Strathmore Applause May/June 2014

MAY/JUNE 2014

INSIDE: Baltimore Symphony Orchestra Composers present healing music

The National Philharmonic ’14-’15: Celebrating 10 years at Strathmore

Washington Performing Arts Heavy hitters on deck for 2014-2015

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prelude

ON THE COVER Sergio Mendes, Eliane Elias, Charlie and Ginny Byrd, a scene from the U.S. State Department’s tour of South America, Felix Grant and Romero Lubambo. Elias photo by Bob Wolfenson. Byrd and State Department photo are copyright Jennifer Betts 2008. Grant photo courtesy of the Felix E. Grant Archives at the University of the District of Columbia.

Photo illustration by Amanda Smallwood.

25

59

APPLAUSE AT STRATHMORE MAY/JUNE 2014

58

20

program notes

features

May 1 22 / Strathmore: Defiant Requiem: Verdi at Terezin

May 24 40 / BSO: Tchaikovsky’s Violin Concerto

8 Beyond Brazil

May 2 25 / Strathmore: 4 Girls 4: Maureen McGovern, Andrea McArdle, Donna McKechnie and Faith Prince

May 29 43 / BSO: A Midsummer Night’s Dream: In Concert

Beethoven and John Adams heal the soul through song

June 3 48 / Strathmore: Strathmore Children’s Chorus Spring Concert

14 Soaring Into a New Decade

May 3 27 / BSO: Yefim Bronfman May 15 31 / BSO: All That Jazz: A Symphonic Celebration of Kander & Ebb May 16 34 / Strathmore: Neil Sedaka May 17, 18 35 / The National Philharmonic: Vivaldi’s Four Seasons

June 5 54 / Strathmore: Evermay Chamber June 6 58 / Sergio Mendes and Eliane Elias June 7 59 / BSO: Beethoven’s Ninth June 13 65 / Strathmore: John Prine June 14 66 / BSO: A Symphonic Night at the Movies: Casablanca

2 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

Jazz Samba Project explores bossa nova in America

10 The Sounds of Solace 12 Evermay, in June The chamber ensemble ventures out of Georgetown for the first time

The National Philharmonic looks back, forward in 2014-2015

16 The Retail King Musician’s passion leads to a second career

18 A Spiritual Journey BSO plans an evocative 2014-2015 season

20 Heavy Hitters Premiere of Wynton Marsalis work highlights Washington Performing Arts’ upcoming season

departments

4 Musings of Strathmore CEO Eliot Pfanstiehl 4 A Note!from BSO Music Director Marin Alsop 6! Calendar:!Summer performances

musician rosters

29 Baltimore Symphony Orchestra 38 National Philharmonic Orchestra and Chorale

Readersâ&#x20AC;&#x2122; Pick, Best Car Dealership for Service

M US I N G S from Strathmore

Eliot Pfanstiehl

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a note from the BSO Dear Friends, I always look forward to the changing of the seasons. With spring comes renewal and energy that forecast opportunities for great musical experiences. This summer, the BSO will bring an All-Baroque program (July 10) and an All-Beethoven program (July 24) to the Music Center—two great concerts you are sure to love!

Summer also means preparing for a new season of programs. In early March, we announced the 2014-2015 season. Many of the musical pieces explore themes of spirituality, through beliefs and values that have inspired some of the most awe-inspiring, uplifting music over the ages. From Mozart’s “Great” Mass, to Mahler’s symphonic outpourings, from Bernstein’s wrestling with “the 20th century’s crisis of faith,” to new perspectives from contemporary composers, we will explore how music has transformed our world.

There’s still much to enjoy this season, including a May 29 collaboration with Washington, D.C.’s Folger Theatre of Shakespeare’s riotous comedy A Midsummer Night’s Dream, accompanied by Mendelssohn’s stunning incidental music. We’ll also bring you a June 14 screening of Casablanca—one of the world’s greatest films—with the BSO performing Max Steiner’s famous score.

Marin Alsop

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STRATHMORE

partners

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

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

Editor and Publisher Steve Hull Associate Publisher Susan Hull Senior Editor Cindy Murphy-Tofig Design Director Maire McArdle Art Director Karen Sulmonetti Advertising Account Executives Paula Duggan, Penny Skarupa, LuAnne Spurrell 7768 Woodmont Ave., Suite 204 Bethesda, MD 20814 301-718-7787 Fax: 301-718-1875 Volume 10, Number 5 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

You settle into your seat. The house lights dim. Here is what you’ve already missed: A year ago, phone conversations between our artistic staff and agents sought to match an artist to an available date at an affordable price. Not easy. Contracts are signed, technical riders confirmed and budgets approved. Marketing staff members tailor a campaign, including advertising, publications, promotions and media outreach. Two months out, tech staff and artist managers advance the show, make transportation and hotel arrangements, and secure special equipment or set requirements.

The morning of the event, Strathmore crew members arrive to start stage, lighting and sound set-up. Up go the risers, light trusses and cables. By noon, the touring crew has arrived and joined the tech frenzy. Around 2 p.m., the main act arrives, proceeding to rehearsal and sound check. At 6 p.m., The Prelude Café, Comcast Lounge and Ticket Office open. At 6:30 p.m. it’s time for dinner for the cast and crew backstage. Upstairs 80 blueshirted ushers and house managers are briefed on the performance and logistics. Finally, the Concert Hall opens 30 minutes before show time. By 10:30 p.m. the act has left, the crew is loading out, and by midnight the hall is ready to do it all again the next day.

This happens 160 times a year. And now you know the rest of the story.

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calendar Beat the summer heat and stay indoors for a program of Baroque favorites including J.S. Bach’s Concerto for Two Violins and Corelli’s Concerto Grosso, featuring the BSO’s own soloists.

THURS., JULY 24, 8 P.M. Baltimore Symphony Orchestra All-Beethoven Josep Caballé-Domenech, conductor Andrew Staupe, piano Beethoven: Overture to Fidelio Beethoven: Piano Concerto No. 3 Beethoven: Symphony No. 6, “Pastoral” Experience the beauty of Beethoven in this program filled with some of his beloved classics. The festive Fidelio Overture opens the evening, and no Beethoven symphony better captures summer’s charms than the “Pastoral.”

STRATHMORE FREE OUTDOOR CONCERTS Wednesdays at 7 p.m. at the Gudelsky Concert Gazebo

Its new record, Figures of the Year, is a journey through a year, each song telling its part of the larger story, with both original and traditional numbers, through lush harmonies, thoughtful instrumentation and memorable melodies.

Ester Rada

a highly religious Jewish family in little more than modest conditions in one of Israel’s roughest neighborhoods gave Rada the drive to change her life and fulfill her dream of creating music. Critics describe her genre-mixing sound as “gracefully combining Ethio-jazz, funk, soul and R&B, with mixed undertones of black grooves.”

JULY 9 Martha Redbone Roots Project The “charismatic indie-soul diva” (Time Out New York) Martha Redbone is an Independent Music Award-winning musician of Cherokee, Choctaw, Shawnee and African-American descent. Since bursting onto the scene at the 2002 Native American Music Awards, she has established a solid history of performing, educating and mentoring across Native North America and abroad.

JUNE 25 Ben Sollee Ben Sollee is a cellist and vocalist known for his percussive playing style, genrehopping songwriting, wide appeal and political activism. His music incorporates banjo, guitar, percussion and unusual cello techniques to create a unique mix of folk, bluegrass, jazz and R&B. JULY 2 Ester Rada Ester Rada’s cross-cultural sound is a deep reflection of the Israeli-born Ethiopian’s heritage. Growing up in 6 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

JULY 16 The Barefoot Movement The Barefoot Movement has been making waves in the folk world since the release of its debut album, Footwork.

JULY 23 Conjunto Chappotín Conjunto Chappottín is one of the top Cuban “son” groups on the scene today.

The founding of the band dates to the 1940s and its founder, Arsenio Rodriguez, one the country’s most renowned band leaders and a major influence on Latin Jazz and salsa for decades.

JULY 30 The Chuck Brown All Star Go-Go Band

“The Godfather of Go-Go,” Chuck Brown was the undisputed founder and creator of Go-Go music, a hypnotically danceable genre deeply rooted in funk and soul that he developed in the early ’70s. The Chuck Brown All-Star Go-Go Band continues to party and rock the house for all who loved Brown and the music he created.

Strathmore Artist in Residence Elijah Jamal Balbed opens.

AUG. 6 Cathy Ponton King Cathy Ponton King is a female vocalist and guitarist, and 20-year veteran of the blues and bar scene in and around Baltimore and Washington, D.C. King’s set features a mix blues, mixed with her swing, ballads and rock ‘n’ roll—upbeat songs that bring dancers to their feet.

BAREFOOT MOVEMENT PHOTO BY AMOORE PHOTOGRAPHY

MUSIC CENTER JULY THURS., JULY 10, 8 P.M. Baltimore Symphony Orchestra All-Baroque Jonathan Carney, leader and violin Igor Yuzefovich, violin Dariusz Skoraczewski, cello Andrew Balio, trumpet Nola Richardson, soprano

[Summer]

AUG. 13 Uke Fest 2014

JULY 10 Mister G: ABC Fiesta A Parents Gold Choice Award winner, this “kid-friendly, bilingual rock star … will surely make you feel like bailando!” (The Washington Post). Don’t miss Mister G’s “irresistible” (People) style when he makes his Strathmore debut this summer.

It’s the summertime tradition that launched a thousand musicians: the annual celebration of the ukulele that rocks Strathmore and brings the community together in song. Join uke ringmasters Marcy Marxer and Cathy Fink, along with James Hill, Casey MacGill, Mark Nelson, Stu Fuchs, Maureen Andary and Victoria Vox for the highlight of Strathmore’s Free Outdoor Concerts—filled with fun and audience participation.

AUG. 20 Dakha Brakha Reflecting fundamental elements of sound and soul, the world music quartet from Kiev, Ukraine, Dakha Brakha, creates a world of unexpected new music. Accompanied by Indian, Arabic, African, Russian and Australian traditional instrumentation, the quartet’s astonishingly powerful and uncompromising vocal range creates a transnational sound.

UKEFEST PHOTO BY MARGOT SCHULMAN

STRATHMORE BACKYARD THEATER FOR CHILDREN Thursdays at 9:30 and 11:30 a.m. on the Backyard Theater Stage JUNE 26 Recess Monkey Strathmore is excited to welcome back Recess Monkey, a trio of Seattle teacher-musicians whose music has been praised by People, Time and NPR for its pitch-perfect understanding of what gets kids up and moving. Get ready to dance, shout and develop a devotion to “kindie rock.”

JULY 17 Story Pirates When the Story Pirates take the stage, they create a show live, from scratch, that’s as crazy, hilarious and unexpected as their kiddo audiences.

Laugh as little ones contribute to the story, inventing monsters, dancing ninjas, superhero tomatoes—or any other idea they call out—and watch as Story Pirates bring their zany ideas to life.

JULY 24 Tim and the Space Cadets Brooklyn-based Tim and the Space Cadets play songs about the important things in life: pizza parties, snow days and summer vacations. Frontman Tim, host of Sunny Side Up on the Sprout Network, will be sure to delight, especially when the group performs its XMKids chart-topping single “Superhero.” Their new album, Anthems for Adventure, celebrates riding a cardboard rocket ship to space and giving up an old pair of sneakers.

JULY 31 Asanga Domask/Serendib Dance in Rhythm of Lanka A fresh new company dedicated to preserving an ancient tradition shares a daring collection of Sri Lankan traditional and folk dance.

Enjoy an art form built over thousands of years with deep roots in everyday Sri Lankan village life, Buddhist religious customs and ceremonial celebrations for the island’s royalty. Elaborate costumes, traditional music and powerful yet elegant movements take viewers of all ages on a historic journey.

APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 7

!

S TRATH MORE

beyond

Brazil Jazz Samba Project marks how bossa nova changed American musical culture

A

n album recorded in an unassuming church in Northwest D.C. forever changed jazz music.

Recorded in 1962, Jazz Samba by Stan Getz and Charlie Byrd linked American jazz to the sultry rhythms of Brazil, introducing the native music to a wider audience for the first time.

“It was such an enormous album,” says Ken Avis, whose jazz quartet Véronneau will take part in Strathmore’s Jazz Samba Project, a two-week exploration of Brazilian bossa nova music and its spread into American culture. “What we forget now is that at the time nobody had heard of bossa nova.”

8 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

“We haven’t really had the opportunity to acknowledge the importance of the Jazz Samba album and the influence that bossa nova had on popular music,” says Georgina Javor, Strathmore’s director of programming. “It all came together organically as The Charlie Byrd Trio went on a State Department tour of Brazil and brought back that music to Washington, D.C.” “That’s what drew us to the project, that it’s a D.C story that hasn’t really been told—a treasure hunt that had a massive impact on music going forward.”

© 2008 JENNIFER BETTS, THE FELIX E. GRANT ARCHIVES AT THE UNIVERSITY OF THE DISTRICT OF COLUMBIA

By Chris Slattery

At the time the Charlie Byrd Trio had returned home from its 1961 tour of South and Central America, part of the State Department’s initiative to improve the image of the U.S. around the world using music. Byrd, Silver Spring bassist Keter Betts and drummer Buddy Deppenschmidt were determined to bring the modern sound of bossa nova home. Byrd got Verve Records involved; on Feb. 13, 1962 Verve sent jazz saxophonist Stan Getz to make a record with the trio plus another drummer, Bill Reichenbach, and Gene “Joe” Byrd, Charlie’s brother, on rhythm guitar.

Six months later, music lovers in America were thinking of little else—mainly because of D.C. disc jockey Felix E. Grant.

“Felix Grant was hip enough to recognize great music very early on, when he first heard it,” says Michael Fitzgerald, cocurator of the upcoming exhibition from Felix E. Grant Jazz Archives at the University of the District of Columbia. “And he was generous enough to share that music with the Washington, D.C., radio community.”

Grant’s legacy will be at the heart of the Jazz Samba Project.

Bringing Bossa Nova to America, an interactive multimedia

exhibit, will be on display in the Mansion during the festival.

Through treasures from the Felix E. Grant Jazz Archives, visitors will get a glimpse of photographs and concert programs, plus vintage interviews with the greats of bossa nova.

Because of Grant, the music quickly swept across the country, defining a subset of sophisticated ’60s cool.

