death, Mozart completely modernized the orchestration, and others have done so again and again since then. Handel divided Messiah into three parts. Part I contains the prophecy and narrative of the Nativity. Part II is the passion and the resurrection. The final section, Part III, includes the resurrection of all mankind to the glory of God. The portion being performed

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 57

Saturday, December 8, 2012, 8 p.m. , Saturday, December 22, 2012, 8 p.m. and Sunday, December 23, 2012, 3 p.m.

in this concert is the Christmas portion, which traditionally includes Part I, the Hallelujah Chorus from Part II and the Amen from Part III. Handel’s Messiah is unique in that the text which the soloists and chorus sing are removed from outwardly dramatic situations; unlike in opera, or even choral cantatas or dramas which Handel had written, in the Messiah, the singing is an extension of devotional contemplation. Handel gives us the life of the Christ in all its phases covering the whole liturgical year. Yet Messiah is not liturgical music. Handel dealt with his subject as a non-sectarian humanist, glorifying the validity of just and moral action more than the dogmas of Christianity. A new edition, released in February 2000, incorporates orchestration by Sir Eugène Goossens. Goossens created the orchestration during the early months of 1959 at the invitation of

Sir Thomas Beecham, then the conductor of the Royal Philharmonic Orchestra. Sir Thomas wished to record the Messiah with a 20th-century sized full orchestra and wanted Sir Eugène to create the mammoth score. The precedent for the request had numerous historical antecedents. We know that Handel himself had, on various occasions, considerably increased the choral and instrumental forces for performances by adding oboes, bassoons, contrabassoon and horns. The Handel commemoration performances in 1784 involved 500 singers and an orchestra including trombones, contrabassoon and four sets of timpani. Subsequently, various musicians re-orchestrated Messiah for their own time; thus Sir Thomas Beecham’s idea to present the work with a 20th-century orchestra was not a wholly original, nor outlandish, idea. When Beecham actually made the

58 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

recording of Messiah, just before his death, he substituted other orchestrations for a number of the selections and although he used the Goosens orchestration primarily, he did not present the whole work as Goosens envisioned it. Sadly, Goosens never heard his orchestration performed, and his manuscript and orchestral material were never published, but held closely by Beecham’s widow. Recently, the manuscript was mysteriously sold to the University of Sheffield in England, although apparently Beecham had never purchased it, but only commissioned the orchestration. The present score was created from a poor quality photocopy, and the publisher, Theodore Presser Company, hopes to eventually print the complete score, even more precisely to Goosens’ specifications. Copyright Susan Halpern, 2012

Art Exhibitions And Fine Art Education

79TH ANNUAL INTERNATIONAL EXHIBITION OF FINE ART IN MINIATURE

KIDS TALK AND TOUR: MINIATURES AND GRAYSCALE

NOVEMBER 17–DECEMBER 29

SATURDAY, DECEMBER 8, 10:15AM

While each piece in this amazing exhibition is produced in miniature, every one represents a massive amount of talent and tender loving care. Free Opening Reception: Sunday, November 18, 2–4PM

Free (reservations required) Ages 5 and up

ADULT ART TALK MINIATURES AND GRAYSCALE SATURDAY DECEMBER 8, 1PM

Free (no reservations required)

Douglas Roy, Moonglow

GRAYSCALE NOVEMBER 17–DECEMBER 29

Forget about fifty shades—the magic of grayscale is infinite! From white to black and back again, the art of Grayscale explores the connection of grayscale images to the past and their meaning in the present, and addresses viewers’ ability to ascribe color to a black and white image by assessing the intensity of light that is different for every color. Free Opening Reception: Tuesday, November 20, 7–9PM

TAUGHT BY JOHN HORMAN MONDAYS, JANUARY 7, 14, 28 & FEBRUARY 4, 7:30–9PM

Tuition $140 (Stars $126) for four-session series

TAUGHT BY CONNAITRE MILLER SATURDAY, DECEMBER 15, 10AM–3PM

Connaitre Miller

Tuition $65 (Stars $58.50)

MARK O’CONNOR STRING METHODS FOR STRING TEACHERS THURSDAY, DECEMBER 13, 2–3PM

TAUGHT BY BEV ABBOTT SATURDAY, DECEMBER 8, 10AM–3PM

FIDDLE JAM/ WORKSHOP WITH ALASDAIR FRASER

Mark O’Connor

Free, reservations required

THURSDAY, JANUARY 10, 7–9PM

Tuition $15 (Stars $13.50)

Alasdair Fraser

Kids Sunday Art Workshops ARTIST TRADING CARDS: MINI-MASTERPIECES! TAUGHT BY LISA MURPHY SUNDAY, NOVEMBER 18, 9:30AM– 12:30PM

Ages 7–11 Tuition $45 (Stars $40.50) per child, includes materials

Palma Brozzetti, Wyoming Sky

www.strathmore.org | (301) 581-5100 Strathmore Ticket Office 5301 Tuckerman Lane, North Bethesda, MD Groups Save! (301) 581-5199

John Horman

JAZZ VOCAL INTENSIVES: SCAT SINGING 201

MASTERPIECES IN MINIATURE WORKSHOP

For adults Tuition $75 (Stars $67.50) per person, includes materials

Dennis Drenner

strathmore

SO YOU THINK YOU CAN’T SING— HARMONY EDITION

Stephanie Potter Corwin

THE MANSION AT

Music Classes and Workshops for Adults

Irene Young

COMING TO

WHAT’S BLACK & WHITE AND FUN ALL OVER? PRINTMAKING AT STRATHMORE! TAUGHT BY LISA MURPHY SUNDAY, DECEMBER 9, 9:30AM– 12:30PM

Ages 7–11 Tuition $45 (Stars $40.50) per child, includes materials

Wednesday, December 12, 2012, 8 p.m.

WEDNESDAY, DECEMBER 12, 2012, 8 P.M.

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Holiday Pops Celebration Robert Bernhardt, conductor Daniel Narducci, baritone Baltimore Choral Arts Society Tom Hall, director Anacrusis Bell Choir â&#x20AC;&#x153;Deck the Hallsâ&#x20AC;? from Christmas Ornaments

Arr: Randol Alan Bass

â&#x20AC;&#x153;Christmas Time Is Hereâ&#x20AC;?

Vince Guaraldi BOE Lee Mendelson arr: Wilson

â&#x20AC;&#x153;Carol of the Bellsâ&#x20AC;?

Selections from The Nutcracker, Op. 71a .BSDI %BODF PG UIF 4VHBS 1MVN 'BJSZ 3VTTJBO %BODF 5SFQBL

Pyotr Ilyich Tchaikovsky (

Sleigh Ride

Leroy Anderson

Edward Pola BOE George Wyle arr: Scot Wooley

â&#x20AC;&#x153;Twelve Days of Christmasâ&#x20AC;?

Arr: John Rutter

â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s the Most Wonderful Time of the Yearâ&#x20AC;? Daniel Narducci â&#x20AC;&#x153;Silver Bellsâ&#x20AC;? Daniel Narducci

â&#x20AC;&#x153;Go Tell It on the Mountainâ&#x20AC;? Daniel Narducci

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INTERMISSION â&#x20AC;&#x153;We Wish You a Merry Christmasâ&#x20AC;? â&#x20AC;&#x153;Joy to the Worldâ&#x20AC;?

Concert Suite from The Polar Express

Jay Livingston and Ray Evans , arr: Scot Wooley

â&#x20AC;&#x153;O Holy Nightâ&#x20AC;?

Mykola Leontovitch, arr: Barlow Bradford

Alan Silvestri BOE Glen Ballard arr: Jerry Brubaker Adolphe Adam, arr: Tim Berens Arr: Randol Alan Bass

Sing We Now of Christmas i0I $PNF "MM :F 'BJUIGVMw i"XBZ JO B .BOHFSw i5IF 'JSTU /PĂ&#x2018;Mw i+PZ UP UIF 8PSMEw i4JMFOU /JHIUw i)BSL 5IF )FSBME "OHFMT 4JOHw

Arr: Randol Alan Bass

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60 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Arr: Mack Wilberg

â&#x20AC;&#x153;The Night Before Christmasâ&#x20AC;?

Arr: Scot Wooley John Williams BOE Leslie Bricusse

Arr: Chris Ridenhour

THE BALTIMORE CHORAL ARTS SOCIETY PHOTO COURTESY OF BSO

Wednesday, December 12, 2012, 8 p.m.

Robert Bernhardt, conductor

Daniel Narducci, baritone

Robert Bernhardt is music director emeritus of the Chattanooga Symphony and Opera, having recently completed a 19-year tenure as that orchestra’s music director. He also serves as principal pops conductor of the Louisville Orchestra and has previously served as artistic director and principal conductor of the Rochester Philharmonic (199598), music director and conductor of the Tucson Symphony (1987-95) and principal guest conductor of Kentucky Opera (1991-96). Bernhardt began his professional career with the Louisville Orchestra in 1981 as assistant conductor and has worked with the orchestra every year since. For the past 15 years he has served as its principal pops conductor. In addition to conducting the Pops series, Bernhardt also hosts and conducts a three-concert series, titled “NightLites,” which presents themed programs of a variety of musical genres. Bernhardt is equally at home with symphonic masterwork, operatic, pops and educational performance formats. During his tenure with the Kentucky and Chattanooga opera companies, he conducted fully staged productions of more than 40 operas, including Don Giovanni, La Traviata, Rigoletto, La Bohème, Il Trovatore and The Flying Dutchman. His conducting for staged productions has also led him to the opera companies of Nashville and Birmingham, and the ballet companies of Louisville, North Carolina, Chattanooga and Jacksonville. Bernhardt’s recordings of the standard symphonic canon and works of contemporary composers are available on the Vanguard, First Edition, RPO and Carlton Classics labels. Bernhardt holds a master’s degree with honors from the University of Southern California School of Music and a bachelor’s degree from Union College in New York.

Baritone Daniel Narducci is a multi-faceted artist whose talents have been captured through live stage presentations, recordings, documentaries and television. Since his professional debut with the Cincinnati Pops Orchestra, Narducci has appeared with the Cleveland Orchestra, Philadelphia Orchestra, Boston Pops, Naples Philharmonic, Chicago Symphony, Rochester Philharmonic, Toronto Symphony, Houston Symphony and the Detroit Symphony, among others. Narducci’s performance with the Cincinnati Pops Orchestra at the Great Hall of the People in Beijing was filmed for nationwide broadcast in China. Other television appearances include co-starring with Frederica von Stade and the Naples Philharmonic Orchestra in the PBS program Pops at the Phil: A Century of Broadway. He also appeared with Judy Kaye in the BBC television documentary Kurt Weill in America: I’m a Stranger Here Myself. Narducci recently made his New York City debut at Alice Tully Hall with the Collegiate Chorale under the direction of Robert Bass in An Evening of American Operetta. He played the role of Lancelot during two national tours of Camelot and portrayed Old Deuteronomy in the 10th anniversary production of Cats in Hamburg, Germany. An active recording artist, Narducci recently created the role of Captain Hook on the world premiere recording of Leonard Bernstein’s Peter Pan.

The Baltimore Choral Arts Society

The Baltimore Choral Arts Society, now in its 46th season, is one of Maryland’s premier cultural institutions. In the summer of 2007, Tom Hall led the Chorus in a three-city tour of France, including sold-out performances in Paris and Aix-en-Provence. For the past 15 years, WMAR-TV

has featured the society in an hour-long special, Christmas with Choral Arts. Hall and the chorus were also featured in the PBS documentary Jews and Christians: A Journey of Faith. On local radio, Hall is the host of Choral Arts Classics, a monthly program on WYPR that features the Choral Arts Chorus and Orchestra, and he is the culture editor on WYPR’s Maryland Morning with Sheilah Kast. Baltimore Choral Arts’ latest CD is Christmas at America’s First Cathedral, released on Gothic Records in September 2010. A recording with Dave Brubeck featuring his oratorio, The Gates of Justice, was released internationally on the NAXOS label in 2004. Choral Arts has two other recordings in current release: Christmas with Choral Arts and a live recording of the Rachmaninoff All-Night Vigil. Hall is one of the most highly regarded performers in choral music today. Appointed music director in 1982, Hall has added more than 100 new works to Choral Arts’ repertoire, and he has premiered works by contemporary composers including Peter Schickele, Libby Larsen, Robert Sirota, James Lee III and Rosephanye Dunn Powell. Hall has prepared choruses for Leonard Bernstein, Robert Shaw and others, and he served for 10 years as the chorus master of the Baltimore Opera Company.

Anacrusis Bell Choir

Anacrusis is a professional handbell organization consisting of eight musicians that specialize in small ensemble work. Located in the Chesapeake Bay area of Maryland, the ensemble also performs handbell sextets, quintets, quartets, trios and duets, with optional accompaniment by harp, keyboards and percussion instruments. The ensemble’s repertoire encompasses classical, popular, sacred and music that is just plain fun.

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 61

Thursday, December 13, 2012, 8 p.m.

THURSDAY, DECEMBER 13, 2012, 8 P.M.