“Bossa nova music contained elements of the popular music of the ’30s and ’40s—the elegance of Cole Porter, and George Gershwin,” says jazz drummer/vibraphonist Chuck Redd, who joined the Charlie Byrd Trio post-Jazz Samba. “The rhythms were enticing and exotic, but the melodic side had something that resonated with a sophisticated crowd.”

For Strathmore, staging a two-week bossa nova festival with Jazz Samba at its heart makes perfect sense. Redd agrees.

“There will be Brazilian and American musicians in a cultural exchange that’s not unlike the cultural exchange that started the bossa nova craze,” he points out.

“Bossa nova was the beginning of world music, before we had a name for it.” "

Strathmore’s Jazz Samba Project is funded in part by an Art Works Grant from the National Endowment for the Arts.

Strathmore’s Jazz Samba Project will take place May 30-June 15. Events include: Quiet Nights: Ron Kearns Quartet with special guest Michael Thomas 7:30 p.m. May 30 in the Mansion The quartet celebrates the half-century of Brazilian jazz in America. Sponsored by Asbury Methodist Village Bossa Nova: The Brazilian Music That Charmed the World 7 p.m. June 2, in the Mansion The documentary explores the roots of bossa nova and the role area musicians played in popularizing it.

Brazilian Tea With Wayne Wilentz, piano 1 p.m. June 3, in the Mansion Stop by for a Brazilian spin on Strathmore’s traditional high tea.

Bringing Bossa Nova to the United States May 31- June 15 in the Mansion. Free opening reception on May 31 at 2 p.m.

The exhibit includes photographs, concert programs and interviews of prominent artists.

Exhibit courtesy of the Felix E. Grant Jazz Archives at the University of the District of Columbia. Curated by Judith A. Korey and Michael Fitzgerald, assisted by Rachel Elwell and Serdar Sirtanadolu.

Romero Lubambo, Duduka da Fonseca and Friends: Brazilian/Jazz Connection 7:30 and 9:30 p.m. June 5, in the Mansion Brazilian jazz guitarist Lubambo and drummer da Fonseca perform with Chuck Redd of the Charlie Byrd Trio. Sponsored by Asbury Methodist Village Sergio Mendes & Eliane Elias 8 p.m. June 6, in the Music Center Sergio Mendes represents the roots of bossa nova, while Eliane Elias is part of the new guard. A pre-concert lecture, Intro to Bossa Nova, will take place at 6:30 p.m.

Symposium: The Jazz Samba Legacy 10 a.m.-1:30 p.m. June 7, in the Mansion Three lectures explore the migration and maturation of bossa nova in the United States.

Authentic Brazilian Jazz Styles 1:30-5:30 p.m., June 7, at St. Mark Presbyterian Church, 10701 Old Georgetown Road, Rockville The workshop will help musicians deepen their understanding of Brazilian-American jazz styles.

Discover Strathmore: Sounds of Brazil Noon-5 p.m. June 8, throughout the Strathmore campus The annual family event will include a performance by jazz quartet Véronneau and a drum circle. Sponsored by Dede and Marvin Lang. Media Partner: Washington Parent magazine.

For more ticket information and more details on events, call (301) 581-5100 or go to www.strathmore.org. For tickets to the musicians’ workshop, call (410) 295-6691 or go to www.indepthjazz.com.

APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 9

!

% $ #

BA LTIM ORE SY MPHONY ORCHESTRA

The Sounds of Beethoven’s Symphony No. 9 and Adams’ response to 9/11 provide comfort, show personal strength

By Pamela Toutant

Baltimore Choral Arts Society

R

eflecting this season’s theme of music as a source of healing, the Baltimore Symphony Orchestra has paired two deeply moving works that evoke inspiration and spiritual comfort.

The program begins with American composer John Adams’ Pulitzer Prize-winning On the Transmigration of Souls, Adams’ response to the Sept.

11, 2001 terrorist attacks. The piece is followed by Beethoven’s beloved Symphony No. 9, arguably one of the composer’s greatest works.

Adams wrote On the Transmigration of Souls in a heartbreakingly personal way with texts from newspaper memorials and the desperate missing-person fli-

10 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

ers pervading lower Manhattan following the attacks.

In a 2002 National Public Radio interview just before the work’s premiere, Adams explained his vision for the work. “I wanted to give people a ‘memory space,’ like a great cathedral, like Chartres, where you can go and be alone with your thoughts,” he said. “And the art and the music and the words are giving you stimulus, but they are not directing your emotion, and they are not pounding you over the head with a point of view.”

Baltimore Symphony Orchestra Music Director Marin Alsop describes the challenging 25-minute work as “containing ambient city sound and live performances by a children’s chorus, an adult chorus and a large orchestra. The verbal heartbeat of the soundtrack literally surrounds the audience. This seemingly disorganized passage is actually set in a careful therapeutic course—illustrating that from out of the mundane (a clear Tuesday morning) comes the profound.”

The children’s chorus plays a unique role in Adams’ piece. In many large-scale works, such as Britten’s War Requiem and Mendelssohn’s Elijah, the children’s chorus symbolizes an angelic—almost aloof—religious presence, comforting from afar. On the Transmigration of Souls is about suffering, healing and moving on. Doreen Falby, director of the Peabody Children’s Chorus explains, “The children do this right alongside the adults. When Adams writes text for the children like, ‘The man’s wife says, I loved him from the start...I wanted to dig him out. I know just where he is,’ he is neither sheltering them

&

Solace from the inhumanity of the event, nor attempting to console us with the heavenly sound of their voices.”

The deep connection with the details and the intimacy with the experience allow the healing to happen. “There is an honesty about writing for children in this way that helps us all move forward,” Falby says. “By allowing us to transform with them, Adams is acknowledging the power of unity. We take comfort from knowing that we grieve together and move on together.”

Beethoven’s moving Symphony No. 9 is one of the most performed symphonies in the world, yet its genius and jubilance never fail to excite musicians and audiences. It is the first symphony written by a major composer to include voices. Four soloists and the Baltimore Choral Arts Society will join the BSO in the last movement’s uplifting “Ode to Joy,” based on a poem by the same name written by the prominent 18th-century German poet Friedrich Schiller.

Beethoven was nearly deaf when he composed what would be his last symphony. At its premiere in Vienna in 1824, Beethoven sat next to the stage and was able to give the tempos at the beginning of each part, but another conductor directed the symphony.

“Beethoven was deeply and profoundly affected by his hearing loss, but he never let his disablity deter him from honoring his creative calling,” says Alsop.

“His is a story of strength and triumph that should serve to inspire all of us.”

Leonard Bernstein conducted one of the most notable performances of Beethoven’s Symphony No. 9, in Berlin in 1989, to celebrate the fall of the Ber-

Baltimore Symphony Orchestra presents Beethoven’s Ninth Saturday, June 7, 8 P.M.

lin Wall. “This performance captured the essence of Leonard Bernstein: a deeply caring, engaged citizen of the world who stood up for his beliefs and was unafraid to face political and social consequences,” says Alsop. In the work’s chorus, “Ode to Joy,” “Bernstein changed the word ‘joy’ to ‘freedom,’ something Beethoven would undoubtedly have embraced.”

Reflecting on the healing power of Beethoven’s Symphony No. 9, Alsop says, “Beethoven’s philosophy was rooted in his unwavering belief in the goodness of humankind and the power of people coming together.

For Beethoven, this positive view of humankind was its own kind of spiritual enlightenment.” "

APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 11

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Strathmore presents Evermay Chamber

S TRATH MOR E

Thursday, June 5, 8 P.M.

Evermay, in June Evermay Chamber expands to the Music Center stage for the first time

By Chris Slattery

C

all it a tale of two mansions.

Like the Mansion at Strathmore, Georgetown’s Evermay (aka the Samuel Davidson House) is beautiful, historic and instrumental in serving the needs of musical artists and audiences.

The Mansion at Strathmore, however, has the advantage of a 2,000-seat concert hall in its backyard—so Evermay Chamber is coming for a visit.

Evermay Chamber will perform its first concert outside the Evermay Mansion on June 5 in the Music Center at Strathmore. The ensemble was formed by Evermay owners Dr. Sachiko Kuno and Dr. Ryuji Ueno, as part of their philanthropic arts, science and social entrepreneurship non-profit, the S&R Foundation.

“Evermay, while a very distinctive venue, only fits about a hundred people,”

12 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

explains Kate Goodall, the S&R Foundation’s chief operating officer.

Goodall points out that, like Strathmore, the S&R Foundation supports and encourages emerging artists and underserved populations. The Evermay Chamber is made up of prizewinners who serve the S&R Foundation’s mission by performing concerts in the D.C. area. The ever-changing ensemble currently features a roster of elite solo-caliber artists from five continents, overseen by the American violinist Tamaki Kawakubo.

“At the Evermay mansion it’s more of an intimate setting,” explains Kawakubo, who started playing violin at age 5 and has won the 2001 Pablo Sarasate International Violin Competition and the 2002 Tchaikovsky Competition, as well as the S&R Washington Award Grand

Prize for which Evermay is best known.

“It would be difficult to have two pianos there. But at Strathmore we can have two pianos—and two violins, two violas, two cellos. The concert will be fun to play, and very fun to listen to.”

The fun is in the program, which features whimsy in the form of Saint-Saëns’ Carnival of the Animals as well as the spirited Souvenir de Florence by Tchaikovsky.

“Every player has their certain way of performing,” she says, “and to get the audience’s attention you need stage presence. Some audience members prefer a cleaner version of a piece; others might want to hear more passion. But the beauty of the music is the most important thing, and as a player I want to convey that, and fulfill everyone’s expectation.

“That’s the journey,” she adds. “That’s the learning experience.” "

MARGULIS PHOTO BY SONJA WERNER, BOHORQUEZ PHOTO BY CHRISTINE SCHNEIDER

L to R: (top row) Alissa Margulis, Gareth Lubbe, Tamaki Kawakubo, Tim Park and Ayane Kozasa; (bottom row) Claudio Bohórquez, Nabil Shehata, Ryo Yanagitani, Yu Kosuge and Ria Ideta

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THE N ATIONA L PHI L HAR M ONI C

Soaring

Into a New Decade

The National Philharmonic will welcome old and new friends—and celebrate 10 years at Strathmore—during an enthralling 2014-2015 season

Haochen Zhang

T

he National Philharmonic’s 2014-2015 season will be a celebration of the orchestra’s success over the past 10 years at Strathmore and of the artists—from an 11-yearold cellist to formidable Chopin interpreter pianist Brian Ganz—who have helped fuel that success.

14 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

“When we started out in 2005, it was unclear what niche Strathmore would find in the community, what part of Strathmore the Philharmonic would be, how many concerts we would perform, and whether we would be able to fill a hall of 2,000 seats,” says National Philharmonic Music Director and Conductor Piotr Gajewski.

“We have succeeded beyond our wildest dreams. Here we are 10 years later giving many more concerts than we ever thought and playing annually for all second-graders in Montgomery County Public Schools. Our chorale has hugely expanded its audience and repertoire, we have given a number of important world premieres, and we work with major artists again and again. All of that is great cause for celebration.”

A weekend of anniversary concerts on Feb. 7 and 8, 2015 will highlight some of the orchestra’s greatest successes. “One of those is our annual showcasing of Brian Ganz in his quest to perform all of Chopin’s works,” says Gajewski. Ganz will kick off the weekend celebration with the fifth recital in his Chopin project, this one featuring the composer’s mazurkas, inspired by Polish folk dances.

The 10th anniversary concert on Feb. 8 will re-create much of the orchestra’s inaugural performance in February 2005. “We’re opening with the Strathmore Overture by the late Andreas Makris, which was composed for us for the opening of the Music Center and premiered by us at that first concert,” Gajewski says. “We are also revisiting Beethoven’s Ninth Symphony, as festive a piece as there is, which we performed at that same concert.”

Returning to the Strathmore stage on Feb. 8 is cellist Summer Hu, who at age 11 wowed the audience at Strathmore’s inaugural celebration. Now a graduate of the Curtis Institute of Music, Hu performs frequently with the Philadelphia Orchestra. “Certainly her appearance back then—and a subsequent participation in a National Philharmonic master class

ZHANG PHOTO BY B. EALOVEGA

By Phyllis McIntosh

The National Philharmonic 2014-2015 Season Highlights include: Chee-Yun

with the cellist Carter Brey—helped spark her continued interest in the cello to the point that we can feature her as a soloist in our 10th anniversary concert,” Gajewski says. Hu will perform Tchaikovsky’s Variations on a Rococo Theme.

To round out the anniversary concert, Brian Ganz will make a cameo appearance, playing Chopin’s Grande Polonaise Brillante.

There is, of course, much to like in the rest of the Philharmonic’s anniversary season. As always, choral music figures prominently in the lineup. In two spring concerts, the orchestra and National Philharmonic Chorale will perform Bach’s soaring St. John Passion for the first time on April 11, 2015, and Fauré’s haunting Requiem on May 30.

Chorale Artistic Director Stan Engebretson calls the St. John Passion “the most dramatic” of Bach’s works.

“It includes tremendous arias for the soloists, who depict the emotions,” he says. “The chorale plays different roles; sometimes, they’re onlookers, sometimes a chorus of priests. Any time there’s a crowd grouping, the chorus portrays those scenes in a very animated, exciting way.”

The Fauré Requiem, on the other hand, is calm and comforting. “Fauré does not follow the requiem form in the sense that his is much more serene,” says Engebretson.

“With the rich French color of the orchestration and the beautiful timbre of the soloists and the chorus together, it’s very serene and peaceful, yet tremendously beautiful.”

The coming season also offers a stellar lineup of soloists, both new and familiar. Making his debut with the orchestra is pianist Haochen Zhang, a recent gold medal winner at the Van Cliburn International Piano Competition.

Zhang will perform Rachmaninoff’s notoriously challenging Piano Concerto No. 3, known as the Mount Everest of piano concertos, on March 28 and 29.

Dvo!ák’s New World Symphony 8 p.m. Oct. 18, 2014 and 3 p.m. Oct. 19, 2014 Handel’s Messiah 8 p.m. Dec. 20, 2014 and 3 p.m. Dec. 21, 2014 Bach’s Brandenburgs 8 p.m. Jan. 24, 2015 and 3 p.m. Jan. 25, 2015 Brian Ganz Plays Chopin 8 p.m. Feb. 8, 2015 Beethoven’s Ninth 3 p.m. Feb. 8, 2015 Mozart’s “Jupiter” Symphony 8 p.m. May 2, 2015 and 3 p.m. May 3, 2015 For more details on 2014-2015 performances, visit www.nationalphilharmonic.org.