Symphony, with Christoph Eschenbach conducting. In November 2003, O’Connor and Salerno-Sonnenberg recorded the work with Marin Alsop conducting the Colorado Orchestra. In June 2001, O’Connor released Hot 4USBUINPSF 1SFTFOUT Swing!, a tribute to Grappelli. Released on his own OMAC label, the CD was recorded live with Frank Vignola on Mark O’Connor: guitar and Jon Burr on bass. An Appalachian Christmas In 2003, O’Connor completed his fifth concerto, Double Concerto for Violin and Cello, and often performs 5IF .VTJD $FOUFS BU 4USBUINPSF the piece with cellist Maya Beiser. Also .BSSJPUU $PODFSU 4UBHF in 2003, O’Connor was commissioned by the Academy of St. Martin in the Fields to compose a concerto for violin Mark O’Connor and chamber orchestra—“Old Brass” takes its inspiration from a Beaufort, sical record label, Appalachia Waltz, was S.C., plantation designed by Frank in collaboration with Yo-Yo Ma and Lloyd Wright. Edgar Meyer. The works O’Connor O’Connor and the Baltimore Symcomposed for the disc, including its title phony recorded Americana Symphony: track, gained worldwide recognition for Variations on Appalachia Waltz in 2009. him as a leading proponent of a new David McGee of Rolling Stone said of American musical idiom. The follow-up the performance: “Americana Symphony release, Appalachian Journey, received a may well be regarded one day as one of Grammy Award in February 2001. this country’s great gifts to the classical With more than 200 performances, music canon, as well as being a pivotal his first full-length orchestral score “Fid moment in the rise of the new Ameridle” Concerto has become the most-percan classical music.” formed modern violin concerto. Fanfare His 2010 recording, Jam Session, for the Volunteer, recorded with the Lonoffers live acoustic recordings that comdon Philharmonic Orchestra under the bine bluegrass and gypsy jazz. O’Connor baton of Steven Mercurio, was released has also formed a piano trio to perform by Sony Classical in October 1999. his “Poets and Prophets” composiIn April 2000, O’Connor premiered A product of America’s rich aural tion, which was commissioned by the his fourth violin concerto, “The Amerifolk tradition, as well as classical and Eroica Trio and inspired by the music can Seasons: Seasons of an American flamenco music, Mark O’Connor’s creof Johnny Cash. He often performs it Life,” at Troy Music Hall in Troy, N.Y. ative journey began at the feet of a pair with Cash’s daughter, Rosanne Cash. In The work was commissioned to celof musical giants. The first was the folk addition, dance troupes such as Twyla ebrate the 20th anniversary of the hall’s fiddler and innovator who created the concert series. “The American Seasons” Tharp Dance Co., the New York City modern era of American fiddling in the Ballet and Alvin Ailey—among othwas recorded with the Metamorphosen 1940s, Benny Thomasson; the second, ers—have staged and choreographed to Chamber Orchestra and released in French jazz violinist Stephane Grap2001. Following the work’s release, a 30- O’Connor’s lyrical American music. pelli, is considered one of the greatest Music education is a large part of city national tour with Metamorphosen improvisers in the history of the violin. O’Connor’s work as well. O’Connor earned universally spectacular reviews. O’Connor has melded and shaped regularly conducts three-day residenThe work was nationally broadcast New these influences into a new American cies and conducts workshops. He also Year’s Day 2002 on PBS stations, paired classical music. The Los Angeles Times is founder and president of the Mark with Vivaldi’s Four Seasons. has said O’Connor has “crossed over so O’Connor String Camp, which is held In August 2000, O’Connor’s third many boundaries, that his style is purely concerto, Double Violin Concerto, each summer at East Tennessee State personal.” University in Johnson City, Tenn., and received its premiere with Nadja His first recording for the Sony Clas at Berklee College of Music in Boston. Salerno-Sonnenberg and the Chicago 62 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

JIM MCGUIRE

●

Saturday, December 15, 2012, 4 p.m. and 8 p.m.

SATURDAY, DECEMBER 15, 2012, 4 P.M. AND 8 P.M.

â&#x2014;? 4USBUINPSF 1SFTFOUT

Mannheim Steamroller Christmas by Chip Davis 4QPOTPSFE CZ 1BOEPSB 4USBUINPSF UIBOLT +PFM BOE &MJ[BCFUI )FMLF GPS UIFJS HFOFSPVT TQPOTPSTIJQ PG UIJT DPODFSU 5IF .VTJD $FOUFS BU 4USBUINPSF .BSSJPUU $PODFSU 4UBHF

Mannheim Steamroller

Over 25 years ago, Mannheim Steamroller released Mannheim Steamroller Christmas, an album that changed the Christmas music industry. Already a multi-platinum recording artist through his Fresh Aire series, founder Chip Davis decided to record an album of Christmas music combining the groupâ&#x20AC;&#x2122;s signature mix of renaissance instruments with rock â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; roll beats. The resulting album was a runaway hit and propelled Mannheim Steamroller to become the No. 1 Christmas music artist in history. Since the success of Mannheim Steamroller Christmas, the band has

released 16 more Christmas albums and compilations, including Christmas Song, which features Johnny Mathis, Olivia Newton-John and jazz legend Paul Winter. The group recently received its 19th gold record for Mannheim Steamroller Christmas â&#x20AC;&#x201C; 25th Anniversary Collection. The two-CD set features 25 of the groupâ&#x20AC;&#x2122;s famous holiday classics. With 19 gold, eight multi-platinum and four platinum certified records, Davis and Mannheim Steamroller are among an elite group of artistsâ&#x20AC;&#x201D;including U2, Jay-Z, The Beach Boys and Michael Jacksonâ&#x20AC;&#x201D;with the most certifications among all recording artists.

About Chip Davis

Chip Davis is founder of Mannheim Steamroller and the driving force of American Gramaphone, the largest independent record label in the country. His Fresh Aire series and the multi-platinum Christmas albums have brought him international renown. Davis combines musical mastery and technical wizardry to create a style often described as 18th century rock â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; roll. He named the band Mannheim Steamroller for the 18th century musical technique known today as the crescendo. Davis recently changed the Mannheim Steamroller Christmas Tour since he can no longer participate as a performer because of cervical disc surgery. He created two traveling troupes composed of both original band members and young musicians. Between the two bands Mannheim Steamroller will perform more than 90 shows in 77 cities. In addition to his work with Mannheim Steamroller, Davis has also captured technical audio recordings of space shuttle launches and landing, written five childrenâ&#x20AC;&#x2122;s books and expanded the Mannheim brand with food, apparel and other items. Davis has also invented a psychoacoustic technology that is being used in hospitals such as the Mayo Clinic. The son of a music teacher father and a mother who performed with an all-girl orchestra, Davis studied bassoon and percussion. After working as a high school music teacher, Davis became a jingle writer for a Nebraska advertising agency. He and another advertising executive created a character named C.W. McCall for a series of television commercials. That character led to Davisâ&#x20AC;&#x2122; big break. The TV spots were so popular that Davis and his partner produced songs under the name C.W. McCall; one song, â&#x20AC;&#x153;Convoy,â&#x20AC;? sold millions and became the basis of a film by the same name that starred Kris Kristofferson. Davis operates from his home base in Omaha, Neb., where he resides on a 140-acre farm with two timber wolves, nine horses, a pet duck and a pet turkey.

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 63

Tuesday, December 18, 2012, 7:30 p.m.

TUESDAY, DECEMBER 18, 2012, 7:30 P.M.

â&#x2014;? 5IF /BUJPOBM 1IJMIBSNPOJD 1JPUS (BKFXTLJ .VTJD %JSFDUPS BOE $POEVDUPS

QSFTFOUT

A Festive Evening with the Washington Symphonic Brass Washington Symphonic Brass Phil Snedecor, artistic director National Philharmonic Chorale Victoria Gau, conductor

(All arrangements by Phil Snedecor unless otherwise noted.) â&#x20AC;&#x153;Quelle est cette odeur agrĂŠable?â&#x20AC;? (â&#x20AC;&#x153;What is the Lovely Fragrance?â&#x20AC;?) 5SBEJUJPOBM 'SFODI â&#x20AC;&#x153;O Jul med din gledeâ&#x20AC;? (â&#x20AC;&#x153;O Christmas, you season of delightâ&#x20AC;?) 5SBEJUJPOBM /PSXFHJBO DBSPM â&#x20AC;&#x153;Go Tell It on the Mountainâ&#x20AC;? UI DFOUVSZ "GSJDBO "NFSJDBO TQJSJUVBM BSS -VUIFS )FOEFSTPO â&#x20AC;&#x153;This Little Babeâ&#x20AC;? from A Ceremony of Carols #FOKBNJO #SJUUFO

â&#x20AC;&#x153;Divinum Mysteriumâ&#x20AC;? (â&#x20AC;&#x153;Of the Fatherâ&#x20AC;&#x2122;s Love Begottenâ&#x20AC;?) 'JOOJTI BSS 1IJM 4OFEFDPS BOE 4UFSMJOH 1SPDUPS â&#x20AC;&#x153;NoĂŤl Nouveletâ&#x20AC;? (â&#x20AC;&#x153;Sing We Now of Christmasâ&#x20AC;?) UI DFOUVSZ 'SFODI

Victoria Gau, conductor

Lauded by critics for her â&#x20AC;&#x153;strong sense of style and dramaâ&#x20AC;? and her â&#x20AC;&#x153;enthusiastic and perceptive conducting,â&#x20AC;? National Philharmonic Associate Conductor Victoria Gau is also artistic director and conductor of the Capital City Symphony. Gau is a familiar face in the Washington 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. She is in demand as a conductor and string educator at youth orchestra festivals and workshops and has been conductor of the Young Virtuosi Chamber Orchestra of the D.C. Youth Orchestra Program, the Akron Youth Symphony and assistant conductor of the Northern Ohio Youth Orchestra.

The Washington Symphonic Brass

Christmas Memories with the National Philharmonic Chorale

INTERMISSION â&#x20AC;&#x153;Troikaâ&#x20AC;? from Lieutenant KijĂŠ Suite, Op. 60 4FSHFJ 1SPLPGJFW

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The Washington Symphonic Brass, founded in 1993, is dedicated to enriching the cultural life of the Washington, D.C., Maryland and Virginia region with world-class performances of music for modern brass ensemble. Founders Milton Stevens and Phil Snedecor formed the group in order to challenge traditional performance boundaries with fresh interpretations of the standard brass repertoire, and to create innovative arrangements of classical literature. Individually, Washington Symphonic Brass members have performed with many of the nationâ&#x20AC;&#x2122;s best orchestras, such as the National Symphony and the Baltimore Symphony, in addition to the nationâ&#x20AC;&#x2122;s top military bands.

GAU PHOTO BY MICHAEL VENTURA, WASHINGTON SYMPHONIC BRASS PHOTO BY ED KELLY

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Tuesday, December 18, 2012, 7:30 p.m.

Program Notes “Quelle est cette odeur agréable?” (“What is the Lovely Fragrance?”)

Traditional French

“Quelle est cette odeur agréable?” is a traditional French Christmas carol about the Nativity. It was set to music written by John Gay for his famous Beggar’s Opera in 1728, when he used it as a variant for the drinking song “Fill Every Glass.” The melody of this song has been used for other French carols, and scholars feel it most likely originated in France during the 17th century. “O Jul med din glede” (“O Christmas, you season of delight”)

recessional movements. Britten’s reading of The English Galaxy of Shorter Poems, the work of 15th and 16th century poets, inspired his A Ceremony of Carols. “This Little Babe,” the sixth of eight movements in A Ceremony of Carols, originated in Robert Southwell’s “Newe Heaven, Newe Warre,” in 1595. His text outlined the preparations God made, including the birth of the Babe, for battle with the forces of Satan. The metaphors juxtapose images of the helpless infant with martial images of weapons and battles. Britten gave “This Little Babe” a martial sounding accompaniment, building intensity by increasing the voices of a canon progressively with each verse, moving from unison to two parts and then three parts.

Traditional Norwegian Carol

“O Jul med din glede,” is a traditional Norwegian carol, sung even today by children in Norway while dancing in a ring around the Christmas tree. “O Christmas, You season of delight—we clap our hands and sing and dance, so happy we are.” “Go Tell It on the Mountain”

19th century African- American spiritual, arr. Luther Henderson

“Go Tell It on the Mountain” is an African American spiritual dating back to at least 1865 and has been sung and recorded by many gospel and secular performers. Some consider it a Christmas carol because its original lyrics celebrate the birth of Christ: “Go tell it on the mountain, over the hills and everywhere; go tell it on the mountain, that Jesus Christ is born.” In the 1960s, folk singers Peter, Paul and Mary rewrote some of the lyrics, renaming it “Tell it on the Mountain,” and recording it as a civil rights song.

Benjamin Britten Born Nov. 22, 1913 in Lowestoft, England; died Dec. 4, 1976, in Aldeburgh, England

One of England’s greatest 20th century composers, Benjamin Britten was born on the feast day of Saint Cecilia, the patron saint of music. Britten called A Ceremony of Carols “a ceremony” because he gave it a formal structure with processional and

Christmas Memories

Christmas Memories is a collection of tunes from American popular culture that we all associate with the holiday season. It includes “Frosty the Snowman; “Somewhere in my Memory,” from the 1990 film Home Alone and “You’re a Mean One, Mr. Grinch,” written and composed in 1966 for the animated television special How the Grinch Stole Christmas! Snedecor reflects, “Hopefully many of these tunes will bring with it some memory of a season spent with friends and family celebrating the season.”

“Divinum Mysterium” (“Of the Father’s Love Begotten”)

“Troika” from Lieutenant Kijé Suite, Op. 60

16th century Finnish arr: Phil Snedecor & Sterling Proctor

Sergei Prokofiev

The melody of “Divinum Mysterium” was combined with the lyrics of the Roman poet Aurelius Prudentius’ (348- 410) Latin poem “Corde natus,” translated as “Of the Father’s Heart/ Love Begotten” (alternatively known as “Of the Father’s Love Begotten”) from his Liber Cathemerinon (Hymn no. IX). The medieval plainchant melody “Divinum Mysterium,” is a “Sanctus trope” that over the years had become musically embellished. “Divinum mysterium” first appeared in print in 1582 in the Finnish songbook Piae Cantiones, a collection of 74 sacred and secular church and school songs of medieval Europe compiled by Jaakko Suomalainen and published by Theodoric Petri. “Noël Nouvelet” (“Sing We Now of Christmas”)

“This Little Babe” from A Ceremony of Carols

originally most frequently sung in France. By the 16th century, “noël” had come to mean ”Christmas song.” The carol’s title proclaims a new noël, sung to the “roi nouvelet,” the newborn king.