Appropriately for its 10th anniversary season, the orchestra also will welcome a number of favorite returning soloists, including soprano Danielle Talamantes, who will perform a concert of Mozart’s vocal music on Nov. 1 and 2, 2014.

Another major highlight for the orchestra is its ongoing collaboration with cellist Zuill Bailey, who will perform Haydn’s Cello Concerto No. 2 on Jan. 10, 2015 and has performed so frequently with the Philharmonic that “at this point he’s truly a regular,” says Gajewski.

“Being able to present this caliber of artists here with the National Philharmonic is a major coup for the community,” Gajewski concludes. “We are grateful and humbled to be part of that and delighted to celebrate this concert hall and the National Philharmonic’s role in it.” " APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 15

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BA LTIMORE SY MPHONY ORCHESTRA

The Retail King BSO oboe player Michael Lisicky’s love of and expertise in old department stores make him a sought-after expert

By Laura Farmer

M

any can still recall the era of the department store. It was a simpler time, when families got dressed up to spend an entire Saturday taking in grand old retailers such as Hecht’s and Hutzler’s, where, in addition to shopping, families could enjoy lectures, concerts, meals and more. Sure, a few such stores, like Macy’s, still exist today. But they don’t enjoy the same level of reverence as the now-extinct greats.

To say BSO oboe player Michael Lisicky has always been interested in department stores is a truth as large as the organ at Wanamaker’s. The gregarious musician has a tattoo of Philadelphia’s Strawbridge & Clothier’s seal of confidence inked on his leg. His teenage daughter, Jordan, was named for the Jordan Marsh chain in Boston. And his Fells Point home holds the largest newspaper archive on department store news in the country.

“I don’t know why I like department stores so much,” he says. “I’m starting to realize that it is the social component, nostalgia and the memories wrapped up in each store, and memories of visiting them with my family.”

Raised in Cherry Hill, N.J., Lisicky fondly remembers frequent outings with his late mother, Anne. The pair would trek to department stores located all along the Eastern seaboard and Lisicky loved every moment.

“When I was just 3 years old, my mother told me she was taking me shopping at Strawbridge & Clothier. I got so excited that I started running around and ran right into a chair and split my head open. That day, instead of a trip to the store, I ended up getting to ride in an ambulance to the hospital.”

Today, Lisicky’s enthusiasm has launched his second career as an author and pre-eminent department store expert.

With seven books and counting to his credit, he regularly receives invitations to lecture at symposia and events across the country. None other than Project Runway’s Tim Gunn wrote the forward to his most recent book about Washington, D.C.’s Woodward & Lothrop. And the producers of an upcoming movie set in a department store, starring Cate

16 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

Blanchett and Rooney Mara, have invited Lisicky to serve as the on-set expert. But his journey began close to home, when he wrote his first book about Baltimore’s now-shuttered Hutzler’s.

“When I wrote that first book, I didn’t think that anyone really cared,” says Lisicky. “I’m so happy to be proven wrong.

These department stores are part of our identity as a nation.

I’m so happy to have a role in preserving their memory.” "

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BA LTIM ORE SY MPHONY ORCHESTRA

A Spiritual Journey The BSO leads audience members through evocative musical conversations during an expanded 2014-2015 season

By Roger Catlin

s Baltimore Symphony Orchestra Music Director Marin Alsop began choosing pieces for the 2014-2015 season, a singular theme began to emerge. From Mahler’s Symphony No. 4, which opens the season at the Music Center at Strathmore on Sept. 18, to Bernstein’s Chichester Psalms on Nov. 22 to Beethoven’s Symphony No. 9 on Jan. 3, 2015, it seemed all about spirituality.

“Whether one is ‘religious’ or not, the topic of spirituality is meant to open the door to a broader philosophical and personal journey,” Alsop says. “That is the great aspect of music: It allows each of us our own personal emotional interpretation.”

So she added the Russian Easter Overture by Rimsky-Korsakov on May 7, Respighi’s Church Windows on Feb. 5, Scriabin’s Symphony No. 4 “Poem of Ecstasy” on Oct. 24 and 26, and the East Coast premiere of Kevin Puts’ Flute Concerto, with soloist Adam Walker, on April 10 and 12.

Other pieces started to fit in as well, from Tchaikovsky’s Symphony No. 5 on April 10 and 12 to Beethoven’s Symphony No. 7 on Nov. 22 and his Symphony No. 5 on June 6.

As for the BSO premiere of Bernstein’s Candide with Patti LuPone, that ends the season June 11, Alsop says that while she has conducted the work several times, she’s very excited to perform it with the BSO. “It is a work, like all of Bernstein’s pieces, that deals with faith in a very personal way,” Alsop says.

The BSO is also expanding its Strathmore offerings for the 2014-2015 season by adding six concerts—five Sunday matinee performances and an additional Off the Cuff, Alsop’s deep dive into themes and meanings of specific works.

The BSO SuperPops schedule includes a Beatles “Classical Mystery Tour” Nov. 13, performances by Mandy Patinkin in January and Patti Austin singing Duke Ellington and Ella Fitzgerald in February, a performance alongside the film Singin’ in the Rain in March and a tribute to John Williams closing the pops season in May 2015.

“Musically there is something for everyone. And if you come, you will be entertained.” " 18 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

Mandy Patinkin

Marin Alsop

Patti LuPone

Tamara Wilson

PATINKIN PHOTO BY NEWSPIXS, ALSOP PHOTO BY KYM THOMSON, LUPONE PHOTO BY ETHAN HILL, WILSON PHOTO BY AARON GANG

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WA S HIN GTON PER F OR M IN G A RT S

Heavy Hitters

By M.J. McAteer

Evgeny Kissin

20 APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014

András Schiff

Gil Shaham

Pinchas Zukerman

KISSIN PHOTO BY FELIX BROEDE, SCHIFF PHOTO BY SHEILA ROCK, SHAHAM PHOTO BY LUKE RATRAY, ZUKERMAN PHOTO BY PAUL LABELLE

Favorites András Schiff, Gil Shaham and Wynton Marsalis—whose complete Blues Symphony will have its world premiere—light up Washington Performing Arts’ 2014-2015 season at Strathmore

T

he Music Center at Strathmore turns 10 next year, and Washington Performing Arts is celebrating the occasion with its own version of many happy returns: a series of concerts featuring some of classical music’s heaviest hitters.

On deck for the arts organization’s 2014-2015 season at Strathmore will be pianists András Schiff and Evgeny Kissin, violinists Gil Shaham and Pinchas Zukerman, and composer and trumpeter Wynton Marsalis. Schiff, Kissin and Shaham will give virtuosic solo performances, while Zukerman will be featured with the Budapest Festival Orchestra. Marsalis will perform with his jazz quintet and then remain to witness the world premiere of his revised, complete Blues Symphony.

The debut of this composition is a particular point of pride and excitement for Washington Performing Arts. Marsalis’ relationship with the organization dates to his student days at the Juillard School, and the inaugural presentation of his symphony will represent the continuity and the type of collaborative effort that is the arts organization’s hallmark.

“New works are so often shortchanged,” says Washington Performing Arts CEO and President Jenny Bilfield. “They need time to marinate, to percolate,” and that is exactly what she was able to offer Marsalis.

The composer estimated that an orchestra would need 20 hours of rehearsal time to master his idiosyncratic work, which showcases many American music styles, including jazz and swing, in seven movements. Such extended rehearsals are financially unfeasible for most orchestras, but in concert with the Shenandoah Conservatory in Winchester, Va., Washington Performing Arts was able to make it happen.

Discussions with Marsalis and the arts organization led to conservatory Dean Michael Stepniak’s creation of a special residency program, during which students will learn about American music through the Blues Symphony. The culmination of many months of study and rehearsal will be the Feb. 4, 2015 premiere.

The premiere is the third of Washington Performing Arts’ five offerings at Strathmore next season. The first will be when Gil Shaham plays Johann Sebastian Bach’s sonatas and partitas in their entirety.

“Gil is deeply immersed in this project,” says Washington Performing Arts Director of Programming Samantha Pollack of the violinist’s determined mastery of all of Bach’s solo works for his instrument. She describes Shaham as “a great communicator—sensitive, compassionate, with a big dose of wit.”

Next up, at 8 p.m. on Jan. 23, 2015, will be the Budapest Festival Orchestra, an intensely personal ensemble led by its cofounder Iván Fischer, a former principal conductor of the National Symphony Orchestra. The Budapest Festival Orchestra’s

Wynton Marsalis

In developing the 2014-2015 programming, “We were looking for artists who have something to say.”

Samantha Pollack program will include two works by Mozart, the Overture to The Magic Flute and the Violin Concerto No. 5 in A Major, which features Zukerman. The evening will conclude with Mendelssohn’s A Midsummer Night’s Dream with soloists soprano Anna Lucia Richter and mezzo-soprano Barbara Kozelj.

Like Shaham, pianist András Schiff will be making his fourth appearance at Strathmore under the auspices of Washington Performing Arts. Also like Shaham, Schiff enjoys a project, and at his March 15, 2015, recital, he will be presenting an installment of his multiyear “Last Concerts” series. Each work on the program—Haydn’s Sonata No. 60, Beethoven’s Sonata in E Major, Mozart’s Sonata in C Major and Schubert’s Sonata in C minor—is the composer’s “antepenultimate” sonata, meaning his third-to-last work. The sonatas represent a “culmination of these composers’ compositional styles,” Pollack says, and “András is exploring what these works say about their music.”

Evgeny Kissin, Washington Performing Arts’ final performer of the Strathmore season, is both a phenomenal technician and an impeccable stylist. At his April 22 performance, he will play Beethoven’s “Waldstein” Sonata No. 21, Prokofiev’s Sonata No. 4 in C minor and a series of Rachmaninoff preludes.

All of the musicians that Washington Performing Arts is bringing to Strathmore next season share that profound musicality. “We were looking for artists who have something to say,” Pollack says, and Strathmore provides the ideal setting in which to say it. The Concert Hall allows performers “to be heard as they intend to be heard,” Bilfield says. The series of concerts will honor Strathmore’s 10th birthday by giving audiences an unforgettable gift. " APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 21

Thursday, May 1, 2014, 8 p.m.

THURSDAY, MAY 1, 2014, 8 P.M.

● Strathmore Presents

Defiant Requiem: Verdi at Terezín Murry Sidlin, conductor Arianna Zukerman, soprano Ann McMahon Quintero, mezzo-soprano Issachah Savage, tenor Nathan Stark, bass Rheda Becker as The Lecturer Rick Foucheux as Rafael Schächter Herbert Greenberg, solo violin Rita Sloan, piano The City Choir of Washington Robert Shafer, artistic director The Shenandoah Conservatory Chamber Choir Robert Shafer, conductor Orchestra of Terezín Remembrance Giuseppe Verdi (1813–1901)

Arianna Zukerman, soprano

This performance of Defiant Requiem: Verdi at Terezín is co-presented by Strathmore and The Defiant Requiem Foundation.

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Murry Sidlin, conductor

Murry Sidlin is a conductor with a unique gift for engaging audiences who continues a diverse and distinctive musical career.

Sidlin began his career as assistant conductor of the Baltimore Symphony under Sergiu Comissiona and then was appointed resident conductor of the National Symphony Orchestra

Renowned for her pure, luminous, rich soprano, persuasive performances and dramatic ability, Arianna Zukerman is considered one of the premiere vocal artists of her generation.

The 2013-2014 season includes performances in Chicago, New Hampshire, Washington state and Washington, D.C., Maryland and South Carolina.

She sings re-engagements abroad with the National Arts Centre Orchestra in

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Messa da Requiem I. Requiem II. Dies irae III. Offertorio IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me

by Antal Doráti.

He has served as music director of the New Haven and Long Beach (Calif.) symphonies, the Tulsa Philharmonic, and the Connecticut Ballet. For eight years he was resident conductor of the Oregon Symphony and, from 2002 to 2010, he served as dean of the School of Music at The Catholic University of America. The summer of 2011 marked Sidlin’s 33rd year as resident artist/teacher and associate director of conducting studies at the Aspen Music Festival where, with conductor David Zinman, he developed the American Academy of Conducting.

Sidlin studied with the legendary pedagogues Leon Barzin and Sergiu Celibidache. He was appointed by Presidents Ford and Carter to serve on the White House Commission of Presidential Scholars. He won national acclaim for the television series Music Is…, a 10-part series about music for children that was seen on PBS. Most recently he was asked to appear on CNN International to speak about Defiant Requiem. Sidlin’s awards include the Simon Wiesenthal Center’s Medal of Valor for his extraordinary efforts to keep alive the memory of Rafael Schächter.

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Thursday, May 1, 2014, 8 p.m.

Ottawa, Canada and with the Royal Philharmonic Orchestra in London.

Zukerman is the featured soloist in the critically acclaimed, Grammy-nominated 2013 Naxos recording of James Whitbourn’s oratorio, Annelies, the first major choral setting of The Diary of Anne Frank. This spring she will sing the New York City premiere of the work at Alice Tully Hall at Lincoln Center.

Ann McMahon Quintero,

QUINTERO PHOTO BY TIM HILL, SAVAGE PHOTO BY KRISTIN HOEBERMANN, STARK PHOTO BY PAUL SIROUCHMAN

mezzo-soprano

Ann McMahon Quintero’s 20132014 season includes her debut with Virginia Opera as Mistress Quickly in Verdi’s Falstaff and soloist in Beethoven’s Symphony No. 9 in a return to Boston Baroque. In summer 2013 she was mezzo-soprano soloist in Britten’s “Spring” Symphony and Vivaldi’s Gloria in a return to the Berkshire Choral Festival.

Her 2012-2013 season included her debut with the Spoleto Festival (USA) as Suor Pazienza in Giordano’s Mese Mariano, singing Mary in Der fliegende Holländer in a return to Boston Lyric Opera, Amneris in Aida with Annapolis Opera and mezzo-soprano soloist in Messiah with Boston Baroque, under Martin Pearlman.