15th century French

“Noël Nouvelet” (“Sing We Now of Christmas”) is a 15th century French carol, whose well-known English lyrics were written in the 19th century. The words “nouvelet” and “noël” are both related to the French word for “news,” and it could be that the word “nouvelet” is a shortening of “nouvel ans,” New Year, at which time carols were

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

Prokofiev’s first major work on his return to Russia in 1933 after years of selfimposed exile in the West was the score for the film Lieutenant Kijé,. In the film, the czar misreads the report of one of his aides and creates a name out of the syllable ki, which ended the aide’s name, and the Russian expletive ji. (Some of us may feel this name creation may bear some resemblance to the artistic creation of some of the Ellis Island officials with American immigrants’ names.) The czar and his clerk misread the records of a military unit and were led to think they had come upon an account of the bravery of a certain Lieutenant Kijé but no such person existed. Since the courtiers did not dare to find their despotic ruler wrong, they cre ated one and fabricated a life history for him. When the czar asked that the mythical hero be presented to him at court, they realize that they have allowed things to go too far, and they report that he has died in battle. Prokofiev composed some of his most charming and witty music for Lieutenant Kijé, and in 1934, arranged a five movement suite from the film that traces the central incidents of the adventures of the fictitious hero. The fourth movement is a

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 65

Tuesday, December 18, 2012, 7:30 p.m.

“Troika Song.” It captures the rhythms and the sounds of the bells of the threehorse sleigh accompanying the rollicking song about the fickleness of women. This sleigh song undeniably evokes the season of Christmas. “I Wonder as I Wander”

Traditional Appalachian

this fragment, he composed the version of “I Wonder as I Wander” that we know today. “Tonttu” (“Christmas Gnome”)

Traditional Finnish Carol

“Tonttu,” also known as “Christmas gnome,” is a traditional Finnish carol. A tonttu is a humanoid mythical creature of Scandinavian folklore. It was believed that the creature took care of farmers’ homes and children, especially when it was dark, protecting them from misfortune while they slept. The Swedish mythical character turned into a white-bearded, red-capped figure who started bringing presents.

“I Wonder as I Wander” is a Christmas carol that originated in a song fragment collected on July 16, 1933 by folklorist and singer John Jacob Niles. While in the Appalachians of North Carolina, Niles attended a fund-raising meeting held by evangelicals; he wrote of hearing the song: “A girl had stepped out to the edge of the little “Carol of the Bells”/ “God Rest Ye Merry, platform attached to the automobile. Gentlemen” She began to sing. ...But, best of all, Mykola Leontovich she was beautiful, and in her untutored way, she could sing.” Niles heard Born Dec. 13, 1877 in Monastyrok, Ukraine; died Jan. 23 1921 in Tulchyn, and wrote down “three lines of verse, Ukraine a garbled fragment of melodic materiEnglish al—and a 0569-4C_WASH magnificentmagazine_7x4.625_v11.pdf idea.” Based on Traditional 1 12-10-01 3:45 PM

In 1916, Mykola Dmytrovich Leontovich, who was born in the Ukraine and composed much music based on traditional Ukrainian folk music, was commissioned to write a song based on local folk melodies. Leontovich created “Shchedryk,” pairing a folk song and a separate four-note folk tune, a winter “luck song.” The song is an adaptation of an old shchedrivka, a song traditionally sung on New Year’s Eve, expressing hopes for good fortune in the year to come. In 1936, Peter Wilhousky added the lyrics of the “Carol of the Bells” to the original folk music. This popular Christmas song has been paired here with the English traditional carol “God Rest Ye Merry, Gentlemen.” Like many early Christmas songs, “God Rest Ye Merry, Gentlemen,” it is believed, was written in reaction to the music of the 15th century church, yet in its earliest known publication on a broadsheet published around 1760, it is described as a “new Christmas carol,” suggesting its origin in the mid-18th century.

NEW YEAR’S CONCERT 2013

CMY

THE STRAUSS SYMPHONY of AMERICA

Tickets: (301) 581-5100 strathmore.org

MIKA EICHENHOLZ conductor (Stockholm) MÓNIKA FISCHL soprano (Budapest)

MICHAEL HEIM tenor (Vienna)

Dancers from

KIEV-ANIKO BALLET of UKRAINE

SUNDAY, DEC. 30, 2012 – 3:00 PM

66 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Presented by Attila Glatz Concert Productions

Tuesday, December 18, 2012, 7:30 p.m.

“’Twas the Night Before Christmas”

“Infant Holy, Infant Lowly”

arr. Anthony DiLorenzo

Traditional Polish Carol

“’Twas the Night Before Christmas” is perhaps one of the most well-known verses in English literature. Its original title is “A Visit from Saint Nicholas.” It was written by either Clement Clarke Moore or Henry Livingston, Jr., and published in 1823. This adaptation mixes familiar styles and tunes with original material.

“Infant Holy, Infant Lowly” is based on a traditional Polish Christmas carol, “W "łobie le"y” (“He lies in the cradle”). It was first published in 1908 in a book of Polish carols. Edith M. Reed created the English-language version of it in 1921. With a hymn-like spirit, it has a stately character but nevertheless is able to convey its joyousness.

“In the Bleak Midwinter”

“Ode to Joy” from Symphony No. 9

Gustav Holst

Ludwig van Beethoven

Born Sept. 21, 1874 in Cheltenham, England; died May 23, 1934 in London arr. Ed Hirschman

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

The lyrics to “In The Bleak Midwinter” originated as a poem by Christina Rossetti, published posthumously in 1904. The text of this Christmas poem has been set to music many times, most famously in a setting by Gustav Holst, who set the words to music in the 1906 English Hymnal.

Beethoven’s Symphony No. 9, a paean to the brotherhood of man and a work of great optimism, is one of the cornerstones of the history of European music. The earliest mention of what would become this symphony occurred in 1793 when Beethoven announced he wanted to set the Ode

to Joy by the contemporary German playwright and poet, Friedrich Schiller, to music, but it took almost 30 years before Beethoven outlined the last movement of the symphony. After much working and reworking, Beethoven decided not to set the exact poem to music, but to rearrange the text to suit his musical and dramatic intentions. In tonight’s arrangement only the large choral sections of Beethoven’s masterpiece will be heard. Snedecor explains: “When I was on a tour of Japan with Baltimore Symphony a number of years ago in late November, I was struck by how many performances of Symphony No.9 were scheduled throughout the month of December. I was told by a relative who had lived there for a number of years that this was their Messiah—the work that to them signified the holidays more than any other.” Copyright Susan Halpern, 2012

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APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 67

PROFILES | Senior Services

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In six distinct communities on a beautiful campus in Rockville, this not-for-profit organization offers a variety of services and life environments suited to individual needs. New kitchens at Ring House, with granite countertops, stainless steel appliances and washer-dryers, are perfect for baking cookies for the grandchildren. Pet-friendly Revitz House is unique for its affordable, supportive independent living services. Assisted living at Landow House offers personalized services. Each year, hundreds of patients recover and move back to their own homes thanks to outstanding rehabilitation at the Hebrew Home. The new Cohen-Rosen House will soon welcome its first residents, who will receive warm, personal memory-assisted care. Living on this campus in Rockville is enriched by Jewish heritage, on-site, full-time medical staff and extensive recreation and cultural programs.

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Built on eight acres bordering Rock Creek Hills Park, Kensington Park has the ambiance of a country resort, yet it’s in the heart of Kensington, just off Connecticut Avenue. “We say that it’s more than a home; it’s an engaging way of life,” says Tanya Walker, executive director. “Our goal for our residents is that they thrive, waking up each day with a sense of joy.” Typical activities include tai chi, bird watching, visiting beautiful gardens, educational opportunities, entertainment and trips into the District. To meet changing needs, Kensington Park offers a continuum of services that include independent living, assisted living, and memory support with Alzheimer’s and dementia specialists. “At Kensington Park, we have serving hearts for all our residents,” says Linda Pierce, RN. 68 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

HILARY SCHWAB

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PROFILES | Senior Services

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Maplewood Park Place

HILARY SCHWAB

9707 Old Georgetown Road, Bethesda, MD 20814 301-530-0500 | www.maplewoodparkplace.com

When Claire Machlin, a retired professor from American University, moved to Maplewood with her husband in 2007, she never imagined that one day she would chair the Resident Food & Beverage Committee. Mrs. Machlin says with great pride, “Maplewood’s dining program offers something special for everyone’s tastes: casual lunches, elegant dinners, international buffets, even a lively Hawaiian luau. The culinary experience is first class.” Sylvia Weiss, a committee member who moved to Maplewood 16 years ago, adds, “Maplewood has always been able to attract and maintain a top notch culinary team. Together, our committee works with management to create a dining program that would make most country clubs envious.” Sylvia and Claire agree that variety and resident input keep the menu interesting. Enjoying the luau, Maggie Johnston, another food committee member, says, “I try to attend all the special events, such as

“

Life at Maplewood offers a wide variety of activities and events based on residents’ feedback.”

Mardi Gras and Kentucky Derby parties. I also enjoy the weekly TGIF Happy Hours. There’s no better way to kick off the weekend than relaxing with my friends over drinks and hors d'oeuvres, listening to live music.” Life at Maplewood offers a wide variety of activities and events based on residents’ feedback. Executive Director Scott McAlister, who was responsible for roasting the luau pig, points out that Maplewood Park Place is the only senior living community in Bethesda that offers all the benefits of home ownership in addition to the full continuum of health-care services. “Retirement living just does not get any better,” he says.

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 69

STRATHMORE HALL FOUNDATION, INC. BOARD OF DIRECTORS EXECUTIVE COMMITTEE Nancy E. Hardwick Chair William G. Robertson Vice Chair Dale S. Rosenthal Treasurer Robert G. Brewer, Jr., Esq. Secretary

BOARD OF DIRECTORS Joseph F. Beach Dickie S. Carter David M.W. Denton Hope B. Eastman, Esq. Suzanne Brennan Firstenberg William R. Ford Hon. Nancy Floreen

Barbara Goldberg Goldman Sol Graham Thomas H. Graham Paul L. Hatchett Delia K. Lang Carolyn P. Leonard Hon. Laurence Levitan J. Alberto Martinez, MD Caroline Huang McLaughlin Thomas A. Natelli Kenneth Oâ&#x20AC;&#x2122;Brien DeRionne P. Pollard Donna Rattley Washington Graciela Rivera-Oven Wendy J. Susswein Carol A. Trawick Regina Brady Vasan James S. Whang

DONORS 4USBUINPSF UIBOLT UIF JOEJWJEVBMT BOE PSHBOJ[BUJPOT XIP IBWF NBEF DPOUSJCVUJPOT CFUXFFO +VMZ BOE +VOF 5IFJS TVQQPSU PG BU MFBTU BOE DPOUJOVFE DPNNJUNFOU FOBCMFT VT UP PGGFS UIF BGGPSEBCMF BDDFTTJCMF RVBMJUZ QSPHSBNNJOH UIBU IBT CFDPNF PVS IBMMNBSL

$250,000+ Arts and Humanities Council of Montgomery County Maryland State Arts Council Post-Newsweek Media, Inc. (includes in-kind) Carol Trawick $100,000+ Booz Allen Hamilton $50,000+ Delia and Marvin Lang Lockheed Martin Corporation $25,000+ Alban Inspections, Inc. Asbury Methodist Village GEICO Jordan Kittâ&#x20AC;&#x2122;s Music Carolyn and Jeffrey Leonard The Morris and Gwendolyn Cafritz Foundation Mid-Atlantic Arts Foundation National Endowment for the Arts PEPCO Emily Wei Rales and Mitchell Rales Symphony Park LLC $15,000+ Capital One, N.A. Jonita and Richard S. Carter Kiplinger Foundation MARPAT Foundation Natelli Communities LP Restaurant Associates

$10,000+ Adventist Health Care Paul M. Angell Family Foundation Clark Construction Group, LLC Clark-Winchcole Foundation Comcast Elizabeth W. Culp The Max and Victoria Dreyfus Foundation, Inc. EagleBank Starr and Fred Ezra Federal Realty Investment Trust Suzanne and Douglas Firstenberg Glenstone Foundation Giant Food LLC Dorothy and Sol Graham Nancy and Raymond Hardwick Joel and Liz Helke Effie and John Macklin Montgomery County Department of Economic Development Janine and Phillip Oâ&#x20AC;&#x2122;Brien Leon and Deborah Snead Hailin and James Whang Lien and S. Bing Yao $5,000+ Rona and Jeffrey Abramson Pennie and Gary Abramson Mary and Greg Bruch Dallas Morse Coors Foundation for the Performing Arts Ellen and Michael Gold Julie and John Hamre Vicki Hawkins-Jones and Michael Jones

70 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Strathmore Circles members Adele and Roy Igersheim with Adele Igersheimâ&#x20AC;&#x2122;s mother, Estelle Fox, at Patti LuPoneâ&#x20AC;&#x2122;s performance, Matters of the Heart.

Yanqiu He and Kenneth Oâ&#x20AC;&#x2122;Brien Bridget and Joseph Judge Dianne Kay Lerch, Early & Brewer, Chartered Sharon and David Lockwood Constance Lohse and Robert Brewer J. Alberto Martinez Katherine and William Parsons Susan and Brian Penfield Della and William Robertson Carol Salzman and Michael Mann Theresa and George Schu John Sherman, in memory of Deane Sherman Ann and Jim Simpson Jane and Richard Stoker UBS Financial Services, Inc. Meredith Weiser and Michael Rosenbaum Ellen and Bernard Young Paul and Peggy Young, NOVA Research Co. Washington Post. Co. $2,500+ Anonymous Louise Appell Artsite, Inc. BB&T Bank Barbara Benson Vicki Britt and Robert Selzer Frances and Leonard Burka Peter Yale Chen Jane Cohen Alison Cole and Jan Peterson Margaret and James Conley Carin and Bruce Cooper CORT Carolyn Degroot Hope Eastman Vivan Escobar-Stack and Robert Stack Michelle Feagin Carolyn Goldman and Sydney Polakoff Lana Halpern Laura Henderson Cheryl and Richard Hoffman A. Eileen Horan Igersheim Family Foundation Alexine and Aaron (deceased) Jackson Johnsonâ&#x20AC;&#x2122;s Landscaping Service, Inc. (in-kind) Peter S. Kimmel, in memory of Martin S. Kimmel Teri Hanna Knowles and John M. Knowles Judie and Harry Linowes Jill and Jim Lipton Loiederman Soltesz Associates, Inc. M&T Bank Janet L. Mahaney Delores Maloney Marsh USA Inc.

Caroline and John Patrick McLaughlin Patricia and Roscoe Moore Susan Nordeen Paley, Rothman, Goldstein, Rosenberg, Eig & Cooper Chtd Carole and Jerry Perone Charlotte and Charles Perret Mindy and Charles Postal PRM Consulting, Inc. Restaurant Associates at Strathmore Tasneem Robin-Bhatti Lorraine and Barry Rogstad Dale S. Rosenthal Elaine and Stuart Rothenberg Janet and Michael Rowan Barbara and Ted Rothstein Phyllis and Ken Schwartz Tanya and Stephen Spano Wendy and Don Susswein Paulette and Larry Walker Ward & Klein, Chartered Susan Wellman Ronald West Anne Witkowsky and John Barker $1,000+ Anonymous Swati Agrawal Susan and Brian Bayly Carole and Maurice Berk Deborah Berkowitz and Geoff Garin Gary Block Harriet and Jerome Breslow Carol and Scott Brewer Dian and Richard Brown Ellen Byington Linda and James Cafritz Eileen Cahill Lucie and Guy Campbell Eleanor and Oscar Caroglanian Allen Clark April and John Delaney Carrie Dixon E. Bryce and Harriet Alpern Foundation Eaglestone Wealth Advisors Fidelity Investments Eileen and Michael Fitzgerald Marlies and Karl Flicker Theresa and William Ford Senator Jennie Forehand and William E. Forehand, Jr. Sally and John Freeman Noreen and Michael Friedman Suzanne and Mark Friis Nancy Frohman and James LaTorre Carol Fromboluti Pamela Gates and Robert Schultz Loreen and Thomas Gehl Susan and Allen Greenberg Greene-Milstein Family Foundation Judy and Sheldon Grosberg Marla Grossman and Eric Steinmiller

At left: Montgomery County Chief of Police J. Thomas Manger and Jacqueline Manger, immediate past chair of the board of directors for the Arts and Humanities Council of Montgomery County, with Anna Laszlo in the Comcast Circles Lounge during Patti LuPone’s Matters of the Heart concert. At right: Strathmore President Monica Jeffries Hazangeles, Rick and Nancy Farren, Connie Lohse, Pat McGee—Strathmore’s 2012-2013 season-opening musician—Shelley Brown, vice president of programming and Strathmore’s artistic director, and Strathmore board member Robby Brewer.

TOP RIGHT PHOTO BY DANIEL GLASS

Linda and John Hanson Monica Jeffries Hazangeles and John Hazangeles Linda and I. Robert Horowitz Randy Hostetler Living Room Fund Linda and Van Hubbard Patricia and Christopher Jones Joan and Howard Katz Renee Korda and Mark Olson Carole and Robert Kurman Leadership Montgomery Barbara and Laurence Levitan Nancy and Dan Longo Sandra and Charles Lyons Jacqueline and J. Thomas Manger Pamela and Douglas Marks Paul Mason Mathis Harper Group Janice McCall Virginia and Robert McCloskey Ann G. Miller (in memory of Jesse I. Miller) Denise and Thomas Murphy Lissa Muscatine and Bradley Graham New England Foundation for the Arts Karen O’Connell and Tim Martins Gloria Paul and Robert Atlas Cynthia and Eliot Pfanstiehl Charla and David Phillips Gregory Proctor Jane and Paul Rice Karen Rosenthal and M. Alexander Stiffman LeaAnn and Tom Sanders Charlotte and Hank Schlosberg Richard Silbert James Smith Spectrum Printing (in-kind) Mary Talarico and Michael Sundermeyer Marilyn and Mark Tenenbaum Myra Turoff and Kenneth Weiner Rebecca Underhill Judith Welch Judy Whalley and Henry Otto Karen and Roger Winston Jean and Ken Wirsching Susan and Jack Yanovski $500+ Mary Kay and Dave Almy Judy and Joseph Antonucci Jeff Aslen Laura Baptiste and Brian Kildee Mary Bell Ben & Jerry’s Bethesda Travel Center LLC Michelle and Lester Borodinsky Trish and Timothy Carrico Kathy and C. Bennett Chamberlin Dorothy Fitzgerald Winifred and Anthony Fitzpatrick Gail Fleder John Fluke

Joanne Fort Michael Frankhuizen Victor Frattali Juan Gaddis Nancy and Peter Gallo Sandra and Steven Gichner Mr. and Mrs. Alan Gourley Gerri Hall and David Nickels Diana and Paul Hatchett Fred Hiatt Hilary and Robert Hoopes Carol and Larry Horn Bootsie and David Humenansky Barbara and David Humpton Beth Jessup Cheryl Jukes Mr. and Mrs. Anthony Kamerick Zorina and John Keiser Barbara and Jack Kay Henrietta and Christopher Keller Deloise and Lewis Kellert Iris and Louis Korman Susan and Gary Labovich Julia and James Langley Catherine and Isiah Leggett The Leon Foundation Lerner Enterprises Dorothy Linowes Susan and Eric Luse Maryland Classic Youth Orchestras Lynne Mayo Nancy McGinness and Thomas Tarabrella John and James Meiburger Cynthia and Toufic Melhi Vijaya and Daniel Melnick William Oakcrum Grace Rivera Oven and Mark Oven Margie Pearson and Richard Lampl Phyllis Peres and Rajat Sen Rose Porras Dr. and Mrs. William Powell Stephanie Renzi Marylouise and Harold Roach Christine Schreve and Thomas Bowersox Henry Schalizki Estelle Schwalb Betty Scott and Jim McMullen Roberta and Lawrence Shulman Diane and Jay Silhanek Donald Simonds Cora and Murray Simpson Tina Small Valerye and Adam Strochak Chris Syllaba Reginald Taylor Marion and Dennis Torchia Peter Vance Treibley Anne and James Tyson Linda and Irving Weinberg J. Lynn Westergaard Irene and Steven White

Penelope Williams Jean and Robert Wirth Con Brio Society Securing the future of Strathmore through a planned gift. 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

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 Julie Hamre Development Associate

PROGRAMMING Shelley Brown VP/Artistic Director Georgina Javor Director of Programming Harriet Lesser Visual Arts Curator Sam Younes Visual Arts Assistant 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 Ira Daniel Staff Accountant Marco Vasquez Operations Manager

Vivian and Peter Hsueh Tina and Art Lazerow Diana Locke and Robert Toense Janet L. Mahaney Carol and Alan Mowbray Barbara and David Ronis Henry Schalizki Phyllis and Ken Schwartz Annie Simonian Totah and Sami Totah 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 Kristin Lobiondo Rentals Manager Christopher S. Inman Manager of Security Chadwick Sands Ticket Office Manager Will Johnson Assistant Ticket Office Manager Christian Simmelink Ticket Services Coordinator Christopher A. Dunn IT Technician Johnathon Fuentes Operations Specialist Brandon Gowan 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 Jennifer A. Buzzell VP, Marketing and Communications Jerry Hasard Director of Marketing 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 BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 71

BALTIMORE SYMPHONY ORCHESTRA

Mr. and Mrs. William Rogers Mike and Janet Rowan Daniel and Sybil Silver Ms. Deborah Wise/Edith and Herbert Lehman Foundation, Inc.

GOVERNING MEMBERS SILVER

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

Jimmy Berg A.G.W. Biddle, III Barbara M. Bozzuto * Constance R. Caplan Robert B. Coutts George A. Drastal Alan S. Edelman* Susan G. Esserman* Michael G. Hansen* Beth J. Kaplan Murray M. Kappelman, M.D. Stephen M. Lans Sandra Levi Gerstung Ava Lias-Booker, Esq. Susan M. Liss, Esq.* Howard Majev, Esq. Liddy Manson Hilary B. Miller David Oros Marge Penhallegon^, President, Baltimore Symphony Associates Michael P. Pinto Cynthia Renn^, Governing Member Chair 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 William R. Wagner 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 Barry D. Berman, Esq. Richard Hug M. Sigmund Shapiro

CHAIRMAN LAUREATE 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 5IF #BMUJNPSF 4ZNQIPOZ 0SDIFTUSB JT EFFQMZ HSBUFGVM UP UIF JOEJWJEVBM DPSQPSBUF GPVOEBUJPO BOE HPWFSONFOU EPOPST XIPTF BOOVBM HJWJOH QMBZT B WJUBM SPMF JO TVT UBJOJOH UIF 0SDIFTUSB T USBEJUJPO PG NVTJDBM FYDFMMFODF 5IF GPMMPXJOH EPOPST IBWF HJWFO CFUXFFO +VMZ "VHVTU

LEADERSHIP CIRCLE

Arts and Humanities Council of Montgomery County The Andrew W. Mellon Foundation The Maryland State Arts Council National Endowment for the Arts

CHAIRMANâ&#x20AC;&#x2122;S CIRCLE PARTNERS ($25,000 AND ABOVE) M&T Bank PNC Lori Laitman and Bruce Rosenblum

MAESTRAâ&#x20AC;&#x2122;S CIRCLE

($10,000 AND ABOVE) Anonymous Mr. and Mrs. A. G. W. Biddle III The Morris and Gwendolyn Cafritz Foundation George and Katherine Drastal Ms. Susan Esserman and Mr. Andrew Marks Michael G. Hansen and Nancy E. Randa

Mrs. Mary H. Lambert Mr. and Mrs. Stephen Lans Susan Liss and Family Liddy Manson in memory of James Gavin Manson Hilary B. Miller and Dr. Katherine N. Bent Mr. and Mrs. Arnold Polinger Clark Wincole Foundation Total Wine and More

CORPORATE PARTNERS

($2,500-$9,999) Georgetown Paper Stock of Rockville, Inc Homewood at Crumland Farms Retirement Community S. Kann Sons Company Foundation Amelie and Bernei Burgunder

GOVERNING MEMBERS GOLD ($5,000-$9,999) The Charles Delmar Foundation Joel and Liz Helke Mr David Leckrone and Marlene Berlin

72 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

($2,500-$4,999) Anonymous Mr. Gilbert Bloom Jane C. Corrigan Kari Peterson and Benito R. and Ben De Leon Mr. Joseph Fainberg Sherry and Bruce Feldman Drs. Ronald and Barbara Gots Madeleine and Joseph Jacobs Dr. Robert Lee Justice and Marie Fujimura-Justice Marc E. Lackritz & Mary B. DeOreo Burt & Karen Leete Mr. & Mrs. Howard Lehrer Mrs. June Linowitz & Dr. Howard Eisner Dr. James & Jill Lipton Dr. Diana Locke & Mr. Robert E. Toense Linda & Howard Martin Marie McCormack Mr. & Mrs. Humayun Mirza David Nickels & Gerri Hall Jan S. Peterson & Alison E. Cole Mr. Martin Poretsky and Ms. Henriette Warfield Ms. Nancy Rice Mr. and Mrs. John Rounsaville Patricia Smith and Dr. Frances Lussier Mr. Alan Strasser & Ms. Patricia Hartge Ms. Mary K. Sturtevant John & Susan Warshawsky Dr. Edward Whitman Paul A. & Peggy L. Young, NOVA Research Company

SYMPHONY SOCIETY

($1,000-$2,499) Anonymous (4) Mr. and Mrs. Anthony Abell Mrs. Rachel Abraham Asbury Retirement Communities Mr. William J. Baer and Ms. Nancy H. Hendry Phebe W. Bauer Ms. Elaine Belman David and Sherry Berz Mr. Lawrence Blank Hon. & Mrs. Anthony Borwick Dr. Nancy Bridges Gordon F. Brown Frank and Karen Campbell Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Harvey A. Cohen and Mr. Michael R. Tardif Mr. Herbert Cohen Mr. and Mrs. Arthur C. Cox Delaplaine Foundation Joan de Pontet Jackson and Jean H. Diehl Marcia Diehl and Julie Kurland Dimick Foundation Ms. Marietta Ethier Sharon and Jerry Farber Mr. and Mrs. Charles Fax Kenneth and Diane Feinberg Dr. Edward Finn Mr. and Mrs. Anthony Fitzpatrick Catoctin Breeze Vineyard Mr. and Mrs. Arthur P. Floor Mr. and Mrs. Roberto B. Friedman Carol & William Fuentevilla Mary and Bill Gibb Peter Gil Dr. and Mrs. Sanford Glazer Alan and Joanne Goldberg Drs. Joseph Gootenberg & Susan Leibenhaut Dr. and Mrs. Sheldon Gottlieb Mark & Lynne Groban Mr. & Mrs. Norman M. Gurevich Ms. Lana Halpern Ms. Gloria Shaw Hamilton Mr. & Mrs. John Hanson Sara and James A. Harris, Jr. Dr. Phyllis Kaplan Mr. Fred Hart and Ms. Elizabeth Knight Mr. and Mrs. Eugene Herman

Ellen & Herb Herscowitz David A. & Barbara L. Heywood Mr. Aaron Hoag Betty W. Jensen Dr. Henry Kahwaty Ms. Carolyn Kaplan Mr. and Mrs. Charles Kelber Virginia and Dale Kiesewetter Dr. and Mrs. Peter C. Luchsinger Michael & Judy Mael Ms. Janet L. Mahaney Mr. Winton Matthews Bebe McMeekin Mr. and Mrs. Anne Menotti Dr. & Mrs. Stanley R. Milstein Ms. Zareen T. Mirza Edwin H. Moot Delmon Curtis Morrison Teresa and Don Mullikin Douglas and Barbara Norland Ms. Patricia Normile Jerry and Marie Perlet Mr. and Mrs. Peter Philipps Herb and Rita Posner Dr. and Mrs. Gerald Rogell Mr. and Mrs. William Rooker Dr. and Mrs. Arthur Sagoskin Peggy and David Salazar Estelle D. Schwalb Anne Weiss & Joseph E. Schwartz Mr. and Mrs. Roger Schwarz Ms. Phyllis Seidelson Mr. Donald M. Simonds Marshall and Deborah Sluyter Mr. and Mrs. Richard D. Spero Jennifer Kosh Stern and William H. Turner Margot & Phil Sunshine Mr. and Mrs. Richard Swerdlow Venable Foundation, Inc. David Wellman & Marjorie Coombs Wellman Ms. Susan Wellman Mr. and Mrs. Richard Westin Ms. Ann Willis Sylvia and Peter Winik Mr. and Mrs. David K. Wise Marc and Amy Wish Eileen and Lee Woods H. Alan Young & Sharon Bob Young, Ph.D. Robert & Antonette Zeiss