An accomplished oratorio soloist, Quintero has appeared frequently with Boston Baroque where her performances have included the title role in Vivaldi’s Juditha Triumphans and soloist in Messiah. She has also sung Messiah with Charlotte and Alabama symphony orchestras and the National Philharmonic; Beethoven’s Symphony No. 9 with Columbus Symphony; Haydn’s Paukenmesse at Carnegie Hall; and a concert performance of Guillaume Tell with Opera Orchestra of New York.

Issachah Savage, tenor

In the 2013–2014 season, Issachah Savage made his Houston Grand Opera debut as Radames in Aida. He also was scheduled to be in concert with the

Washington Chorus at the Kennedy Center singing Act 2 of Aida. In the summer of 2013, Savage participated in San Francisco Opera’s Merola Program for gifted young singers, singing the finale to Wagner’s Lohengrin at the Merola Grand Finale concert.

Recent performances include the world premiere of Wynton Marsalis’ All Rise with Kurt Masur and the New York Philharmonic; the world premiere of Leslie Savoy Burr’s Egypt’s Night with Philadelphia’s Opera North; with Marin Alsop and the Baltimore Symphony Orchestra in Gershwin’s Blue Monday; and with the Opera Orchestra of New York alongside Elina Garanca in Massenet’s La Navarraise. He also made his role debut as Radames in Aida at Opera Carolina.

Savage also has performed Verdi’s Messa da Requiem with the Flint Symphony Orchestra, Beethoven’s Symphony No. 9 and Rossini’s Petite Messe Solennelle with the New Dominion Chorale, Mendelsohn’s Elijah with One Voice Chorale and Puccini’s Messa di Gloria with Morgan State University.

Savage has received a number of prestigious awards from institutions such as Wagner Societies of New York, Washington, D. C., and northern California, Licia Albanese International Puccini Foundation, Olga Forrai Foundation, Gerda Lissner Foundation, Jensen Vocal Competition, Opera Index, and Giulio Gari Foundation.

Nathan Stark, bass

Nathan Stark’s 2013-2014 season engagements include his debut on the Metropolitan Opera stage as the OneArmed Man in Strauss’ Die Frau ohne Schatten; First Nazarene in Richard Strauss’ Salome with the Boston Symphony Orchestra; the world premieres of

Myers’ Buried Alive and Soluri’s Embedded with Fargo-Moorhead Opera’s Poe Project; his return to Madison Opera as Sulpice in La fille du regiment; soloist with Dayton Philharmonic Orchestra in Beethoven’s Symphony No. 9; with the Madison Symphony Orchestra in “A Madison Symphony Christmas;” and Zuniga in Carmen and Sylvano in Cavalli’s La Calisto, both with Cincinnati Opera.

Stark’s concert credits include Beethoven’s Symphony No. 9 with the Cincinnati Conservatory Philharmonia and the Pasadena Pops Orchestra; Don Quixote in El retablo de Maese Pedro with the Cincinnati Chamber Orchestra; Beethoven’s Mass in C Major; Brahms’ Ein deutsches Requiem with the California State University-Long Beach Symphony Orchestra; and Verdi’s Requiem with the Holland Symphony Orchestra. Additionally, has given recitals throughout the United States and Germany, and concerts at the Great Wall of China, the U.S. Colombian Embassy and the U.S. Austrian Embassy.

About Defiant Requiem: Verdi at Terezín

Defiant Requiem: Verdi at Terezín is a unique concert-drama that commemorates the remarkable story of courageous Jewish prisoners in the Theresienstadt (Terezín) concentration camp during World War II, who performed Verdi’s Requiem while enduring the depths of human degradation.

Prisoner Rafael Schächter (19051944/45), a graduate of the Prague Conservatory, using a smuggled score and single piano, organized a 150-person choir that performed the Requiem 16 times between 1943 and 1944.

Schächter selected this highly-dramatic composition by the great Italian composer because of the power of both the music and its Latin text.

This is not an ordinary performance of Verdi’s Requiem, but a concert-drama created by Maestro Murry Sidlin as a tribute to the inspired leadership and courage of Rafael Schächter and the Terezín choir. It combines Verdi’s magnificent music with video APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 23

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Thursday, May 1, 2014, 8 p.m.

testimony from survivors of the original chorus, and segments of a Nazi propaganda film made at Terezín in 1944 that was used to deceive the world about the living conditions of Jews in the camp. The performance also includes actors embedded in the orchestra who speak the words of conductor Rafael Schächter and others.

The text of the Requiem is part of the living liturgy of the Catholic Church. But for Schächter and the Terezín Jews, it was their act of defiance, a temporary solace from their brutal confinement and likely deportation, an assurance of God’s presence and a desire to express a collective spiritual belief in their own humanity amid the unspeakable violations perpetrated against them. The longest section of Verdi’s score, the Dies irae (Day of Wrath), was seen by Schächter and the choir as a certainty of what awaited their Nazi oppressors: “nothing shall remain unavenged.”

Singing these words to the Nazis gave the prisoners the courage to persevere and to defy Nazi brutality, however temporary. Schächter told the members of the choir: “We will sing to the Nazis what we cannot say to them.”

Following the deportation of close to 470 Jews from Denmark to Theresienstadt, at the urging of the Danish king, the Nazis agreed to permit a delegation from the International Red Cross to visit Theresienstadt. The Nazis made elaborate and cunning efforts in advance of the visit to deceive the delegation and the world. On June 23, 1944, the International Red Cross and members of the Nazi high command came to Theresienstadt for an “inspection.” Rafael Schächter and his choir were ordered, under duress, to entertain the delegation with what became their last, and most bittersweet, performance of the Requiem.

On Oct. 16, 1944, four months after the final performance, Schächter and most of the choir members were deported to Auschwitz. The majority were immediately murdered in the gas chambers. Schächter survived Auschwitz, but in the spring of 1945, at

age 39, he most likely perished on a death march. A month later Czechoslovakia was liberated.

The concert this evening honors the memory of Rafael Schächter, his choir and the performances of Verdi’s Requiem in Terezín. This concert celebrates Schächter’s moral courage and the transcendent power of the arts and humanities. Resonating throughout the performance is the universal message that the human spirit can be elevated in the most oppressive conditions, that hope and resilience are indomitable, that mankind can rise above bondage and horror. Schächter and his fellow Jewish prisoners demonstrated that it is possible to respond to the worst of mankind with the best of mankind.

The lessons of Terezín are powerful, dramatic and inspirational, with a contemporary message of hope for all who are caught up in conflict and who hear this story.

About The Defiant Requiem Foundation The Defiant Requiem Foundation is dedicated to preserving the memory of the prisoners in the Theresienstadt concentration camp (Terezín) during World War II, who—despite monumental suffering, disease and the constant presence of death—found hope and inspiration in the arts and humanities. The foundation honors their memory and their inspired artistic endeavors by focusing on four core components: the production and international distribution of its award-winning documentary film Defiant Requiem, the creation of a Holocaust and human rights education curriculum available on the foundation’s website, the annual perpetuation of The Rafael Schächter Institute for Arts and Humanities, and the production of live concert performances of Defiant Requiem: Verdi at Terezín, which is being performed here tonight.

Upon learning of the story of Rafael Schächter and his chorus in Terezín, conductor Murry Sidlin created a multimedia concert-drama that combined a full performance of Verdi’s Requiem with testimonials from survivors and

vintage footage from the propaganda film that the Nazis made about Terezín.

In May 2006, Sidlin brought a performance of this concert-drama, which he called Defiant Requiem: Verdi at Terezín, to the grounds of the ghetto/concentration camp where the story had originated 63 years earlier. Tonight marks the 25th time the concert-drama has been performed in cities around the world, including Atlanta, Berlin, Budapest, Jerusalem, New York, Prague and Washington, D.C., and three times at Terezín itself.

The concert-drama Defiant Requiem: Verdi at Terezín, the documentary film Defiant Requiem and accompanying curriculum guide, The Rafael Schächter Institute for Arts and Humanities and the educational lesson plans together offer new insights into our understanding of what it meant to resist and defy attempts to suppress the human spirit during the Holocaust. The programs of The Defiant Requiem Foundation illuminate the courageous actions of the prisoners who chose positive, creative behavior as their response to Nazi degradation. The contemporary lessons of Defiant Requiem are also explored as an example of ways in which individuals facing barbaric acts of genocide today can find the strength and courage to survive.

The Defiant Requiem Foundation is a nonprofit 501 (c) (3) organization established in Washington, D.C. For more information about the foundation, please call our office at (202) 244-0220 or email Louisa Hollman, executive director, at lhollman@ defiantrequiem.org.

Officers & Staff Stuart E. Eizenstat, chairman Murry Sidlin, president and founder Amy Antonelli, secretary and associate artistic director J. Christian Kennedy, treasurer Louisa Hollman, executive director Mark B. Rulison, program director and general manager David Welch, finance director Evelyn Sotelo, executive assistant

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FRIDAY, MAY 2, 2014, 8 P.M.

●

Technicolor Dreamcoat; Annie Oakley in Annie Get Your Gun; Sandy in Grease; and Mama Rose in Gypsy.

Donna McKechnie

Strathmore Presents

4 GIRLS 4 Starring Andrea McArdle Maureen McGovern Donna McKechnie Faith Prince Patrick Rinn, Production Manager Wayne J. Gmitter and John McDaniel, producers Special Musical Material by Eric Kornfeld and John McDaniel Donna McKechnie, Musical Staging John McDaniel, Music Direction The Music Center at Strathmore Marriott Concert Stage

MCARDLE PHOTO BY GRACE RAINER LONG

Andrea McArdle

Andrea McArdle first captured the hearts of theatergoers everywhere in 1977 when she originated the title role in the musical Annie. Since then, she has starred in several Broadway musicals and appeared in theaters in New York, nationally and internationally. She has performed in concert halls from Carnegie Hall to the Hong Kong Philharmonic.

As Annie, McArdle became the youngest performer to be nominated for a Tony Award as Best Lead Actress in a Musical. She also received the Theater World and Outer Critics’ Circle Awards for her performance and went on to star

when the show was produced on London’s West End. Also on Broadway, McArdle starred in the Jerry Herman musical Jerry’s Girls alongside Carol Channing and Leslie Uggams; she portrayed the sassy Smoking Car, Ashley, in Andrew Lloyd Webber’s Starlight Express; and starred as Margy Frake in State Fair; as Fantine in Les Misérables and, most recently as Belle in Disney’s Beauty and the Beast.

She toured nationally starring as Sally Bowles in Cabaret and as Eponine in Les Misérables and appeared as herself in The Vagina Monologues, which she appeared in Off-Broadway as well.

Most recently, McArdle appeared Off-Broadway in the satirical Newsical and regionally as the title role in Mame.

Other theater appearances include starring as Esther, the Judy Garland role, in Meet Me In St. Louis; Mrs. Johnstone in Blood Brothers; Penelope Pennywise in Urinetown; Sonia in They’re Playing Our Song; Luisa in The Fantasticks; Eva Peron in Evita; Nancy in Oliver; the Narrator in Joseph and the Amazing

Donna McKechnie, the Tony Awardwinning star of A Chorus Line, is regarded internationally as one of Broadway’s foremost dancing and singing leading ladies.

She recently launched her new series at Birdland Supper Club in New York called In Good Company. McKechnie also has appeared at 54 Below, New York’s celebrated supper club, in her musical show Same Place: Another Time.

She also has co-starred in Love, Loss and What I Wore at the Asolo Repertory Theatre in Sarasota, Fla., and in John Doyle’s Ten Cents A Dance at the McCarter Theatre in Princeton, N.J., and the Williamstown Theatre Festival.

McKechnie has starred in numerous productions in London’s West End, including Promises, Promises, Company, No Way to Treat a Lady (which she also choreographed), Cole Porter’s Can-Can and Stephen Sondheim’s Follies. Bob Fosse invited McKechnie to play the lead in his last production, a national tour of Sweet Charity, for which she was nominated for a Helen Hayes Award.

McKechnie’s regional credits include The Glass Menagerie, The Subject Was Roses (with River City Rep), Irma La Douce, Cabaret, The Imaginary Invalid, The Three Penny Opera, The Good-Bye Girl, Follies, Mack and Mabel, Annie Get Your Gun, Gypsy, I Do! I Do!, Misalliance, Stepping Out, Girl’s Room and Inside the Music (her one-woman musical with text by Christopher Durang).

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professional life was to choreograph the highly acclaimed Guys and Dolls at the Hollywood Bowl directed by Richard Jay-Alexander. McKechnie also has written a memoir, Time Steps—My Musical Comedy Life.

Rainbow, a concert celebrating the centennial of Harold Arlen. Prince’s latest album, Total Faith, was recorded at the Royal Room in the Colony Hotel in Palm Beach and was recently released

by Broadway Records.

Faith Prince

Maureen McGovern

I. Regionally, she has starred in Elegies, Dear World, The Umbrellas of Cherbourg, The Lion in Winter, Letters from ’Nam and Of Thee I Sing-Let ’Em Eat Cake.

For 33 years, McGovern served the Muscular Dystrophy Association as volunteer, performer, board member and chairperson of the Shamrocks Against Dystrophy campaign and New York City telethon co-host for six years. McGovern also has been an artist spokesperson for the American Music Therapy Association since 2001.

John McDaniel

Faith Prince has been dazzling Broadway audiences since winning the Tony, Drama Desk and Outer Critics Circle Awards for her performance as Ms. Adelaide in Guys and Dolls. Prince most recently starred as the scheming, irascible Miss Hannigan in the revival of Annie on Broadway.

In 2008, she was nominated for Tony, Drama Desk and Outer Critics Circle Awards for A Catered Affair. Other Broadway credits include The Little Mermaid, Bells Are Ringing, Nick & Nora, Jerome Robbins’ Broadway, Little Me, The Dead and Noises Off. She also starred in the world premiere of Terrence McNally’s Unusual Acts of Devotion and in the national tour of Billy Elliott.

Prince has a recurring role on ABC Family’s “Melissa & Joey” and has wrapped her five-season run as Brooke Elliott’s mother on Lifetime’s “Drop Dead Diva.” She was a series regular on Showtime’s “Huff” and had a recurring role on “Spin City.” Film credits include Our Very Own, Picture Perfect, Dave and My Father the Hero.

Prince works often with the Boston Pops, Utah Symphony, Cincinnati Pops and Philly Pops, and recently starred in the Orlando Philharmonic’s concert version of Sweeney Todd. She toured her show Moving On in Australia to rave reviews, and also toured in Over the

Maureen McGovern recently marked the 40th anniversary of the release of her Academy Award-winning song “The Morning After” from The Poseidon Adventure; the song also garnered McGovern a Grammy nomination in 1973 for Best New Artist.

McGovern received her second Grammy nomination in 1998 for Best Traditional Pop Vocal for her solo piano/voice album, The Pleasure of His Company, with Emmy-winning, Grammy-nominated jazz pianist Mike Renzi.

She was also a featured guest artist on the Grammy-winning Songs from the Neighborhood: The Music of Mister Rogers. Other hits include, “Can You Read My Mind” from Superman, the Academy Award-winning “We May Never Love Like This Again” from The Towering Inferno and “Different Worlds” from the TV series “Angie.”

In 2005, McGovern was nominated for a Drama Desk Award for her role as Marmee in Little Women, The Musical on Broadway. In 1981, she made her Broadway debut as Mabel in The Pirates of Penzance, then went on to star as Luisa in Nine with Raul Julia, and as Polly Peachum in The Three Penny Opera with Sting. McGovern reprised her role as Marmee in the first national tour of Little Women, The Musical and starred as Anna in the Broadway revival national tour of The King &

John McDaniel served as the music director or supervisor on Broadway productions of Bonnie & Clyde, Catch Me If You Can, Brooklyn: The Musical, Annie Get Your Gun, Taboo, Chicago, Grease, Patti LuPone on Broadway and Company—Original Cast in Concert at Lincoln Center.

McDaniel also has been music director and arranger for Tyne Daly’s nightclub act, as well as concert appearances with Cab Calloway, Shirley MacLaine, George Burns, Al Jarreau, Joel Grey, Carol Burnett, Frederica von Stade, Betty Buckley and most recently, Bette Midler. He has been a guest conductor with the San Francisco, Indianapolis, Utah, Buffalo, Colorado, Baltimore and St. Louis symphony orchestras. He has a bachelor of fine arts in drama from Carnegie Mellon University.

Patrick Rinn Patrick Rinn served as production manager for Tommy Tune’s Taps, Tunes and Tall Tales and Steps in Time—An Autobiography in Song and Dance.

In addition to his work with Tune, Rinn has worked as production supervisor for concerts with Prince, Diana Ross, Dave Mathews, Patti LaBelle, Dionne Warwick, Chic, Paul Simon, Billy Joel, Tom Petty, the B52’s and Adam Lambert. He has also worked as lighting designer for Steps In Time, Taps, Tunes and Tall Tales, On The Boulevard starring Lilliane Montevechi, Sittin’ On Top of the World at Feinstein’s with Amra-Faye Wright, Night of 1000 Gowns, and several Off-Broadway productions.

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SATURDAY, MAY 3, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Yefim Bronfman Marin Alsop, conductor Yefim Bronfman, piano

Piano Concerto No. 5 in E-Flat Major, Op. 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro Yefim Bronfman

Ludwig van Beethoven (1770-1827)

INTERMISSION Symphony No. 12 in D minor, Op. 112, “The Year 1917” Revolutionary Petrograd Razliv Aurora The Dawn of Humanity

Dmitri Shostakovich (1906-1975)

Presenting Sponsor: M & T Bank The concert will end at approximately 9:45 p.m.

ALSOP PHOTO BY DEAN ALEXANDER, BRONFMAN PHOTO BY DARIO ACOSTA

The Music Center at Strathmore Marriott Concert Stage

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

Alsop made history with her appointment as the 12th music director

of the Baltimore Symphony Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008.

Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry. Additionally, her success was recognized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo

Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities.

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

Yefim Bronfman, piano

Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today. His commanding technique and exceptional lyrical gifts have won him consistent critical acclaim and enthusiastic audiences worldwide, whether for his solo recitals, his prestigious orchestral engagements or his rapidly growing catalogue of recordings.

The 2013-2014 season has sent Bronfman to Amsterdam, Helsinki, Lucerne, Berlin and Australia, and he is the New York Philharmonic’s featured artist-inresidence. The remainder of the season includes a short duo tour with Pinchas Zukerman, returns to leading U.S. and European orchestras, a Far East visit with the New York Philharmonic, and a complete cycle of all the Beethoven concerti to bring the season to a close in June.

Bronfman was awarded the prestigious Avery Fisher Prize in 1991 and the Jean Gimbel Lane Prize in piano performance from Northwestern University in 2010.

He was nominated for a Grammy Award in 2009 for his Deutsche Grammophon recording of Esa-Pekka Salonen’s Piano Concerto, with whom he won a Grammy Award in 1997 for his recording of the three Bartók piano concerti with the Los Angeles Philharmonic. This year, he has been nominated for a Grammy with the New York Philharmonic for its recording of Magnus Lindberg’s Piano Concerto No. 2, written for him on commission from that orchestra in 2012.

Yefim Bronfman last performed

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with the BSO in June 2009, playing Rachmaninoff’s Piano Concerto No. 2, with Music Director Marin Alsop conducting.

Program Notes Piano Concerto No. 5 in E-flat Major, “Emperor”

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

There is a certain irony in the subtitle of “Emperor” that was later given to Beethoven’s No. 5, his final Piano Concerto, but never used by the composer himself. By the spring of 1809, when Beethoven was creating his “Emperor” Concerto, the last person he would have wanted to honor was the emperor of the day, Napoleon Bonaparte. Years earlier, he had angrily obliterated a dedication to the French leader he’d once admired from the title page of his Symphony No. 3, the “Eroica,” after he learned that Napoleon had just crowned himself emperor. “Now he will become a tyrant like all the others,” the composer raged.

In May 1809, Napoleon’s armies were besieging the city of Vienna.

Beethoven’s home was in the line of fire of the French cannons, and he was forced to flee to his brother’s house, where he holed up in the cellar with a pillow pressed to his still-sensitive ears.

But his work on his new concerto did not cease.

And yet in many ways “Emperor,” taken in a more generic sense, is an appropriate title for this concerto. It is a work of imperial size and scope—particularly in its huge first movement— and it reflects its war-driven era in its virile, martial tone. Its key—E-flat major—was one of Beethoven’s favorites and one he associated with heroic thoughts; it is also the key of the “Eroica.” Sadly, Beethoven was never able to display his own powers as a pianist with this work. Although he had introduced all his other keyboard concertos to the public, his deafness was too far advanced for him to risk playing the

1810 premiere in Leipzig.

The length and complexity of the sonata-form first movementdemonstrate Beethoven’s new symphonic conception of the concerto. The opening is boldly innovative. First, we hear the pianist sweeping over the keyboard in grand, toccata-like arpeggios and scales, punctuated by loud chords from the orchestra. Then, the soloist allows the orchestra to present its long exposition of themes. The first theme, with its distinctive turn ornament, is introduced immediately. The second, a quirky little march, appears first in halting minormode form in the strings, then is immediately smoothed out and shifted to the major by the horns. Over the course of the movement, Beethoven will transform both these themes in a wondrous range of keys, moods and figurations.

After its long absence, the piano begins its version of the exposition with an ascending chromatic scale ending with a long, high trill. Throughout, Beethoven uses this scale as an elegant call-to-attention: Whenever we hear it, we are being given notice that a new section of the movement is beginning. It will mark the opening of the development section and later the closing coda after the recapitulation.

Just before that coda comes the usual moment for the soloist’s big cadenza.

But here, Beethoven has quashed the soloist’s customary right to improvise his or her own exhibition of virtuosity.

Fearing the jarring improvisations other soloists might make, the composer wrote in Italian in the score: “Non si fa una Cadenza, ma s’attaca subito il seguente” (“Don’t play a cadenza, but attack the following immediately”). He then carefully wrote out a brief series of variants on both his principal themes; the piano was soon joined by the horns to blend the cadenza smoothly into the movement’s flow.

A complete contrast to the extroverted first movement,movement two is a sublime, very inward elegy in B major, a remote key from the home tonality of E-flat. Two themes receive a quasivariations treatment. The first and most important is the strings’ grave, almost

religious, theme heard at the opening.

The second theme is the downward cascading music with which the piano enters.

At the close of the movement, the pianist experiments hesitantly with a new melodic/rhythmic idea. Suddenly, the spark is struck, and the theme explodes into the exuberant rondo finale.

Beethoven stresses the weak beats of the dancing 6/8-meter, giving his theme an eccentric, hobbling gait. An important element is the crisp dotted rhythm first heard in the horns; this martial, drum-like motive returns us to the wartime world of the concerto’s birth. Near the end, Beethoven gives this to the timpani, in eerie duet with the soloist, before the concerto’s triumphant finish.

Symphony No. 12 in D minor, “The Year 1917”

Dmitri Shostakovich Born Sept. 25, 1906, in St. Petersburg, Russia; died Aug. 9, 1975, in Moscow

Last season, the BSO performed Dmitri Shostakovich’s massive Symphony No. 11, subtitled “The Year 1905,” and inspired by the massacre of peaceful Russian demonstrators outside St. Petersburg’s Winter Palace that year, an event that was later seen as a prelude to the Russian Revolution. This year, Marin Alsop will introduce us to his Symphony No. 12, “The Year 1917,” created as No. 11’s partner to memorialize the year in which the Revolution took place and specifically the events of October when Lenin and the Bolsheviks came to power.

Shostakovich dedicated No. 12 “to the memory of Vladimir Ilyich Lenin.”

We often think of this composer as a refusenik who waged an artistic battle against the worst excesses of Communist society. But, in fact, his relationship with the regime fluctuated over the course of his life, and the years 1959 to 1961 when he composed No. 12 were a period when he became more publicly allied with the Party line. In 1961, he even joined the Communist Party, a move that mystified and distressed many of his closest friends.

Nikolai Khrushchev had launched a campaign to bring more members of the Russian intelligentsia into Party membership,

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

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

English Horn Jane Marvine Kenneth S. Battye and Legg Mason Chair Clarinets Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken E-flat Clarinet Christopher Wolfe Bassoons Fei Xie Principal Julie Green Gregorian Assistant Principal Benjamin Greanya** Contrabassoon David P. Coombs Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Mary C. Bisson Bruce Moore* Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Nathaniel Hepler Trombones Joseph Rodriguez** Acting Principal, Alex Brown & Sons Chair James Olin Co-Principal John Vance Bass Trombone Randall S. Campora

Tuba David T. Fedderly Principal Timpani James Wyman Principal Christopher Williams Assistant Principal Percussion Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl Harp Sarah Fuller** Piano Lura Johnson** Sidney M. and Miriam Friedberg Chair Director of Orchestra Personnel Nishi Badhwar Assistant Personnel Manager David George Librarians Mary Carroll Plaine Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate Stage Personnel Ennis Seibert Stage Manager Todd Price Assistant Stage Manager Charles Lamar Audio Engineer Mario Serruto Electrician *On leave ** Guest musician

and Shostakovich, as the U.S.S.R.’s leading living composer, clearly came under extreme pressure to join. It was a decision he reportedly came to bitterly regret.

Probably related to his new status, the composer was also pressured to finally make good on his longtime pledge to write a symphony on the subject of Lenin. Symphony No. 12 was intended to be presented in conjunction with the annual Communist Party Congress, and it eventually was ready for the 22nd Congress in October 1961.

However, Shostakovich encountered uncharacteristic difficulty with this symphony: Usually an exceptionally fast worker, he took two years to complete it.

Originally, he planned that it would include a chorus and speaker singing and reciting poems about Lenin, along the lines of his Symphony No. 2 of 1927 (also about the October Revolution). Reportedly, he even wrote more than one version of the symphony. Ultimately, it became a purely orchestral work in four movements, but with a strong programmatic, or descriptive, component.

No. 12 was premiered on Oct. 1, 1961, simultaneously in two locations: in the city of Koubichev, and more prominently in Shostakovich’s home city of St. Petersburg by the Leningrad Philharmonic, led by its legendary director Evgeny Mravinsky. But despite the massive publicity surrounding its premiere, it was not really a success with the public or the critics. Many felt that the composer on this occasion was using his phenomenal orchestral techniques to cover up the fact that his heart wasn’t really in the subject.

This is a symphony that is built from the transformations of one potent motto theme, which we hear immediately at the opening of the massive, sonata-form first movement, “Revolutionary Petrograd.”

Shostakovich reported that the mood of this music was inspired by his own memories of Lenin’s arrival and street fighting in Petrograd (the name of St. Petersburg during that period) in October 1917, when he was a boy of 11. Cellos and basses sing in unison the motto theme: a solemn, very Russian theme based on the shape of Orthodox chant. The rest of the strings APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 29

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on Oct. 26, 1917; it has been preserved there as a memorial. In this scherzo-style movement, the energy builds slowly with pizzicato strings offering a new version of the Adagio’s first theme and drums menacing. Ultimately, the big second theme from movement one returns in trombones and tuba; it propels a huge crescendo leading to the explosive irruption of drums signaling the attack.

This music merges directly into the finale, “The Dawn of Humanity.” Horns followed by violins proclaim a joyous new version of the once-solemn motto melody.

When this opening section subsides, violins quietly introduce a dancing version of the Adagio’s twisting theme. Indeed, this finale is filled with reprises of the symphony’s various themes now transformed into a song of celebration. Eventually, the lyrical theme of the people that dominated movement one also joins them in the brass. To pounding drums, the whole orchestra roars out a triumphant conclusion in D major.

Notes by Janet E. Bedell copyright 2014

connected without pause to the next— leads to the Adagio second movement, “Razliv.” Razliv was the name of Lenin’s country home where he retreated periodically to make his plans. Once again, unison cellos and basses introduce a troubled theme: a twisting version of the motto. Unison horns then present a baleful new theme, heavy with potential danger. In fact, the horns will be very prominent throughout this movement, periodically returning with a chorale-like refrain. Also prominent are woodwind soloists, particularly flute, clarinet and bassoon; they dominate most of this melancholy music. A sense of expectation gradually builds over shuddering strings. After the solo trombone sings the baleful theme in its most sinister appearance, stealthy pizzicato low strings on the movement’s opening theme bridge to the next movement.