BRITTEN LEVEL MEMBERS

($500-$999) Anonymous Dr. and Mrs. Marshall Ackerman Ms. Barbara K. Atrostic Thomas and Mary Aylward Donald Baker Leonard and Gabriela Bebchick Mr. Donald Berlin Ms. Cynthia L. Bowman-Gholston Ms. Judith A. Braham Mr. Kurt Thomas Brintzenhofe Mr. Richard H. Broun & Ms. Karen E. Daly Mr. & Mrs. Leonard Burka Ms. Lynn Butler Cecil Chen & Betsy Haanes Bradley Christmas and Tara Flynn Barbara & John Clary Mr. & Mrs. Jim Cooper Mr. Harvey Gold Ms. Alisa Goldstein Frank & Susan Grefsheim Ms. Haesoon Hahn Keith and Linda Hartman Dr. Liana Harvath Mr. Jeff D. Harvell & Mr. Ken Montgomery Mr. Lloyd Haugh Mrs. Patricia Hoefler Ms. Daryl Kaufman Dr. Birgit Kovacs Ms. Delia Lang Ms. Pat Larrabee and Ms. Lauren Markley Mr. Darrell H. Lemke & Ms. Maryellen Trautman Mr. Richard Ley Harry and Carolyn Lincoln Drs. David and Sharon Lockwood W. David Mann David and Kay McGoff Merle and Thelma Meyer Ms. Ellen Miles Mr. William Morgan Eugene and Dorothy Mulligan

.BSJB -BOT BOE #40 #PBSE NFNCFS 4UFWF -BOT XJUI #40 NVTJDJBO $IBOH 8PP -FF BOE OFX QSF DPODFSU MFDUVSFS +BTPO .D$PPM

Mr. and Mrs. Philip Padgett Mr. and Ms. Donald Regnell Mr. Richard D. Reichard Mr. James Risser Ms. Trini Rodriquez and Mr. Eric Toumayan Mr. & Mrs. Barry Rogstad Harold Rosen Ms. Ellen Rye Dr. & Mrs. Jerome Sandler Mr. and Mrs. William Schaefer Mr. Allen Shaw Ms. Terry Shuch and Mr. Neal Meiselman Ms. Sonja Soleng Mr. and Mrs. Charles Steinecke III Mr. Peter Thomson Ms. Ann Tognetti John A. and Julia W. Tossell Mr. & Mrs. Richard Tullos Dr. and Ms. George Urban Linda and Irving Weinberg Robert and Jean Wirth

BRAHMS LEVEL MEMBERS

($250-$499) Anonymous (5) Ms. Kathryn Abell Rhoda and Herman Alderman Sharon Allender and John Trezise Mr. and Mrs. Charles C. Alston Mr. Bill Apter Pearl and Maurice Axelrad Mr. and Mrs. James Bailey Drs. Richard and Patricia Baker Mr. Robert Barash Mr. and Mrs. John W. Barrett Mr. & Mrs. John W. Beckwith Melvin Bell Alan H. Bergstein and Carol A. Joffe Mr. Neal Bien Mr. and Mrs. Jeffrey Binckes Nancy and Don Bliss Mr. & Mrs. John Blodgett Ms. Carol Bray Mr. & Mrs. Ronald Brotman Dr. William Dickinson Burrows Mr. and Mrs. Serefino Cambareri Ms. Miranda Chiu Mr. Steven Coe Ms. June Colilla Ms. Marion Connell Mr. and Mrs. Herbert Cooper Ms. Louise Crane Ms. Margaret Cusack Dr. & Mrs. James R. David Mr. David S. Davidson Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Mr. and Mrs. Robert Fauver Mr. Michael Finkelstein Dr. & Mrs. David Firestone Mr. & Mrs. Marvin Freedenberg Mr. & Mrs. Michael Scott Friedman Lucian & Lynn M. Furrow Dr. Joel and Rhoda Ganz

1SJODJQBM 1PQT $POEVDUPS +BDL &WFSMZ XJUI #40 NVTJDJBOT GFFMJOH HSPPWZ BU UIF 4QSJOH 1PQT $BTU 1BSUZ

Roberta Geier Irwin Gerduk Mr. and Mrs. Stephen Giddings Ms. Maran Gluckstein Rev. Therisia Hall Brian and Mary Ann Harris Mrs. Jean N. Hayes Joel and Linda Hertz Mr. & Mrs. William L. Hickman Mr. Myron L. Hoffmann Mr. Frank Hopkins Mr. John Howes Mr. & Mrs. Paul Hyman Ms. Susan Irwin Dr. Richard H. Israel Dr. and Mrs. Herbert Joseph Mr. Peter Kaplan Dr. & Mrs. Robert W. Karp Lawrence & Jean Katz Mr. & Mrs. Christopher Keller Mr. & Mrs. James Kempf Mr. & Mrs. Anthony Kern Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Dr. Arlin J. Krueger Mr. and Mrs. Eugene Lambert Mr. and Mrs. Francis Leahy Ms. Marie Lerch and Mr. Jeff Kolb Mr. and Mrs. Craig Levy Alan and Judith Lewis Lois and Walter Liggett Ms. Julie E. Limric LTC David Lindauer, U.S. Army (Retâ&#x20AC;&#x2122;d) Dr. Richard E. and Susan Papp Lippman Mr. Gene Lodge Lucinda Low and Daniel Magraw Mr. and Mrs. William MacBain Thomas and Elizabeth Maestri Mr. James Magno Mr. David Marcos Mr. and Mrs. Charles H. Matterson Mr. Mark Mattucci Ms. Susan McGee Ms. Anna McGowan Mr. and Mrs. Michael Merchlinsky Mr. Steve Metalitz Mrs. Rita Meyers Mr. & Mrs. Walter Miller Ms. Marlene C. Mitchell Ms. Caren Novick Mr. & Mrs. Robert Obenreder Amanda & Robert Ogren Mrs. Judy Oliver Mr. Jerome Ostrov Mrs. Jane Papish Mr. Kevin Parker Ms. Frances L. Pflieger Dr. Jeffrey Phillips Thomas Plotz and Catherine Klion Marie Pogozelski and Richard Belle Ms. Carol Poland Andrew and Melissa Polott Mr. and Mrs. Edward Portner Mr. and Ms. Richard Pratt Ms. Laura Ramirez-Ramos

BENEFITS OF MEMBERSHIP WITH THE BSO .BLF B EPOBUJPO UPEBZ BOE CFDPNF B .FNCFS PG UIF #40 5IFSF JT B HJGU MFWFM UIBU JT SJHIU GPS FWFSZPOF BOE XJUI UIBU DPNFT BO JOTJEFS T QFSTQFDUJWF PG ZPVS XPSME DMBTT PSDIFTUSB 'PS B DPNQMFUF MJTU PG CFOFmUT QMFBTF DBMM PVS .FNCFSTIJQ 0GmDF BU PS DPOUBDU WJB F NBJM BU NFNCFSTIJQ!#40NVTJD PSH :PV NBZ BMTP WJTJU PVS 8FC TJUF BU #40NVTJD PSH CFOFmUT

#40 BU 4USBUINPSF CPBSE NFNCFST (FPSHF %SBTUBM 4VTBO -JTT +BDL #JEEMF BOE #SVDF 3PTFOCMVN BU B CBDLTUBHF FWFOU

Dr. and Mrs. Bernard Reich Mr. Thomas Reichmann Dr. Joan Rittenhouse & Mr. Jack Rittenhouse Ms. Leeann Rock & Mr. Brian Anderson Mr. and Mrs. David Sacks Mr. & Mrs. Robert Sandler Ms. Beatrice Schiff David and Louise Schmeltzer Mr. J. Kenneth Schwartz Mr. and Mrs. David Scott Mr. Paul Seidman Ms. Debra Shapiro Donna and Steven Shriver Mr. & Mrs. Larry Shulman Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith Richard Sniffin

Gloria and David Solomon Ms. Rochelle Stanfield and Mr. Edward Grossman Timothy Stranges and Rosanna Coffey Mr. and Mrs. Duane Straub Mr. Alan Thomas Mr. John Townsley Ms. Jane Trinite Mr. and Mrs. Robert Wein Ms. Roslyn Weinstein Alan White Mr. David M. Wilson Ms. Carol Wolfe Dr. Charlotte Word Dr. & Mrs. Richard N. Wright Mr. Daniel Zaharevitz Ms. MaryAnn Zamula Mr. Warren Zwicky

BALTIMORE SYMPHONY ORCHESTRA STAFF Paul Meecham, President & CEO Leilani Uttenreither, Executive Assistant Beth Buck, Vice President and CFO Eileen Andrews, Vice President of Marketing and Communications Carol Bogash, Vice President of Education and Community Engagement Deborah Broder, Vice President of BSO at Strathmore Dale Hedding, Vice President of Development Matthew Spivey, Vice President of Artistic Operations ARTISTIC OPERATIONS Toby Blumenthal, Manager of Facility Sales Tiffany Bryan, Manager of Front of House Anna Harris, Operations Assistant Alicia Lin, Director of Operations and Facilities Chris Monte, Assistant Personnel Manager Marilyn Rife, Director of Orchestra Personnel and Human Resources Meg Sippey, Artistic Planning Manager EDUCATION Nicholas Cohen, Director of Community Engagement Annemarie Guzy, Director of Education Hana Morford, Education Associate Nick Skinner, OrchKids Site Manager Larry Townsend, Education Assistant Dan Trahey, OrchKids Director of Artistic Program Development DEVELOPMENT Jennifer Barton, Individual Giving Manager Adrienne Bitting, Development Assistant Margaret Blake, Development Office Manager Allison Burr-Livingstone, Director of Institutional Giving Kate Caldwell, Director of Philanthropic Services Stephanie Johnson, Donor Relations Manager, BSO at Strathmore Becky McMillen, Donor Stewardship Coordinator Rebecca Potter, Institutional Giving Specialist

Joanne M. Rosenthal, Director of Major Gifts, Planned Giving and Government Relations Rebecca Sach, Director of the Annual Fund Richard Spero, Community Liaison for BSO at Strathmore FACILITIES OPERATIONS Shirley Caudle, Housekeeper Bertha Jones, Senior Housekeeper Curtis Jones, Building Services Manager Ivory Miller, Maintenance Facilities FINANCE AND INFORMATION TECHNOLOGY Tom Allan, Controller Sophia Jacobs, Senior Accountant Janice Johnson, Senior Accountant Evinz Leigh, Administration Associate Chris Vallette, Database and Web Administrator Jeff Wright, Director of Information Technology MARKETING AND PUBLIC RELATIONS Rika Dixon, Director of Marketing and Sales Laura Farmer, Public Relations Manager Derek A. Johnson, Manager of Single Tickets Theresa Kopasek, Marketing and PR Associate Bryan Joseph Lee, Direct Marketing Coordinator Alyssa Porambo, PR and Publications Coordinator Michael Smith, Digital Marketing and E-Commerce Coordinator Elisa Watson, Graphic Designer TICKET SERVICES Amy Bruce, Manager of Special Events J. Morgan Gullard, Ticket Services Agent Timothy Lidard, Manager of VIP Ticketing Kathy Marciano, Director of Ticket Services Juliana Marin, Senior Ticket Agent for Strathmore Peter Murphy, Ticket Services Manager Michael Suit, Ticket Services Agent Thomas Treasure, Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht, Symphony Store Volunteer Manager Louise Reiner, Office Manager

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 73

CONTRIBUTOR Bank of America The Italian Cultural Society, Inc. INDIVIDUALS MAESTRO CIRCLE Mrs. Margaret Makris Dr. Kenneth P. Moritsugu, Emily Moritsugu & Ms. Lisa R. Kory includes match by Johnson & Johnson Paul A. & Peggy L. Young NOVA Research Company

NATIONAL PHILHARMONIC BOARD OF DIRECTORS BOARD OF DIRECTORS

Dr. Charles Toner

Robert Beizer Ruth Berman Rabbi Leonard Cahan Carol Evans Ruth Faison Dr. Bill Gadzuk Ken Hurwitz Dieneke Johnson William Lascelle Greg Lawson Joan Levenson Dr. Wayne Meyer Kent Mikkelsen Dr. Roscoe M. Moore, Jr. Dr. Kenneth Moritsugu *Robin C. Perito JaLynn Prince Peter Ryan

BOARD OFFICERS *Todd R. Eskelsen, Chair *Albert Lampert, First Vice Chair *Mark Williams, Treasurer *Paul Dudek, Secretary * Joel Alper, Chair Emeritus

BOARD OF ADVISORS Joel Alper William D. English Joseph A. Hunt Albert Lampert Chuck Lyons Roger Titus Jerry D. Weast As of September 2012 *Executive Committee

As of September 1, 2012

SUPPORTERS OF THE NATIONAL PHILHARMONIC 5IF /BUJPOBM 1IJMIBSNPOJD UBLFT UIJT PQQPSUVOJUZ UP HSBUFGVMMZ BDLOPXMFEHF UIF GPMMPXJOH CVTJOFTTFT GPVOEBUJPOT BOE JOEJWJEVBMT XIJDI IBWF NBEF UIF 1IJMIBS NPOJD T BNCJUJPVT QMBOT QPTTJCMF UISPVHI UIFJS HFOFSPVT DPOUSJCVUJPOT

Maestro Circle Concertmaster Circle Principal Circle Philharmonic Circle Benefactor Circle Sustainer Circle Patron Contributor Member

$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 Arts and Humanities Council of Montgomery County Morris and Gwendolyn Cafritz Foundation Ingleside at King Farm Maryland State Arts Council Montgomery County, MD Montgomery County Public Schools NOVA Research Company Schiff Hardin, LLP The State of Maryland CONCERTMASTER CIRCLE Clark-Winchcole Foundation The Gazette PRINCIPAL CIRCLE Ann and Gordon Getty Foundation Harris Family Foundation Johnson & Johnson Jim and Carol Trawick Foundation, Inc.

PHILHARMONIC CIRCLE National Philharmonic/ MCYO Educational Partnership The Washington Post Company BENEFACTOR CIRCLE Corina Higginson Trust Dimick Foundation Henry B. & Jessie W. Keiser Foundation, Inc. Rockville Christian Church, for donation of space TD Charitable Foundation SUSTAINER CIRCLE American Federation of Musicians, DC Local 161-170 Bettina Baruch Foundation Cardinal Bank Embassy of Poland Executive Ball for the Arts KPMG Foundation Lucas-Spindletop Foundation PATRON American String Teachersâ&#x20AC;&#x2122; Association DC/MD Chapter Boeing Gailes Violin Shop, Inc. GE Foundation IBM Lashof Violins The Potter Violin Company The Stempler Family Foundation Violin House of Weaver Washington Music Center

74 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

CONCERTMASTER CIRCLE Ms. Anne Claysmith Mr. and Mrs. Paul Dudek PRINCIPAL CIRCLE Mr. & Mrs. Joel Alper Mr. & Mrs. Todd R. Eskelsen Dr. & Mrs. Val G. Hemming Ms. Dieneke Johnson includes match by Washington Post Mr. & Mrs. Albert Lampert Paul & Robin Perito PHILHARMONIC CIRCLE Mrs. Nancy Dryden Baker, in memory of Lt. Cmdr William F. Baker, Jr. Mr. Robert Beizer Mr. Steven C. Decker & Ms. Deborah W. Davis Dr. & Mrs. John V. Evans Dr. Ryszard Gajewski Dr. Robert Gerard & Ms. Carol Goldberg * Mr. Ken Hurwitz Mr. William A. Lascelle & Ms. Blanche Johnson Dr. Roscoe M. Moore & Mrs. Patricia Haywood Moore Mr. & Mrs. Peter Ryan Drs. Charles and Cecile Toner Mr. & Mrs. Mark Williams includes match by Ameriprise Financial BENEFACTOR CIRCLE Mrs. Ruth Berman Mr. Edward Brinker & Ms. Jane Liu Mr. Dale Collinson * Dr. Lawrence Deyton & Dr. Jeffrey Levi * Mr. & Mrs. John L. Donaldson J. William & Anita Gadzuk * Mr. & Mrs. Joseph A. Hunt Mr. Greg Lawson, Includes match by Bank of America Mr. Larry Maloney * Nancy and J. Parker Michael & Janet Rowan SUSTAINER CIRCLE Anonymous (3) Mrs. Helen Altman * Ms. Sybil Amitay * Ms. Nurit Bar-Josef Elizabeth Bishop & Darren Gemoets * Dr. Ronald Cappelletti * Ms. Nancy Coleman * Dr. Mark Cinnamon & Ms. Doreen Kelly Drs. Eileen & Paul DeMarco* Dr. Stan Engebretson * Mr. William E. Fogle & Ms. Marilyn Wun-Fogle Dr. Maria A. Friedman * Ms. Sarah Gilchrist * Mr. Barry Goldberg Dr. Joseph Gootenberg & Dr. Susan Leibenhaut Mr. and Mrs. David Henderson * Dr. Stacey Henning * Mrs. Joan M. Levenson Mr. & Mrs. Leslie Levine Mr. & Mrs. Charles A. Lyons Mr. Winton Matthews Mrs. Eleanor D. McIntire * Mr. & Mrs. Richard McMillan, Jr. Dr. Wayne Meyer *

Mr. & Mrs. Kent Mikkelsen * Mr. Robert Misbin Susan & Jim Murray * Mr. & Mrs. Charles Naftalin Mr. Thomas Nessinger* Ms. Martha Newman * Dr. & Mrs. Goetz Oertel Mr. & Mrs. Jerome Pinson, includes match by GE Foundation Ms. Aida Sanchez * Ms. Kathryn Senn, in honor of Dieneke Johnson Mrs. Jan Schiavone * Ms. Carol A. Stern * Sternbach Family Fund Dr. & Mrs. Robert Temple * Mr. & Mrs. Scott Ullery Ms. Ellen van Valkenburgh * Mr. & Mrs. Robert Vocke * Mr. & Mrs. Royce Watson Mr. & Mrs. Bernard J. Young PATRON Mary Bentley & David Kleiner * Mr. & Mrs. Leonard Cahan Ms. Linda Edwards Mr. John Eklund Ms. Kimberly Elliott Mr. Joseph Fainberg Ms. Ruth Faison * Mr. & Mrs. William Hickman Mr. David Hofstad William W. & Sara M. Josey* Mr. Robert Justice & Mrs. Marie Fujimura-Justice Ms. May Lesar Ms. Jane Lyle * Dr. & Mrs. Oliver Moles Jr. * Mr. & Mrs. Raymond Mountain Mr. Larz Pearson & Mr. Rick Trevino Dr. Michael Sapko Dr. John Sherman Ms. Lori J. Sommerfield * Mr. Gerald Stempler Mr. John I. Stewart & Ms. Sharon S. Stoliaroff Mr. Robert Stewart Mr. & Mrs. John F. Wing Mr. & Mrs. Jack Yanovski CONTRIBUTOR Anonymous (2) Ms. Ann Albertson Mr. Robert B. Anderson Mike & Cecilia Ballentine Mr. and Mrs. Thomas Bechert Ms. Michelle Benecke Mr. & Mrs. Gilbert Bloom Ms. Patricia Bulhack Mr. John Choi Mrs. Patsy Clark Ms. Irene Cooperman Mr. Dean Culler Mr.& Mrs. J. Steed Edwards Mr. & Mrs. William English Mr. & Mrs. Elliott Fein includes match by IBM Mr. Eliot Feldman Mr. & Mrs. Joe Ferfolia Dr. & Mrs. John H. Ferguson David & Berdie Firestone Mr. & Mrs. Mayo Friedlis Mr. & Mrs. Piotr Gajewski Mr. Dean Gatwood Mr. Steven Gerber Mr. Carolyn Guthrie Mr. & Mrs. William Gibb Dr. Karl Habermeier Dr. William Hatcher Frances Hanckel Mrs. Rue Helsel Dr. Roger Herdman Mr. & Mrs. James Hochron * Dr. Elke Jordan Ms. Anne Kanter Dr. & Mrs. Charles Kelber

/BUJPOBM 1IJMIBSNPOJD 1SFTJEFOU ,FO 0MEIBN XJUI TPMPJTU 4BSBI $IBOH CPBSE NFNCFS #JMM -BTDFMMF BOE IJT XJGF #MBODIF +PIOTPO

Ms. Martha Jacoby Krieger * Ms. Joanna Lam Mr. & Mrs. John R. Larue Mr. & Mrs. Paul Legendre Mr. & Mrs. Herbert J. Lerner Mr. & Mrs. Eliot Lieberman * Mr. Frederick Lorimer Mr. Kevin MacKenzie Mr. Jerald Maddox Mr. Tom Maloy Mr. David E. Malloy & Mr. John P. Crockett * Mr. & Mrs. Andrew Mannes Mr. David McGoff * Jim & Marge McMann Ms. Cecilia MuĂąoz and Mr. Amit Pandya Mr. Stamatios Mylonakis Ms. Katherine Nelson-Tracey * David Nickels & Gerri Hall Mrs. Jeanne Noel Ms. Anita Oâ&#x20AC;&#x2122;Leary * Mr. and Mrs. Kenneth A. Oldham, Jr. Mr. & Mrs. Alan Peterkofsky Ms. Cindy Pikul Dr. & Mrs. Manuel Porres Mrs. Dorothy Prats Mr. & Mrs. Clark Rheinstein * Ms. Lisa Rovin * Ms. Joyce Sauvager Ms. Sandi Saville Mr. Charles Serpan Mr. & Ms. Kevin Shannon Mr. & Mrs. Greg Wager Dr. & Mrs. Richard Wright Mr. & Mrs. Philip Yaffee MEMBER Anonymous Mr. & Mrs. Donald Abbott Mrs. Fran Abrams Mr. & Mrs. Nabil Azzam Ms. Marietta Balaan * Mr. Mikhail Balachov Mr. Robert Barash Ms. Michelle Benecke Mr. & Mrs. Richard Bender Mrs. Barbara Botsford Mr. & Mrs. Jerome Breslow Mr. & Mrs. Frederick Brown Mrs. Dolores J. Bryan Mr. & Mrs. Stan Bryla Mr. John Buckley Mr. J. Michael Rowe & Ms. Nancy Chesser Dr. F. Lawrence Clare Mr. and Mrs. Johnny Clark Dr. & Mrs. Gordon M. Cragg Ms. Louise Crane Ms. Margaret Cusack Dr. & Mrs. James B. Dâ&#x20AC;&#x2122;Albora Mr. Carl DeVore Mr. Jian Ding

Mr. Paul Dragoumis Mr. & Mrs. Tom Dunlap Mr. Charles Eisenhauer Mr. Philip Fleming Mr. Harold Freeman Ms. Phyllis Freeman Mr. Brian Ganz Ms. Rebecca Gatwood Mr. Bernard Gelb Ms. Frances Gipson Mr. Tom Gira Ms. Lisa Helms Ms. Nina Helmsen Mr. Robert Henry Dr. & Mrs. Donald Henson Mr. J. Terrell Hoffeld Mr. & Mrs. Nelson Hsing Mrs. Deborah Iwig * Mr. & Mrs. Donald Jansky * Ms. Katharine Cox Jones Ms. Elizabeth King Mrs. Rosalie King Mr. Mark A. Knepper Ms. Marge Koblinsky Ms. Cherie Krug Mr. Dale Krumviede Ms. S. Victoria Krusiewski Ms. Andrea Leahy-Fucheck Dr. David Lockwood Ms. Sharon F. Majchrzak* Mr. & Mrs. Forbes Maner Mr. and Mrs. James Mason Mr. Alan Mayers * Mr. Steven Mazer Mr. Michael McClellan Mr. & Mrs. Robert McGuire Mr. Michael Merchlinsky Mr. & Mrs. David Miller Mr. Edward Mills Ms. Stephanie Murphy National Philharmonic Chorale in honor of Kenneth Oldham, Jr. Mrs. Gillian Nave Mr. Leif Neve* includes match by Aquilent Dr. Ruth S. Newhouse Mr. & Mrs. Kenneth Oldham Mr. Thomas Pappas Dr. & Mrs. David Pawel Dolly Perkins & Larry Novak Evelyn & Peter Philipps Mr. Charles A. Oâ&#x20AC;&#x2122;Connor & Ms. Susan F. Plaeger Dr. Morris Pulliam Drs. Dena & Jerome Puskin Ms. Phyllis Rattey Mr. Drew Riggs Mr. Sydney Schneider Ms. Katherine Schnorrenberg * Mr. and Mrs. John Schnorrenberg

/BUJPOBM 1IJMIBSNPOJD $IPSBMF "SUJTUJD %JSFDUPS 4UBO &OHFCSFUTPO BOE #PBSE $IBJSNBO 5PEE &TLFMTFO QSFTFOU B TQFDJBM DIBJS OBNJOH IPOPS UP 5FE (VFSSBOU

Ms. Bessie Shay Dr. Alan Sheff Mr. Charles Short Dr. & Mrs. Paul Silverman Ms. Rita Sloan Mr. Carey Smith* Mr. Charles Sturrock* Dr. & Mrs. Szymon Suckewer Ms. Sarah Thomas Ms. Renee Tietjen*

Ms. Virginia W. Van Brunt * Mr. Sid Verner Mr. Gerald Vogel Ms. Anastasia Walsh Mr. David B. Ward Mr. Raymond Watts Ms. Joan Wikstrom Mr. Robert E. Williams Dr. Nicholas Zill * Chorale members

CHORALE SUSTAINERS CIRCLE Mr. & Mrs. Fred Altman Ms. Sybil Amitay Mrs. William F. Baker, Jr. Elizabeth Bishop & Darrin Gemoets Dr. Ronald Cappelletti Ms. Anne Claysmith Ms. Nancy Coleman Mr. Dale Collinson Drs. Eileen and Paul DeMarco Dr. Lawrence Deyton & Dr. Jeffrey Levi Dr. Maria A. Friedman Dr. & Mrs. Bill Gadzuk Dr. Robert Gerard & Ms. Carol Goldberg Ms. Sarah Gilchrist

Mr. & Mrs. David Hendersen Dr. Stacey Henning Mr. Larry Maloney Mr. & Mrs. Carl McIntire Dr. Wayne Meyer 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 5IF )FSJUBHF 4PDJFUZ BU UIF /BUJPOBM 1IJMIBSNPOJD HSBUFGVMMZ SFDPHOJ[FT UIPTF EFEJDBUFE JOEJWJEVBMT XIP TUSJWF UP QFSQFUVBUF UIF /BUJPOBM 1IJMIBSNPOJD UISPVHI UIF QSPWJTJPO PG B CFRVFTU JO UIFJS XJMMT PS UISPVHI PUIFS FTUBUF HJGUT 'PS NPSF JOGPSNBUJPO BCPVU UIF /BUJPOBM 1IJMIBSNPOJD T )FSJUBHF 4PDJFUZ QMFBTF DBMM ,FO 0MEIBN BU FYU 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

Mr. & Mrs. Albert Lampert Mrs. Margaret Makris Mr. Robert Misbin Mr. Kenneth A. Oldham, Jr. Mr. W. Larz Pearson Ms. Carol A. Stern Mr. Mark Williams *Deceased

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

Leanne Ferfolia, Director of Development Dan Abbott, Manager of Development Operations Auxiliary Staff Amy Salsbury, Graphic Designer Lauren Aycock, Graphic Designer

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 75

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* + Neale Perl, President and CEO* Douglas H. Wheeler, President Emeritus Patrick Hayes, Founder â&#x20AC; Gina F. Adams* Katherine M. Anderson Alison Arnold-Simmons 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* Olivier Goudet Felecia Love Greer, Esq. Jay M. Hammer* (c) Maria J. Hankerson Brian Hardie Grace Hobelman (c) Jake Jones David Kamenetzky* Jerome B. Libin, Esq. (c) Rachel Tinsley Pearson* (c) Joseph M. Rigby

Irene Roth Yvonne Sabine Charlotte Schlosberg Samuel A. Schreiber John Sedmak Irene F. Simpkins Ruth Sorenson* (c) Wendy Thompson-Marquez Mary Jo Veverka* Gladys Watkins* Carol W. Wilner

HONORARY DIRECTORS Nancy G. Barnum Roselyn Payne Epps, M.D. Michelle Cross Fenty Sophie P. Fleming Eric R. Fox Peter Ladd Gilsey â&#x20AC; Barbara W. Gordon France K. Graage James M. Harkless, Esq. ViCurtis G. Hinton â&#x20AC; Sherman E. Katz Marvin C. Korengold, M.D. Peter L. Kreeger Robert G. Liberatore Dennis G. Lyons Gilbert D. Mead â&#x20AC; Gerson Nordlinger â&#x20AC; 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 â&#x20AC; , Past Chairman Laureate William N. Cafritz Aldus H. Chapin â&#x20AC; Kenneth M. Crosby â&#x20AC; Jean Head Sisco â&#x20AC;

Kent T. Cushenberry â&#x20AC; 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

WOMENâ&#x20AC;&#x2122;S COMMITTEE OFFICERS

* Executive Committee + Ex Officio â&#x20AC; Deceased (c) Committee Chair As of Oct. 1, 2012

$7,500-$9,999

LAWYERSâ&#x20AC;&#x2122; COMMITTEE CO-CHAIRS

Jerome B. Libin, Esq. James J. Sandman, Esq.