Movement three is subtitled “Aurora.” The Aurora was the battleship on the Neva River that fired the signal shot for the storming of the Winter Palace

enter and flesh out its harmonies. This melody rises torturously upward, until it is cut off by an explosion of drums and tam-tam announcing the start of the main Allegro section, led off by bassoons snarling a militant march theme.

Shrill and savage, the music describes the people of Petrograd rising up against the weak government that had replaced the czar. Then it subsides for the movement’s second major theme, which is derived from the motto melody; this more lyrical theme seems to express the people’s yearning for a new order. This appealing melody is developed and gradually builds to a triple-forte shout.

The development section, again led off by bassoons, is a dramatic street battle, culminating in a gigantic blast of tam-tam. Then the second theme reprises gently in the strings. After a splendid brass chorale, the movement closes quietly to the strains of the solemn motto theme.

A hushed bridge passage—each movement of this symphony is

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Thursday, May 15, 2014, 8 p.m.

THURSDAY, MAY 15, 2014, 8 P.M.

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

presents

All That Jazz: A Symphonic Celebration of Kander & Ebb Jack Everly, conductor Starring Ron Remke Nikki Renée Daniels Ted Keegan Beth Leavel Kirsten Scott Overture “Willkommen” from Cabaret Cabaret Movie Medley “First You Dream” from Steel Pier “Two Ladies” from Cabaret “Everybody’s Girl” from Steel Pier

Arr. Jack Everly Arr. Jim Stephenson Arr. Bob Krogstad John Kander Arr. Michael Gibson, Adapt. Michael K. Runyan John Kander

Songs You Might Have Missed

Arr. Fred Barton

“Cabaret” from Cabaret

Arr. Fred Barton

INTERMISSION “Ring Them Bells” from Liza with a “Z”

Arr. Jack Everly

“City Lights” from The Act

John Kander

“Go Back Home” from The Scottsboro Boys

Arr. Michael K. Runyan

“But the World Goes ‘Round” from New York, New York Chicago Medley

Arr. Paul McKibbins Arr. Fred Barton

The Music Center at Strathmore Marriott Concert Stage

Ron Remke

Ron Remke was a featured soloist with the renowned 12 Irish Tenors and is a guest artist with symphonies throughout the United States. Select credits include lead tenor in The Producers (Westchester Broadway Theater, Pioneer Theater), Hugo in Aspects of Love, Captain Tarnitz in The Student Prince (Media Theater), dance captain of Kiss Me, Kate (national tour) and appearances at The Fulton Opera House, Marriott Lincolnshire, The Merry-Go-Round Playhouse, Struther’s Library Theater and Cortland Repertory. Most recently, Remke was with the Indianapolis Symphony Orchestra and its annual Yuletide Celebration.

Nikki Renée Daniels

Nikki Renée Daniels was most recently seen on Broadway singing “Summertime” as Clara in the 2012 Tony Award-winning revival of Porgy and Bess.

Other Broadway credits include Les Misérables (Fantine); Nine (Renata); Aida (Nehebka); Little Shop of Horrors; The Look of Love; Promises, Promises; Anything Goes; and Lestat. She made her New York City Opera debut as Clara in Porgy and Bess.

Recently, Daniels played the featured role of Tracy in the Radio City Music Hall Christmas Spectacular, and was featured as a nun in the live NBC presentation of The Sound of Music. Regional theater credits include Ray Charles Live! (Della B.) at Pasadena Playhouse; Anything Goes (Hope) at Williamstown Theatre Festival and Beauty and the Beast (Belle) at Sacramento Music Circus.

Ted Keegan

Ted Keegan has been seen as the Phantom in The Phantom of the Opera on Broadway, in the national tour and in Phantom, the Las Vegas

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Spectacular. He has performed the role in more than 24 states and has sung during the halftime show of an NBA All-Star Game.

He performed unpublished Gershwin at the opening of the George and Ira Gershwin Room at the National Archives in Washington, D.C., and has sung Gershwin with Audra McDonald and with Marin Mazzie.

He made his Broadway debut in Sweeney Todd, where he was seen as Anthony. Other Broadway and national tour credits include Cyrano: The Musical, Camelot with Robert Goulet, Herman in The Most Happy Fella and Kander and Ebb’s The World Goes Round.

Beth Leavel

Beth Leavel received Tony, Drama Desk, New York Outer Critics Circle and L.A. Drama Critics Awards for her performance as the title character in The Drowsy Chaperone. She also received Tony, Drama Desk and Outer Critics Circle nominations for her role as Florence Greenberg in Baby It’s You. She recently performed the roles of Sally Adams in Call Me Madame at the Lyric Theatre of Oklahoma, M’Lynn in Steel Magnolias at the North Carolina Theatre and the much put-upon maid Berthe in Boeing-Boeing at Paper Mill Playhouse.

Other Broadway roles include Emily in Elf, Donna in Mamma Mia!, Frau Blucher in Young Frankenstein, Dorothy Brock in the revival of 42nd Street, Tess in the original company of Crazy for You, Mrs. Bixby in The Civil War, Ellie in Hal Prince’s Showboat and Anytime Annie (her Broadway debut) in 42nd Street.

Kirsten Scott

Kirsten Scott was last seen on Broadway as Jenny Hill in the musical Big Fish. Other

Broadway credits include Young Phyllis in the 2012 revival of Follies (cast album), and Hairspray. Off-Broadway and regional credits include Big Fish (Chicago Oriental Theater), Follies (Kennedy Center/Ahmanson), Marvelous Wonderettes (Westside Theater), Grease (Sacramento Music Circus), Chaplin (La Jolla Playhouse), Minsky’s (Ahmanson), Curtains (Pittsburgh CLO) and Thoroughly Modern Millie. She has appeared in the television shows All My Children and The Steve Harvey Show.

DANCERS Anne Nicole Beck

Anne Nicole Beck spent 14 years living in New York, performing on Broadway, touring in Broadway national tours and appearing in regional theaters across the

country.

Now residing in Indianapolis, Beck still performs, directs, teaches and choreographs locally as well as across the United States, Canada and abroad.

She’s performed in musicals with the Indianapolis Symphony including Hairspray in Concert, Hello, Dolly! and Guys and Dolls.

Beck originated and now travels to perform in many shows and orchestras in the Symphomic Pops Consortium, including Disco Days and Boogie Nights, Pops Goes Vegas and On Broadway With Kander and Ebb. Other credits include Saturday Night Fever (original Broadway cast), The Who’s Tommy (Sally Simpson), Cats (Bombalurina), A Chorus Line (Cassie) and Gentlemen Prefer Blondes.

Danny Kingston

Danny Kingston appeared in the premiere of All That Jazz: A Symphonic Celebration of Kander & Ebb with the Indianapolis Symphony Orchestra, and performs around

Indiana professionally.

Other Indianapolis Symphony Orchestra credits include Yuletide Celebration (2010-2013), Hello, Dolly! in Concert and Hairspray in Concert starring John Waters and Beth Leavel.

Indiana credits include 9 to 5 (Beef and Boards) and Spring Awakening (Phoenix Theatre), among others.

Amy Owens

Amy Owens’ credits include the Super Bowl halftime show in 2012 featuring Madonna, Donn Arden’s Jubilee! in Las Vegas, Ragtime, Dreamgirls (Michelle Morris), Chicago (Annie, Kitty), Cabaret (LuLu), and the Indianapolis Symphony Orchestra’s productions of Hello, Dolly!, Guys and Dolls, Pops Goes Vegas and Yuletide Celebration.

Owens also has spent five holiday seasons as a Rockette in the Radio City Music Hall Christmas Spectacular. She was most recently seen performing in the Indianapolis Symphony Orchestra’s production of On Broadway with Kander and Ebb, and Beef and Boards Dinner Theatre’s production of Cats (Demeter).

Joseph Perkins, Jr.

Joseph Perkins, Jr. was most recently seen on stage in A Yuletide Celebration with the Indianapolis Symphony Orchestra.

Other symphonic credits include Ashley Brown’s Broadway (Fort Worth Symphony Orchestra and Baltimore Symphony Orchestra), Gotta Dance!

(Naples Philharmonic Orchestra), and the world premieres of On Broadway With Kander and Ebb, Hairspray in Concert! and Hello, Dolly! in Concert (Indianapolis Symphony Orchestra).

Kenny Shepard

Kenny Shepard is on the dance faculty at both Anderson University and his alma mater, Butler University. He is

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also an on-camera choreographer for Broadway Jr. DVDs used in more than 100,000 classrooms and theaters worldwide.

Shepard’s professional credits include featured roles in Cats, West Side Story, The Wizard of Oz, Swing!, White Christmas and Some Enchanted Evening.

He also appeared as the Prince in more than 1,000 performances of Beauty and the Beast at Walt Disney World’s Hollywood Studios.

Shepard currently performs, directs and/or choreographs for Actors Theatre of Indiana, iTheatrics, the Indianapolis Children’s Museum’s Lilly Theatre and the Indianapolis Symphony Orchestra.

Christine Colquitt Thacker

After earning a bachelor of arts in dance pedagogy from Butler Univer-

sity, Christine Colquitt Thacker went on to perform with the Gregory Hancock Dance Theatre from 1998 to 2007. She was assistant director there from 2003 to 2007.

Her career with Gregory Hancock Dance Theatre includes 73 repertoire pieces. She originated the roles of Mary Magdalene in Super Hero, Esmarelda in The Hunchback of Notre Dame, the Cheshire Cat in Alice: Her Bizarre Adventures in Wonderland, and Chandramuhki in Devdas.

She is a recipient of an individual fellowship from the Indiana Arts Commission; a creative renewal fellowship from the Arts Council of Indianapolis and Lilly Endowment; and winner of the Center for Leadership Development Award for Excellent Achievement in the Arts and

Theatre.

She is currently professor of modern dance and dance improvisation at Anderson University in Indiana.

Co-Produced along with Symphonic Pops Consortium The Symphonic Pops Consortium mission is to conceive, create and produce high quality, innovative, symphonic Pops concerts by uniting a group of symphony orchestras and combining their resources. The Symphonic Pops Consortium is comprised of the Indianapolis (managing partner), Detroit, Milwaukee, National and Seattle symphony orchestras.

Music Director: Jack Everly Producer: Ty A. Johnson Stage Direction: Jennifer Ladner Production Management: Brandy Rodgers Costume Designer: Clare M. Henkel Special Material/Production Consultant: David Levy

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Friday, May 16, 2014, 8 p.m.

FRIDAY, MAY 16, 2014, 8 P.M.

● Strathmore Presents

An Evening with Neil Sedaka 5IF .VTJD $FOUFS BU 4USBUINPSF .BSSJPUU $PODFSU 4UBHF

Neil Sedaka

Singer. Songwriter. Composer. Pianist. Author. These are just a few of the titles that can be used to describe Neil Sedaka. His 50-year career ranges from being one of the first teen pop sensations of the ’50s to a relevant songwriter for himself and other artists in the ’60s to a superstar in the ’70s to remaining a constant force in writing

and performing presently.

Sedaka was born on March 13, 1939. His interest in music began at age 8, and by age 9 he had started classical piano training at the Julliard School of Music. At 16, Arthur Rubinstein voted Sedaka as one of the best New York high school pianists.

Eager to gain acceptance from his peers at Abraham Lincoln High School, Sedaka began performing rock ‘n’ roll outside of his classical training.

His introduction to his young neighbor Howard Greenfield, by Greenfield’s mother, began one of the most prolific songwriting partnerships of the past half-century that sold 40 million records between 1959 and 1963.

Sedaka and Greenfield became one of the original creators of the “Brill Building” sound in the late ’50s and early ’60s when they were the first to sign with Don Kirshner and Al Nevins at Aldon Music.

Sedaka catapulted into stardom after Connie Francis recorded his song “Stupid Cupid.” She then sang the theme song Sedaka and Greenfield had written for the 1960 MGM film Where the Boys Are. Rhythm and blues stars Clyde McPhatter and LaVern Baker also scored hits with his songs. As a result, Sedaka was able to sign a contract with RCA as a writer and performer of his own material.

Sedaka soon recorded chart toppers

“The Diary,” “Oh! Carol,” “Stairway to Heaven,” “Calendar Girl,” “Little Devil,” “Happy Birthday Sweet Sixteen,” “Next Door to an Angel” and “Breaking Up is Hard to Do.” Sedaka also wrote songs for Frank Sinatra (“The Hungry Years”), Elvis Presley (“Solitaire”), Tom Jones (“Puppet Man”), The Monkees (“When Love Comes Knocking at Your Door”) and The Fifth Dimension (“Workin’ on a Groovy Thing”).

Sedaka released the albums Sedaka’s Back and The Hungry Years, with Rocket Records, Elton John’s label.

In addition, Sedaka’s song “Breaking Up is Hard to Do” was re-released as a ballad in 1975; it made music history when it reached No. 1 on the charts, becoming the first song recorded in two different versions by the same artist to reach that spot.

In 2004, Sedaka received the Sammy Cahn Lifetime Achievement Award from the National Academy of Popular Music/Songwriters Hall of Fame. The award is given to individuals in recognition of their outstanding achievements in furthering the successes of songwriters.

In 2006, Sedaka concluded a 10city tour of the United Kingdom, where he filmed a concert at London’s Royal Albert Hall for PBS. A year later Sedaka was honored with a tribute at Avery Fisher Hall at New York’s Lincoln Center. Neil Sedaka: 50 Years of Hits, a benefit for The Elton John AIDS Foundation, showcased Sedaka’s songs with performances by Connie Francis, Dion, Paul Shaffer, Natalie Cole, Clay Aiken, Renee Olstead and the Captain and Tennille.

Inspired by his grandchildren, Sedaka has released Waking Up is Hard to Do, a collection of his hits reinvented as children’s songs. He also has returned to his classical roots, composing his first symphonic piece, Joie de Vivre, and his first piano concerto, Manhattan Intermezzo. The piano concerto is featured on The Real Neil, a CD of new Sedaka material and a few classics.

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Saturday, May 17, 2014, 8 p.m. and Sunday, May 18, 2014, 3 p.m.

SATURDAY, MAY 17, 2014, 8 P.M. SUNDAY, MAY 18, 2014, 3 P.M.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Vivaldi’s Four Seasons Piotr Gajewski, conductor Sarah Chang, violin Metamorphosen

Richard Strauss (1864-1949)

INTERMISSION

The Four Seasons, Op. 8, Concerti for Violin and Orchestra Concerto No. 1 in E Major, “Spring” Allegro Largo Danza pastorale: Allegro

Antonio Vivaldi (1678-1741)

Concerto No. 2 in G minor, “Summer” Allegro non molto, Allegro Adagio, Presto Presto Concerto No, 3 in F Major, “Autumn” Allegro Adagio molto Allegro

GAJEWSKI PHOTO BY MICHAEL VENTURA, CHANG PHOTO BY COLIN BELL

Concerto No. 4 in F minor, “Winter” Allegro non molto Largo Allegro

Sarah Chang, violin

Weekend Concerts Program Sponsor: Ameriprise Financial Sunday Sponsor: Ingleside at King Farm Supported in part by Patricia Haywood Moore & Roscoe M. Moore, Jr. for the Guest Artist Fund All Kids, All Free, All the Time is sponsored by The Gazette The Music Center at Strathmore Marriott Concert Stage

Piotr Gajewski, conductor

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

orchestras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the Karlovy Vary Symphony in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States.

Gajewski attended Carleton College and the University of Cincinnati, College-Conservatory of Music, where he earned a bachelor’s of music and master’s of music in orchestral conducting. Upon completing his formal education, he continued refining his conducting skills at the 1983 Tanglewood Music Festival in Massachusetts, where he was awarded a Leonard Bernstein Conducting Fellowship.

His teachers there included Leonard Bernstein, Seiji Ozawa, André Previn, Gunther Schuller, Gustav Meier and Maurice Abravanel.

Gajewski is also a winner of many prizes and awards, among them a prize at New York’s prestigious Leopold Stokowski Conducting Competition and, in 2006, Montgomery County’s Comcast Excellence in the Arts and Humanities Achievement Award.

insightful conductor,” whose “standards, taste and sensitivity are impeccable.” In addition to his appearances with the National Philharmonic, Gajewski is much in demand as a guest conductor. In recent years, he has appeared with most of the major

Sarah Chang is recognized as one of the world’s great violinists. Since her debut with the New York Philharmonic at age 8, she has performed with the greatest orchestras, conductors and accompanists internationally in a career spanning more than two decades. In 2012, she will have recorded exclusively for EMI Classics for 20 years.

Chang tours extensively throughout the year. In Britain and the United States, she has appeared with the APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 35

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London Symphony Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Royal Philharmonic Orchestra, and the Pittsburgh and Detroit symphony orchestras. She has performed in Norway, Romania, Austria, Canada, Poland and Denmark.

Chang has appeared regularly in the Far East and traveled to Seoul for concerts with the London Philharmonic Orchestra and to Guangzhou to perform with the symphony orchestra as part of the Asian Games Opening Festival.

Program Notes Metamorphosen

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

Richard Strauss’ father, Franz, a distinguished musician, was the first horn player of the Court Orchestra of Munich for almost half a century. Richard greatly admired what he described as his father’s “beauty and volume of tone, and perfection of phrasing and technique.”

The renowned conductor, Hans von Bülow, who was personally negative to Franz called him, nevertheless, “the Joachim of the horn,” comparing him to Joachim, the superb violinist renowned for his virtuosity in the Romantic era.

“The fellow is intolerable, but when he blows his horn you cannot be angry with him.” The composer Richard Wagner echoed the sentiment saying, “Strauss is a detestable fellow, but when he plays the horn you can’t be angry.”

Franz had a dogmatically conservative attitude toward the music of his time.

He brought up his son, Richard, on a diet of Haydn, Mozart and Beethoven, and did not allow him to know the music of such “radical” composers as Mendelssohn, Chopin, Schumann and Brahms, let alone Liszt and Wagner. He was also tyrannical and a stern taskmaster; however, sons frequently have a way of defying fathers, and Richard not only became intimate with the music

of the 19th century composers, but also became one of the composers of whom his father would not have approved. As one of the 20th century’s most distinctive composers, Richard often used the tone poem as his chief vehicle of musical expression.

As he approached the sunset of his long life, in 1945, Richard produced some remarkable, affecting music in the Metamorphosen and, in 1948, the Four Last Songs. These works look backward to the style of an earlier time, but they do so with great mellowness and depth of feeling.

Metamorphosen functions as a personal farewell, a public sort of memorial gesture made by Richard because he was deeply conscious of his position at the end of a long tradition as a German musician. The event that motivated Richard was the destruction of a large part of Munich, including the historic opera house, the Bavarian National Theater, in an air raid in the fall of 1943. These circumstances surrounding the composition of Metamorphosen were certainly not optimistic ones, and they are reflected in the work. “Perhaps sorrow and despair make us babble on too much,” Richard wrote to a Swiss critic at the time, “but the burning of the Munich Court Theater, where Tristan and Die Meistersinger had their first performances, where I first heardFreischütz 73 years ago, and where my good father sat at the first horn desk for 49 years… was the greatest catastrophe of my life. There is no possible consolation.” (Some wonder why Richard never spoke up against the events of World War II that led to the bombing of Munich.) Richard sketched a composition to be called Sorrow for Munich, which was never written but became part of Metamorphosen.

The specific occasion ofMetamorphosen’s composition was a commission for the Collegium Musicum of Zurich from its conductor, Paul Sacher. Richard wrote the score quickly between March 13 and April 12, 1945, three and a half weeks before the war in Europe was over. Sacher gave the first performance of a version of Metamorphosen with his orchestra on Jan. 25, 1946, but it was

not until 1990 that a short score of Metamorphosen was discovered in Switzerland and acquired by the Bavarian State Library in Munich. Its discovery gives rise to the assumption that Richard had clearly conceived the piece to be scored for seven strings and then changed his mind when he received the commission from Sacher to write a work for a larger string group. The short score bears the date March 31, 1945 at the end.

Metamorphosen (“Metamorphoses”) consists of a set of transformations of three or four themes or thematic fragments. The principal theme, which is played by the viola after eight introductory measures, bears a striking resemblance to a phrase from the “Funeral March” in Beethoven’s “Eroica” Symphony. Richard said that while composing he was virtually unaware of the likeness, but that slowly the literal quotation from the “Eroica” fashioned itself out of his theme. The low instruments play it again in unison nine measures before the end. Richard’s other thematic references in the score may not have been unconscious. The clearest one is a bit of King Marke’s monologue from Wagner’s Tristan und Isolde, undoubtedly an allusion to the bombed out Munich Court Theater.

There are other Tristan references too, and recollections of Richard’s own Thus Spake Zarathustra and Ariadne auf Naxos as well as one representing Mandryka, the hero of Arabella, Richard’s final collaboration with his great librettist Hugo von Hofmannsthal.

Structurally, the work has one long movement, subdivided into three sections. The first and third are elegiac Adagios, the middle one, more animated dramatically contrasting, Agitato. The low strings begin with a ruminating sound, giving way to violas for a statement of the theme, which then goes through the various metamorphoses, which are more extensions and elaborations on the theme rather than variations in the conventional sense.

The Adagio in the last part, headed “In Memoriam,” the Beethoven theme, is presented more boldly and directly.

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Throughout, Richard weaves his polyphonic threads in constantly changing textures into a deeply moving composition, a magnificent creation of the then octogenarian composer.

The Four Seasons, Concertos for Violin and Strings, Op. 8, Nos. 1-4

Antonio Vivaldi Born March 4, 1678, in Venice; died July 28, 1741, in Vienna

Vivaldi studied with his father, a violinist in the orchestra of Saint Mark’s in Venice, as well as with a priest. From 1704 to 1740, as director of instrumental music, composer, teacher and violinist at a home for orphan girls in Venice, the Ospedale della Pietà, Vivaldi was required to compose at least two new concertos each month for the girls. He wrote about 500 concertos for almost every imaginable combination of instruments. Often called an orphanage, this Ospedale was a home for the illegitimate female children of noblemen and their mistresses, and it was well endowed by the anonymous fathers.

The young girls were well cared for, and the musical standards there were very high. Vivaldi intended most of his concertos for performance by his many talented pupils.

Vivaldi traveled to Rome where he found a patron, Cardinal Pietro Ottoboni, a great music lover, who had earlier been the patron of Arcangelo Corelli. Even while in Rome, Vivaldi remained in the service of the Ospedale della Pietà and was required to send two concertos per month to Venice for which he received a ducat per concerto. His presence in Venice was not expected, but the steady output of concertos was.

Vivaldi holds an important place in the history of the concerto, as he helped establish the three-movement structure, its alternating tempi (fastslow-fast), and the alternation in sound between orchestral tutti and solo parts of the genre.

In 1725, he published the very successful Il Cimento dell’ Armonia e

dell’invenzione (“The Contest between Harmony and Invention”) Op. 8, in Amsterdam. It included 12 concertos, seven of which were descriptive, including: “The Four Seasons,” “Storm at Sea,” “Pleasure” and “The Hunt.”

These were enormously successful, particularly in France. King Louis XV was particularly enamored of “Spring” and had it performed often, and Vivaldi received various commissions for further compositions from the court at Versailles.

The four concerti grossi called The Four Seasons, as their name makes clear, represent the cycle of the four seasons. Music representing the moods of the seasons was already popular in Vivaldi’s time. Other baroque composers had produced similar descriptive cycles of concertos, but none had created the multiplicity and accuracy of pictorial detail that Vivaldi gave his compositions. He ingeniously makes the listener sense that he is experiencing each season in turn.

Programmatically foreshadowing such works as Beethoven’s “Pastoral” Symphony, The Four Seasons is often given the credit for initiating a tradition of descriptive music, especially of symphonic works including such characteristics as imitative birdsong and other aspects of nature. Vivaldi made great use of storm scenes, frequently evoked elsewhere in baroque music, with established melodic, rhythmic and dynamic terms to indicate them.

A sonnet heads each one; perhaps Vivaldi wrote these sonnets, but no one knows for sure. Each sonnet evokes the pleasures and problems of the seasons, and Vivaldi marked his scores at many points referring to lines in the sonnets. In the music itself, each musician’s part has a few words, given in brackets that point out descriptive passages. Following are translations of the directives to the musicians, as well as the sonnets themselves.

“Spring,” Concerto in E Major, Op. 8, No. 1, R.V. 269 Allegro: Spring has come [Bird Songs], and the joyful birds greet it

with merry song, and the brooks, in Zephyr’s gentle breezes [Flowing Brooks], murmur quietly as they flow along. Then, hiding the sky with a black mantle [Thunderclaps], come both lightning and the thunder that announces it, and afterward, when these are silenced [Bird Songs], the little birds begin again their enchanting songs.

Largo [Sleeping Goatherd, Rustling Leaves, Barking Dog]: And later, in the sweetly flowering meadow, to the pleasant murmur of the leafy trees, the goatherd sleeps with his faithful dog at his side.

Allegro [Country Dance]: To the festive sound of the pastoral pipe, nymphs and shepherds dance under spring’s lovely sky and brilliant light.

“Summer,” Concerto in G minor, Op. 8, No. 2, R. 315 Allegro non molto [The Enervating Heat]: In the long scorching season of the sun, men and flocks languish, and the pine-wood catches fire.

Allegro [Cuckoo]: The voice of the cuckoo sounds out, and soon [Turtledove and Goldfinch], so do the persistent songs of the little turtledove and the goldfinch. [Sweet Zephyrs] Zephyr blows sweetly, but [Various Winds] Boreas suddenly, unexpectedly moves into the neighborhood, and the little shepherd weeps [Weeping Shepherd], for he dreads the fierce storm that is fated for him.

Adagio: Rest is denied his weary limbs by fear of thunder and lightning, and by the angry swarm of flying insects, large and small.

Presto [Summer’s Stormy Weather]: Ah, his fears are too well justified.

The heavens rage and thunder, and hailstones beat down the corn and other grain.

“Autumn,” Concerto in F Major, Op. 8, No. 3, R. 293 Allegro [Dancing and Singing of the Peasants]: Dancing and singing celebrate the joys of a good harvest; [A Drunkard] and glowing with the liquor of Bacchus, many [Drunkards] APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 37

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National Philharmonic Orchestra and Chorale First Violins +PEZ (BUXPPE Concertmaster emeritus #SFOEB "OOB .JDIBFM #BSCPVS &WB $BQQFMMFUUJ $IBP .BVSFFO $POMPO Dorosh -BVSB 5BJU $IBOH $MBVEJB $IVEBDPGG -JTB $SJEHF %PVH %VCĂ?

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finish by sleeping off their revelry.

[Sleeping Drunkards].

Adagio molto [The Drunkardsâ&#x20AC;&#x2122; Sleep]: The air, tempered by pleasures, makes them all leave off their dances and songs. It is the time when everyone can enjoy sweet sleep.

Allegro [The Hunt]: The Hunters, at the crack of dawn, set off with horns, guns and hounds. [The Prey in Flight] The animal flees and they follow its tracks. [Guns and Hounds] Weary and frightened by the great noise of the guns and hounds, the endangered, wounded beast [Death of the Prey] tires in its flight, is cornered and dies. â&#x20AC;&#x153;Winter,â&#x20AC;? Concerto in F minor, Op. 8, No. 4, R. 297 Allegro non molto: Shivering in the chill of the cold snow, [Terrible Wind] and, in the harsh breath of the terrible wind [Running and Foot Stamping], hurrying and stamping the feet, [Cold Winds] with teeth chattering from the fierce frost; Largo: Spending quiet, happy days by the fire while, outside, the rain drenches everyone; Allegro: Walking on ice with slow steps for fear of falling [Walking Cautiously], going around carefully; running and sliding; [Falling] falling to the ground; getting up again to walk on the ice, and running fast [Running] when the ice cracks and breaks; [The Winds] feeling, through closed doors, Sirocco, Boreas and all the winds at war [Boreas and the Other Winds]; thatâ&#x20AC;&#x2122;s winter, but even so, what joy it brings! â&#x20AC;&#x153;Springâ&#x20AC;?

Giuntâ&#x20AC;&#x2122; è la Primavera e festosetti La Salutan glâ&#x20AC;&#x2122; Augei con lieto canto, E i fonti allo Spirar deâ&#x20AC;&#x2122; Zeffiretti Con dolce mormorio Scorrono intanto: Vengonâ&#x20AC;&#x2122; coprendo lâ&#x20AC;&#x2122; aer di nero amanto E Lampi, e tuoni ad annuntiarla eletti Indi tacendo questi, glâ&#x20AC;&#x2122; Augelletti; Tornanâ&#x20AC;&#x2122; di nuovo al lor canoro incanto:

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Largo E quindi sul fiorito ameno prato Al caro mormorio di fronde e piante Dorme ‘l Caprar col fido can’ à lato.