81"4 HSBUFGVMMZ BDLOPXMFEHFT UIF DPOUSJCVUJPOT PG UIF GPMMPXJOH JOEJWJEVBMT DPSQPSBUJPOT GPVOEBUJPOT BOE HPWFSONFOU TPVSDFT XIPTF HFOFSPTJUZ TVQQPSUT PVS BSUJTUJD BOE FEVDBUJPO QSPHSBNNJOH UISPVHIPVU UIF /BUJPOBM $BQJUBM BSFB 'SJFOET XIP DPOUSJCVUF PS NPSF BOOVBMMZ BSF MJTUFE CFMPX XJUI PVS UIBOLT "T PG 0DU

Altria Group, Inc. Booz Allen Hamilton Ms. Christina Co Mather and Dr. Gary Mather Betsy and Robert Feinberg Mars, Incorporated Ms. Jacqueline Badger Mars The Morris & Gwendolyn Cafritz Foundation National Capital Arts and Cultural Affairs Program/The US Commission of Fine Arts Mr. Reginald Van Lee

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

Mr. and Mrs. Joseph F. Horning The Horning Family Fund MVM, Inc. Park Foundation, Inc. Mr. Bruce Rosenblum and Ms. Lori Laitman Dr. Paul G. Stern Wells Fargo Bank

$35,000-$49,999 DC Commission on the Arts and Humanities Carl D. â&#x20AC; and Grace P. Hobelman Ms. Marcia MacArthur

$25,000-$34,999 Anonymous Abramson Family Foundation Bank of America BB&T Private Financial Services

$10,000-$14,999 Avid Partners, LLC BET Networks DCI Group Ernst and Young George Wasserman Family Foundation, Inc. Ms. Carolyn Guthrie Mr. Jake Jones and Ms. Veronica Nyhan-Jones Robert P. and Arlene R. Kogod Family Foundation Mr. and Mrs. Peter L. Kreeger Mr. and Mrs. Steve Lans Macyâ&#x20AC;&#x2122;s The Max and Victoria Dreyfus Foundation, Inc. The Honorable Bonnie McElveenHunter Mr. and Mrs. Herbert Milstein John F. Olson, Esq. (L) Prince Charitable Trusts QinetiQ North America, Inc. Sid Stolz and David Hatfield Ms. Wendy Thompson-Marquez Mr. Marvin F. Weissberg and Ms. Judith Morris Mr. and Mrs. Bernard Young

Gladys Manigault Watkins, President Annette A. Morchower, First Vice President Lorraine P. Adams, Second Vice President Cynthea M. Warman, Recording Secretary Ruth R. Hodges, Assistant Recording Secretary Ernestine Arnold, Corresponding Secretary Anna Faith Jones, Treasurer Glendonia McKinney, Assistant Treasurer Charlotte Cameron, Immediate Past President Barbara Mackenzie Gordon, Founder

WPAS ANNUAL FUND

$100,000+

Dimick Foundation Ms. Pamela Farr Mr. and Mrs. Morton Funger Mr. and Mrs. Bruce Gates Mr. and Mrs. Jay M. Hammer The Hay-Adams Hotel Mr. and Mrs. Terry Jones Mr. and Mrs. Steven Kaplan Mrs. Elizabeth Keffer Kiplinger Foundation Inc. KPMG LLP Judith A. Lee, Esq. (L) June and Jerry Libin (L) Mr. and Mrs. John Marshall Dan Cameron Family Foundation, Inc. Nancy Peery Marriott Foundation, Inc. Mr. James J. Sandman and Ms. Elizabeth D. Mullin (L) Roger and Vicki Sant Mr. and Mrs. Hubert M. Schlosberg (L) (W) Mr. and Mrs. Daniel Simpkins Verizon Washington, DC Ms. Mary Jo Veverka Washington Gas Light Company Wells Fargo Bank

Billy Rose Foundation Mrs. Ryna Cohen Mark and Terry McLeod National Endowment for the Arts PEPCO PricewaterhouseCoopers LLP The Rocksprings Foundation NoraLee and Jon Sedmak Ruth and Arne Sorenson Mr. and Mrs. Stefan F. Tucker (L)

$15,000-$24,999 Anonymous Ambassador and Mrs. Tom Anderson Arcana Foundation Ms. Adrienne Arsht Diane and Norman Bernstein Mr. and Mrs. Arturo E. Brillembourg

76 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

AT&T Foundation Geico The Meredith Foundation The Hon. Mary V. Mochary and Dr. Philip E. Wine Ourisman Automotive of VA Ms. Aileen Richards and Mr. Russell Jones Dr. Irene Roth Sutherland Asbill & Brennan

$5,000-$7,499 Dr. and Mrs. Clement C. Alpert Mr. and Mrs. Joseph Brodecki Capitol Tax Partners Ms. Dolly Chapin Bob and Jennifer Feinstein Mr. and Mrs. Robert S. Giles Mr. and Mrs. Stephen Graham Mr. and Mrs. Carlos Gutierrez Mr. and Mrs. Brian J. Hardie Ms. Sandy Lerner Mr. and Mrs. David O. Maxwell Dr. Robert Misbin Mr. and Mrs. Glenn A. Mitchell Ms. Rachel Tinsley Pearson Ms. Diane Tachmindji

Mr. and Mrs. John V. Thomas Venable Foundation The Washington Post Company

$2,500-$4,999 Anonymous (3) Mr. and Mrs. Ricardo Andrade Mr. and Mrs. Barry Barbash Mr. Joseph Brandt Mr. and Mrs. Boris Brevnov Ms. Beverly J. Burke Mr. and Mrs. William N. Cafritz The Charles Delmar Foundation Dr. and Mrs. Abe Cherrick Ms. Nadine Cohodas Mr. and Mrs. J. Bradley Davis Mr. and Mrs. James Davis Dr. Morgan Delaney and Mr. Osborne P. Mackie Mr. and Mrs. Guy O. Dove III Mr. and Mrs. Melvin Eagle (L) Linda R. Fannin, Esq. (L) Mr. and Mrs. Burton J. Fishman Mr. Gregory I. Flowers Mr. and Mrs. David Frederick Mr. and Mrs. Wayne Gibbens Dr. and Mrs. Michael S. Gold James R. Golden Mr. and Mrs. Rolf Graage Dr. Maria J. Hankerson, Systems Assessment & Research Ms. Dena Henry and Mr. John Ahrem Mr. and Mrs. Allen Izadpanah Alexine and Aaron# Jackson (W) Mr. and Mrs. Joseph Jacobs Mr. and Mrs. Merritt Jones Ms. Danielle Kazmier and Mr. Ronald M. Bradley 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. 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 Mrs. Joan McAvoy Mr. Robert Meyerhoff and Ms. Rheda Becker Mr. Larry L. Mitchell Mr. and Mrs. Robert Monk Dr. William Mullins and Dr. Patricia Petrick Ms. Catherine Nelson Mrs. Muriel Miller Pear# 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. and Mrs. David Roux Ms. Christine C. Ryan and Mr. Tom Graham Mr. Claude Schoch Mr. and Mrs. Samuel A. Schreiber Lena Ingegerd Scott and Lennart Lundh Mr. and Mrs. Albert H. Small Mr. Eric Steiner Ms. Mary Sturtevant Mr. and Mrs. George R. Thompson Jr. Mr. and Mrs. R. Moses Thompson Mr. Richard M. Tuckerman

Dr. and Mrs. Herbert D. Weintraub Mr. and Mrs. Stanley Weiss Dr. Sidney Werkman and Ms. Nancy Folger Mr. and Mrs. James J. Wilson Dr. and Mrs. William B. Wolf Mr. Bruce Wolff and Ms. Linda Miller Mr. and Mrs. Paul A. Young, NOVA Research Company

$1,500-$2,499 Anonymous (4) Ms. Lisa Abeel Mrs. Rachel Abraham Mrs. Arthur Arundel Dr. and Mrs. James Baugh Robert and Arlene Bein Mr. and Mrs. Robert S. Bennett Jane C. Bergner, Esq. (L) Mr. and Mrs. Josiah Bunting Mr. Peter Buscemi and Ms. Judith Miller Dr. C. Wayne Callaway and Ms. Jackie Chalkley Ms. Karen I. Campbell 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 Mr. and Mrs. Sidney Dickstein Ms. Lisa Egbuonu-Davis Mrs. Sophie P. Fleming Friday Morning Music Club, Inc. Ms. Wendy Frieman and Dr. David E. Johnson Mrs. Paula Seigle Goldman (W) Mrs. Barbara Goldmuntz Mrs. Barbara W. Gordon (W) James McConnell Harkless, Esq. Ms. Gail Harmon Dr. and Mrs. Joseph E. Harris (W) Ms. Leslie Hazel Ms. Gertraud Hechl Mr. and Mrs. Carl F. Hicks, Jr. Mrs. Enid T. Johnson (W) Dr. and Mrs. Elliott Kagan Mr. E. Scott Kasprowicz Mr. and Mrs. Sherman E. Katz (L) Stephen and Mary Kitchen (L) Ms. Betsy Scott Kleeblatt Mr. and Mrs. Steven Lamb Mr. and Mrs. Richard F. Larkin Dr. and Mrs. Lee V. Leak (W) Mr. James Lynch Mr. and Mrs. Michael Marshall Howard T. and Linda R. Martin Mr. Scott Martin Mrs. Gail Matheson Ms. Katherine G. McLeod Ms. Kristine Morris Lt. Gen. and Mrs. Michael A. Nelson Ms. Michelle Newberry The Nora Roberts Foundation Dr. Michael Olding Mr. and Mrs. Jack H. Olender Mr. and Mrs. Gerald W. Padwe Dr. and Mrs. Ron Paul Ms. Jean Perin Mr. Sydney Polakoff The Honorable and Mrs. Stephen Porter Mr. James Rich Mr. and Mrs. Martin Ritter Mrs. Norman W. Scharpf Ms. Mary B. Schwab Dr. Deborah J. Sherrill Mrs. Nadia Stanfield Cita and Irwin Stelzer Mr. Richard Strother Ms. Loki van Roijen Ms. Viviane Warren A. Duncan Whitaker, Esq. (L) CDR and Mrs. Otto A. Zipf

$1,000-$1,499 Anonymous Ruth and Henry Aaron Mr. John B. Adams Mr. and Mrs. James B. Adler Mr. and Mrs. Dave Aldrich Ms. Carolyn S. Alper Ms. Carol A. Bogash Mr. A Scott Bolden Ms. Ossie Borosh S. Kann Sons Company Fdn. Inc. Amelie and Bernei Burgunder, Directors Mr. and Mrs. Calvin Cafritz Mr. Arthur Cirulnick Mr. Jules Cohen Ms. Josephine S. Cooper Dr. Ronald M. Costell and Ms. Marsha E. Swiss Mr. David D’Alessio Dr. and Mrs. Joseph H. Danks Mr. and Mrs. Gregory Davis Edison W. Dick, Esq. (L) Mr. Anthony E. DiResta (L) Ms. Nancy Ruyle Dodge Dyal Compass Mr. Stanley Ebner and Ms. Toni Sidley Ms. Lynda Ellis Mrs. John G. Esswein Marietta Ethier, Esq. (L) Dr. Irene Farkas-Conn James A. Feldman and Natalie Wexler Fierce, Isakowitz & Blalock, LLC Ms. Gloria Garcia Mr. Donald and Mrs. Irene Gavin The Hon. Ruth Bader Ginsburg Mr. and Mrs. William L. Goldman (W) Mr. Michael Hager Mr. and Mrs. James Harris, Jr. Mr. Charles E. Hoyt and Ms. Deborah Weinberger (L) Drs. Frederick Jacobsen and Lillian Comas-Diaz Mr. Michael Johnson Ms. Anna F. Jones (W) Mr. and Mrs. John E. Kilcarr Ms. Elizabeth L. Klee Dr. Marvin C. Korengold Simeon M. Kriesberg and Martha L. Kahn Sandra and James Lafond Mr. and Mrs. Eugene I. Lambert (L) Mr. and Mrs. Gene Lange (L) Mr. Lance Mangum Miss Shirley Marcus Allen Ms. Patricia Marvil Master Print, Inc. John C. McCoy, Esq. (L) Carol and Douglas Melamed Dr. Jeanne-Marie A. Miller Mr. and Mrs. Adrian L. Morchower (W) Mr. Richard Moxley Mr. and Mrs. Daniel Mulcahy Mr. and Mrs. Samuel Muscarella Mr. and Mrs. Lawrence C. Nussdorf Mr. and Mrs. John Oberdorfer Mrs. Elsie O’Grady (W) Tom and Thea Papoian, with Mr. Smoochy Mr. and Mrs. Neale Perl Dr. Gerald Perman Mr. and Mrs. Arnold Polinger Reznick Group Mr. and Mrs. Robert Rosenfeld Mr. Lincoln Ross and Changamire (W) Mr. and Mrs. Michael Rowan Steven and Gretchen Seiler Mr. and Mrs. Arman Simone Mr. and Mrs. Thomas Strong Chris Syllaba The Manny & Ruthy Cohen

Foundation, Inc. Mr. and Mrs. Tom Tinsley Mr. and Mrs. Aaron Tomares Mr. J. Rock Tonkel, Jr. Mr. and Mrs. Sami Totah G. Duane Vieth, Esq. (L) Mr. John Warren McGarry (L) Drs. Anthony and Gladys Watkins (W) Drs. Irene and John White Mr. and Mrs. Robert H. Winter Christopher Wolf, Esq. (L) Mr. and Mrs. Dennis R. Wraase

$500-$999 Anonymous (4) Mr. Andrew Adair Ms. and Mrs. Edward Adams (W) Mr. Donald R. Allen Mr. Jerome Andersen and June Hajjar Argy, Wiltse & Robinson, P.C. Ms. Amy Ballard Hon. and Mrs. John W. Barnum Miss Lucile E. Beaver Dr. and Mrs. Devaughn Belton (W) Mrs. Joan S. Benesch Ms. Patricia N. Bonds (W) Mr. and Mrs. Charles Both Mrs. Elsie Bryant (W) Mr. and Mrs. Leonard Burka Mr. Robert Busler Mrs. Gloria Butland (W) Mr. and Mrs. Jordan Casteel Ms. Claire Cherry Ms. Deborah Clements and Mr. Jon Moore Dr. Warren Coats, Jr. Compass Point Research and Trading, LLC Mr. John W. Cook Mr. and Mrs. Doug Cowart (W) Mr. John Dassoulas Dr. and Mrs. Chester W. De Long Mr. and Mrs. James B. Deerin (W) Mr. and Mrs. Carlos Del Toro Mrs. Rita Donaldson Mr. and Mrs. Marc Duber Ms. Sayre E. Dykes Mrs. Yoko Eguchi Mr. and Mrs. Harold Finger Dr. and Mrs. Robert Gagosian (W) Dr. Melvin Gaskins Jack E. Hairston Jr. Dr. and Mrs. Harry Handelsman (W) Jack and Janis Hanson Mrs. Robert A. Harper Mr. Lloyd Haugh Mr. and Mrs. Louis Hering Mr. and Mrs. Franklin Hodges (W) Mr. and Mrs. Laszlo Hogye Mr. and Mrs. James K. Holman Mr. and Mrs. Ernest Drew Jarvis Ralph N. Johanson, Jr., Esq. (L) Mr. and Mrs. Charles Jones Mrs. Carol Kaplan Ms. Janet Kaufman (W) Mr. Daniel Kazzaz and Mrs. Audrey Corson Dr. Rebecca Klemm, Ph.D. Mr. and Mrs. John Koskinen Mr. and Mrs. Nick Kotz Ms. Debra Ladwig Ms. Albertina D. Lane (W) Mr. William Lascelle and Blanche Johnson Dr. J. Martin Lebowitz Mr. and Mrs. Christopher Lerner Jack L. Lipson, Esq. (L) The Honorable and Mrs. Jan Lodal Mr. and Mrs. David Maginnes (W) Shaila Manyam Rear Adm. and Mrs. Daniel P. March Ms. Hope McGowan Mr. and Mrs. Rufus W. McKinney (W)

Ms. Cheryl C. McQueen (W) Dr. and Mrs. Larry Medsker Mrs. G. William Miller Mr. and Mrs. Bruce D. Moreton Ms. Dee Dodson Morris Mr. Charles Naftalin Mr. and Mrs. David Neal Mr. John Osborne Ms. Christine Pieper Mr. and Mrs. Herbert Posner Ms. Susan Rao and Mr. Firoze Rao (W) Ms. Nicola Renison Mr. and Mrs. Dave Riggs Ms. Elaine Rose Mr. Burton Rothleder 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) Mr. Peter Shields Daniel and Sybil Silver Mr. and Mrs. Robert Silverman Mr. and Mrs. John Slaybaugh Virginia Sloss (W) Mr. and Mrs. L. Bradley Stanford Dana B. Stebbins Dr. and Mrs. Moises N. Steren Mr. and Mrs. David Stern Sternbach Family Fund Mr. Daniel Tarullo Ms. Julie Vass (W) Mr. Craig Williams and Ms. Kimberly Schenck Mr. and Mrs. James D. Wilson (W) Ms. Christina Witsberger Ms. Bette Davis Wooden (W)

Dr. Saul Yanovich Mr. James Yap Paul Yarowsky and Kathryn Grumbach

IN-KIND DONORS Arnold & Porter LLP The Beacon Hotel Booz Allen Hamilton Ms. Ossie Borosh Mr. and Mrs. Charles Both The Capital Grille Chevy Chase Embassy of Mexico 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 Ms. Sandy Lerner The Honorable and Mrs. Jan Lodal Lord & Taylor Mars, Incorporated Ms. Jacqueline Badger Mars Mr. Neale Perl Dr. Irene Roth Mr. Claude Schoch St. Gregory Luxury Hotels & Suites Mr. Anthony Williams Kathe and Ed Williamson Mr. John C. Wohlstetter Elizabeth and Bill Wolf KEY: (W) Women’s Committee (L) Lawyers’ Committee # Deceased

WASHINGTON PERFORMING ARTS SOCIETY STAFF Neale Perl President & CEO Douglas H. Wheeler President Emeritus Development Murray Horwitz 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 Rebecca Talisman Donor Records and Database Coordinator Helen Aberger Membership Coordinator and Tessitura Applications Specialist Lauren Ward Development Intern Education Michelle Hoffmann Director of Education Katheryn R. Brewington Assistant Director of Education/ Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate Bradley Evans Education Intern Chase Maggiano Education Intern

Finance and Administration Allen Lassinger Director of Finance Lorna Mulvaney Accounting Associate Robert Ferguson Database Administrator Marketing and Communications Jonathan Kerr Director of Marketing and Communications Hannah Grove-DeJarnett Assistant Director of Marketing and Communications Scott Thureen Audience Development Manager Corinne Baker Audience Engagement Manager Celia Anderson Graphic Designer Brenda Kean Tabor Publicist Programming Samantha Pollack Director of Programming Torrey Butler Production Manager Wynsor Taylor Programming Manager Stanley J. Thurston Artistic Director, WPAS Gospel Choirs Ticket Services Office Folashade Oyegbola Ticket Services Manager Edward Kerrick Group Sales Coordinator

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 77

"VESB .D%POBME XJUI 81"4 CPBSE NFNCFS #FWFSMZ #VSLF BOE HVFTUT

WPAS LEGACY SOCIETY -FHBDZ 4PDJFUZ NFNCFST BQQSFDJBUF UIF WJUBM SPMF UIF QFSGPSNJOH BSUT QMBZ JO UIF DPNNVOJUZ BT XFMM BT JO UIFJS PXO MJWFT #Z SFNFNCFSJOH 81"4 JO UIFJS XJMM PS FTUBUF QMBOT NFNCFST FOIBODF PVS FOEPXNFOU GVOE BOE IFMQ NBLF JU QPTTJCMF GPS UIF OFYU HFOFSBUJPOT UP FOKPZ UIF TBNF RVBMJUZ BOE EJWFSTJUZ PG QSFTFOUBUJPOT CPUI PO TUBHFT BOE JO PVS TDIPPMT Mrs. Shirley and Mr. Albert H. Small, Honorary Chairs Mr. Stefan F. Tucker, Chair Anonymous (6) Mr. David G.â&#x20AC; and Mrs. Rachel Abraham Dr. and Mrs. Clement C. Alpert Mr. and Mrs. George A. Avery Mr. James H. Berkson â&#x20AC; Ms. Lorna Bridenstine â&#x20AC; 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 â&#x20AC; 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 â&#x20AC; Mr. and Mrs. Burton Fishman Mrs. Charlotte G. Frank â&#x20AC; Mr. Ezra Glaser â&#x20AC; Dr. and Mrs. Michael L. Gold Ms. Paula Goldman Mrs. Barbara Gordon Mr. James Harkless Ms. Susan B. Hepner Mr. Carl Hobelman â&#x20AC; and Mrs. Grace Hobelman Mr. Craig M. Hosmer and Ms. Daryl Reinke Charles E. Hoyt Josephine Huang, Ph.D. Dr. â&#x20AC; 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 â&#x20AC; and Mr. Thomas Stewartâ&#x20AC; Mrs. Marion Lewis â&#x20AC; Mr. Herbert Lindow â&#x20AC; Mr. and Mrs. Harry Linowes Mr. and Mrs. David Maginnes Ms. Doris McClory â&#x20AC; 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 â&#x20AC; Mrs. Linda Parisi and Mr. J.J. Finkelstein Mr. and Mrs. Neale Perl Dr. W. Stephen and Mrs. Diane Piper Mrs. Mildred Poretsky â&#x20AC; The Hon. and Mrs. Stephen Porter Mrs. Betryce Prosterman â&#x20AC;

Miriam Rose â&#x20AC; 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 â&#x20AC; 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 â&#x20AC; and Mrs. Frederica Weil Mr. and Mrs. Douglas Wheeler Mr. and Mrs. Robert H. Winter 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.

Proceeds support Strathmoreâ&#x20AC;&#x2122;s artistic and educational programming!

23rd Annual

MUSEUM SHOP AROUND AT STRATHMORE The art of giving, simplified: thatâ&#x20AC;&#x2122;s the Museum Shop Around at Strathmore. Browse the gift shops of more than 17 of the D.C. areaâ&#x20AC;&#x2122;s greatest museumsâ&#x20AC;&#x201D; the National Museum of Women in the Arts, the John F. Kennedy Center for the Performing Arts, U.S. Senate Gift Shop, Shakespeare Theatre Shop, the Audubon Naturalist Society, The Shop at Strathmore and many, many moreâ&#x20AC;&#x201D;without leaving the comfort of the Mansion. Itâ&#x20AC;&#x2122;s the fun, convenient, enjoyable way to find perfectly delightful gifts for everyone on your list.

78 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Thursday, November 8 and Friday, November 9, 10AMâ&#x20AC;&#x201C;8PM Saturday, November 10, 10AMâ&#x20AC;&#x201C;6PM Sunday, November 11, 10AMâ&#x20AC;&#x201C;5PM Admission $9 (Stars $8) Pre-Order Admission Passes Online at www.strathmore.org or Cash Only at Door No strollers please

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. â&#x20AC;&#x201C; 5 p.m. Wednesday 10 a.m. â&#x20AC;&#x201C; 9 p.m. Saturday 10 a.m. â&#x20AC;&#x201C; 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 Metro attendant to exit at no cost. For all non-ticketed events, Monday â&#x20AC;&#x201C; Friday, parking in the garage is $4.75 and may be paid using a Metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the GrosvenorStrathmore Metro garage, walk across the glass-enclosed sky bridge located on the 4th 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 CAFĂ&#x2030; The Prelude CafĂŠ 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 driverâ&#x20AC;&#x2122;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 patronâ&#x20AC;&#x2122;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 5IF VTF PG BOZ SFDPSEJOH EFWJDF FJUIFS BVEJP PS WJEFP BOE UIF UBLJOH PG QIPUPHSBQIT FJUIFS XJUI PS XJUIPVU nBTI JT TUSJDUMZ QSPIJCJUFE CZ MBX 7JPMBUPST BSF TVCKFDU UP SFNPWBM GSPN UIF .VTJD $FOUFS XJUIPVU B SFGVOE BOE NVTU TVSSFOEFS UIF SFDPSEJOH NFEJB 4NPLJOH JT QSPIJCJUFE JO UIF CVJMEJOH 1MFBTF TFU UP TJMFOU PS UVSO PGG ZPVS DFMM QIPOFT QBHFST 1%"T BOE CFFQJOH XBUDIFT QSJPS UP UIF CFHJOOJOH PG UIF QFSGPSNBODF

APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012 79

encore by Sandy Fleishman Q. Why did you start volunteering? Ellen: I began when I was a young Navy wife in Portsmouth, Va., and I have continued in one form or another ever since. After my husband, Wood, died in 1979, choral singing became a focal point and has remained that way. With the move to Strathmore, a Philharmonic staff member asked for my help in coordinating volunteers for pre-concert activities. About the same time in 2006, I started helping with arrangements for the twice-ayear concerts by the National Philharmonic Singers at Christ Church. Jan: I have been a member of the Christ Episcopal Church choir since I was 26, have served as the church choir librarian for a very long time, and I have been active in many other church activities. I also help with the accounting for the Philharmonic Singers concerts. Q. Is the music itself a big part of the attraction? What’s your favorite? Ellen: All types of music have been a part of my life from childhood, and I love just about all types. Classical music is a great love, but my earliest memories are of hearing the popular patriotic songs of World War II.

Jan Schiavone & Ellen van Valkenburgh

ongtime Philharmonic volunteers Ellen van Valkenburgh and Jan Schiavone first met years ago in the choir of Rockville’s Christ Episcopal Church. Both in time became members of the Masterworks Chorus, which merged with the National Chamber Orchestra in 2003 to become the National Philharmonic Orchestra and Chorale. Both also serve as ushers for Strathmore. And both enjoy traveling. They have explored rural France and parts of Spain on self-guided trips and in addition, have traveled as part of group tours. 80 APPLAUSE BU 4USBUINPSF t NOVEMBER/DECEMBER 2012

Ellen: In general, as Chorale singers, we come to love all the works as we learn them. Q. How do you account for your great friendship? Ellen: After my husband died, I invited Jan to come with me to Myrtle Beach, and we discovered we traveled well together. One thing has led to another, and our paths continue in a world of music and common interests at National Philharmonic and Strathmore. Jan: We like doing interesting things. And it’s a lot of fun.

MICHAEL VENTURA

National Philharmonic Chorale Members and Volunteers

Jan: I remember the words to those songs so well!

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