Allegro Di pastoral Zampogna al suon festante Danzan Ninfe e Pastor nel tetto amato Di primavera all’ apparir brillante.

“Summer” Sotto dura Staggion dal Sole accesa Langue l’ huom, langue ‘l gregge, ed arde il Pino; Scioglie il Cucco la Voce, e tosto intesa Canta la Tortorella e ‘l gardelino.

Zeffiro dolce Spira, mà contesa Muove Borea improviso al Suo vicino; E piange il Pastorel, perche sospesa Teme fiera borasca, e ‘l suo destino; Adagio e piano - Presto e forte Toglie alle membra lasse il Suo riposo Il timore de’ Lampi, e tuoni fieri E de mosche, e mossoni il Stuol furioso!

Presto Ah che pur troppo i Suo timor Son veri Tuona e fulmina il Ciel e grandioso Tronca il capo alle Spiche e a’ grani alteri.

“Autumn” Celebra il Vilanel con balli e Canti Del felice raccolto il bel piacere E del liquor de Bacco accesi tanti Finiscono col Sonno il lor godere Adagio molto Fà ch’ ogn’ uno tralasci e balli e canti L’ aria che temperata dà piacere, E la Staggion ch’ invita tanti e tanti D’ un dolcissimo Sonno al bel godere.

Allegro I cacciator alla nov’ alba à caccia Con corni, Schioppi, e canni escono fuore Fugge la belua, e Seguono la traccia; Già Sbigottita, e lassa al gran rumore De’ Schioppi e canni, ferita minaccia Languida di fuggir, mà oppressa muore.

“Winter” Allegro non molto Aggiacciato tremar trà neri algenti Al Severo Spirar d’ orrido Vento, Correr battendo i piedi ogni momento; E pel Soverchio gel batter i denti; Largo Passar al foco i di quieti e contenti Mentre la pioggia fuor bagna ben cento Allegro Caminar Sopra ‘l giaccio, e à passo lento Per timor di cader gersene intenti; Gir forte Sdruzziolar, cader à terra Di nuove ir Sopra ‘l giaccio e correr forte Sin ch’ il giaccio si rompe, e si disserra; Sentir uscir dalle ferrate porte Sirocco Borea, e tutti i Venti in guerra Quest’ é ‘l verno, mà tal, che gioja apporte.

Copyright 2014 Susan Halpern

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Saturday, May 24, 2014, 8 p.m.

SATURDAY, MAY 24, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Tchaikovsky’s Violin Concerto

Houston Symphony returned to Carnegie Hall again in May 2012 to participate in the Spring for Music festival with an allShostakovich program.

Hans Graf last conducted the BSO in February 2011 in a program that included Rossini’s William Tell Overture, Chopin’s Piano Concerto No. 2 with soloist Ingrid Fliter and Tchaikovsky’s Symphony No. 2.

Ray Chen, violin

Hans Graf, conductor Ray Chen, violin Piotr Ilyich Tchaikovsky (1840-1893)

INTERMISSION Symphony No. 2 in E minor, Op. 27 Largo—Allegro moderato Allegro molto Adagio Allegro vivace

Sergei Rachmaninoff (1873-1943)

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

The Music Center at Strathmore Marriott Concert Stage

Hans Graf, conductor Known for his widerange repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. Appointed music director of the Houston Symphony in 2001, Graf concluded his tenure in May 2013 and is the longest serving music director in the orchestra’s history. He currently holds the title of conductor laureate.

Graf is a frequent guest with all of the major North American orchestras.

His recent and upcoming guest engagements include appearances with the

Cleveland and Philadelphia orchestras; the New York and Los Angeles philharmonics; the Boston, San Francisco, St. Louis, Cincinnati, Detroit, Dallas, Baltimore, Vancouver, Milwaukee and National symphonies; and the St. Paul Chamber Orchestra. Graf made his Carnegie Hall debut with the Houston Symphony in January 2006 and returned to Carnegie leading the Orchestra of St. Luke’s in March 2007. He and the Houston Symphony were re-invited to appear at Carnegie Hall in January 2010, at which time they presented the New York premiere of The Planets, featuring the orchestra playing Holst’s work, accompanied by high-definition images from NASA. Graf and the

Winner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today.

Chen has released three critically acclaimed albums: Virtuoso, with works by Bach, Tartini, Franck and Wieniawski; the Mendelssohn and Tchaikovsky concertos with Swedish Radio Orchestra and Daniel Harding; and Diversions, an album of Stravinsky works. His latest recording, an all-Mozart album with Christoph Eschenbach and the Schleswig-Holstein Festival Orchestra, was released in January 2014.

In 2012, Chen was the youngest soloist to perform at the televised Nobel Prize Concert for the laureates, heads of state and the Swedish royal family.

Last year, he made his debuts with the Cleveland Orchestra and the Los Angeles Philharmonic at the Hollywood Bowl.

He plays the 1702 “Lord Newlands” Stradivarius violin on loan from the Nippon Music Foundation.

Ray Chen is making his BSO debut.

Program Notes Violin Concerto in D Major, Op. 35

Piotr Ilyich Tchaikovsky Born May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg

(3"' 1)050 #: $)3*45*"/ 45&*/&3 $)&/ 1)050 #: $)3*4 %6/-01

Violin Concerto in D Major, Op. 35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Ray Chen

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GRAF PHOTO BY CHRISTIAN STEINER, CHEN PHOTO BY CHRIS DUNLOP

Saturday, May 24, 2014, 8 p.m.

Tchaikovsky’s Violin Concerto belongs to that illustrious group of masterpieces that was savaged by uncomprehending critics at premieres. Nearly all the critics at its first performance—in Vienna on Dec. 4, 1881 with Russian violinist Adolf Brodsky as soloist backed by the Vienna Philharmonic—gave the work negative reviews, but the one penned by the notoriously conservative Eduard Hanslick was so vicious it stung Tchaikovsky for years after. “Tchaikovsky is surely no ordinary talent, but rather, an inflated one… lacking discrimina tion and taste. … The same can be said for his new, long, and ambitious Violin Concerto. … The violin is no longer played; it is tugged about, torn, beaten black and blue.”

A much fairer judgment of the concerto’s worth came from an anonymous critic for the Wiener Abendpost: “The first movement with its splendid, healthy themes, the mysterious, quiet middle movement (who could fail to be reminded by this of Turgenev’s female characters!) and the wild peasant dance make up a whole for which we would claim an outstanding place among contemporary compositions.”

Today, this work holds an outstanding place among all violin concertos.

One of the more demanding works for the violin virtuoso, it is more remarkable still for its unwavering melodic inspiration and passionate expression of human feeling.

The concerto came in the aftermath of the composer’s ill-conceived marriage to Antonina Milyukova in 1877.

Eight months later, in March 1878, his wanderings to escape his wife brought him to Clarens, Switzerland, on the shores of Lake Geneva. Here, he and his brother, Modest, were visited by the gifted 22-year-old violinist Yosif Kotek, a composition pupil of Tchaikovsky’s in Moscow. Kotek had been a witness at the composer’s wedding and a confidante of his post-nuptial anguish; now he provided both artistic inspiration and practical technical advice for Tchaikovsky’s recently begun Violin Concerto. In less than a month, the work was nearly finished, and on April

3, Kotek and Tchaikovsky gave it a full reading at the piano. After the runthrough, both agreed the slow movement was too slight for such a large work, and in one day flat, the composer replaced it with the tenderly melancholic Andante second movement it bears today.

So prodigal is Tchaikovsky’s melodic inspiration that he can afford to begin the sonata-form opening movement with a lovely little theme for orchestral violins and then—just as he did at the beginning of his Piano Concerto No. 1—never play it again. The orchestra next hints at the big theme to come and provides anticipatory excitement for the soloist. After a brief warm-up stretch, he launches one of Tchaikovsky’s most inspired themes, and one with multiple personalities. At first, it is gentle, even wistful, but when the orchestra takes it up a few minutes later, it becomes very grand: music for an Imperial Russian ball. Later, still in the development section, the soloist transforms it again with an intricately ornamented, doublestopped variation. The violin’s second theme, begun in its warm lower register, retains its wistful nature. Much later in the poignant recapitulation section, the principal theme is beautifully adopted by the solo flute.

The exquisite second movement “Canzonetta” (“little song”) in G minor—Tchaikovsky’s one-day miracle—blends the melancholy colors of woodwinds with the violin. Tchaikovsky scholar David Brown suggests it reflects the composer’s homesickness during his self-imposed exile from Russia. Rather than ending, it rises on a two-note sighing motive and then explodes into the Allegro vivacissimo finale.

In this hearty rondo inspired by Russian folk dance, Tchaikovsky finally lets the soloist fly. He alternates two contrasting themes: the first a high-spirited scamper; the second a slower, downward-drooping melody that shows off the violin’s earthy low register and also features a nostalgic dialogue with woodwind solos. At the close, the dance keeps accelerating to a breathless finish.

Symphony No. 2 in E minor, Op. 27

Sergei Rachmaninoff Born April 1, 1873 in Oneg, Russia; died March 28, 1943, in Beverly Hills, Calif.

One of the most lavishly gifted of musicians, Sergei Rachmaninoff was not only a composer but one of this century’s greatest pianists and, during his Russian years, a celebrated operatic and symphonic conductor as well. But he often found his multiple talents more of a curse than a blessing. As he explained, “When I am concertizing, I cannot compose. When I feel like writing music, I have to concentrate on that—I cannot touch the piano.

When I am conducting, I can neither compose nor play concerts. … I have to concentrate on any one thing I am doing to such a degree that it does not seem to allow me to take up anything else.”

In 1906, the urge to compose predominated. But first Rachmaninoff had to ex tricate himself from his post as conductor at Moscow’s Imperial Grand Theater and the hectic social life that came with it. To secure the serenity he needed for creation, he moved his family to Dresden, Germany, where he lived virtually incognito for the next three years. The fruits of this selfimposed exile included his Piano Sonata No. 1, the brooding tone poem The Isle of the Dead and his Symphony No. 2.

Composing this work required laying some demons to rest. In 1897, Rachmaninoff’s Symphony No. 1 had had a disastrous premiere in St. Petersburg; the brutal reviews it received almost scuttled his composing career for good. Thus, he was very secretive with friends and the press about what he was up to in Dresden, even flatly denying he was working on a symphony. But, in fact, the Symphony No. 2 was drafted at high speed in the final months of 1906, then painstak ingly revised and orchestrated throughout 1907. Rachmaninoff returned to Russia to conduct its premiere in St. Petersburg on Jan. 26, 1908; its unqualified success finally vindicated his powers as a symphonist.

Symphony No. 2 draws its power and popularity from Rachmaninoff’s talent for creating ardent, emotionally compelling melodies.

The first movementgrows from its APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 41

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opening phrase, played quietly by cellos and basses. This motto ideaâ&#x20AC;&#x201D;an upward sigh of a half-step, sinking back into a curling four-note tailâ&#x20AC;&#x201D;spawns all this movementâ&#x20AC;&#x2122;s themes and also underpins the entire symphony. The violins immediately spin it into a swirling melody. The music of this slow introduction reaches a peak of emotional ardor before the English horn leads smoothly into the main Allegro

section. Above rocking clarinets, the violins introduce the principal theme, itself more lyrical and expansive than most symphonic first themes.

A dramatic transitional passage provides necessary contrast before Rachmaninoff presents his even more lyrical second theme, with melancholy woodwind sighs and a soaring violin melody.

Solo violin launches the development section, which explores the dramatic

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potential of the opening motto idea.

We only realize we are safely home from this turbulence when the woodwind-violin second theme reprises its tender melancholy.

The second movement scherzo is as vigorous as the first movement was languorous. Throughout his career, Rachmaninoff used the stark, down-andup â&#x20AC;&#x153;Dies iraeâ&#x20AC;? chant theme from the Catholic rite for the dead as a leitmotive; here, it is hidden in the hornsâ&#x20AC;&#x2122; boisterous opening theme. Yet in the midst of this movementâ&#x20AC;&#x2122;s manic energy, there is time for another luxuriant Rachmaninoff tune for the violins. The middle trio section features a ferocious string fugue, so testing it is included on orchestral auditions for aspiring violinists and violists. The remarkable ending has a demonic edge, as the brass intone a sinister chorale, derived from the â&#x20AC;&#x153;Dies iraeâ&#x20AC;? and the symphonyâ&#x20AC;&#x2122;s opening motto idea.

The Adagio third movement is a luscious, heartfelt melody from beginning to end. The most famous phrase is the violinsâ&#x20AC;&#x2122; upward sighing at the beginning. But this is only introduction to the solo clarinetâ&#x20AC;&#x2122;s long-spun-out melody. A plaintive dialogue among solo oboe, English horn and strings fills the middle section; this music recalls nostalgically the themes of the symphonyâ&#x20AC;&#x2122;s slow introduction.

Rachmaninoff opens the finale with a wild tarantella dance. A wry march for woodwinds provides a second thematic strand. And the third theme is the last big lyrical melody for violins, the most sweeping of them all. The exposition closes with a reminiscence of the third movementâ&#x20AC;&#x2122;s upward-sighing music. In the development section, listen for one of the workâ&#x20AC;&#x2122;s most extraordinary passages: a long crescendo of downward scales in different speeds for the various instruments. This is a dazzling re-creation of the pealing of Russian church bells: a sound Rachmaninoff loved as a child and recalled in many of his works. The coda offers a grand reprise of the violinsâ&#x20AC;&#x2122; big tune and finishes in a blaze of Czarist splendor.

Notes by Janet E. Bedell copyright 2014

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Thursday, May 29, 2014, 8 p.m.

THURSDAY, MAY 29, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

William Shakespeare’s

A Midsummer Night’s Dream In association with Folger Theatre

Overture and Incidental Music by Felix Mendelssohn Marin Alsop, Conductor Edward Berkeley, Text Adaptation and Stage Director Baltimore Choral Arts Society, women’s chorus Tom Hall, Director Donald Thomas, Lighting Designer Ashley Pollard, Production Stage Manager

Spencer Aste as Egeus, Philostrate, Puck, Starveling (Moonshine), Mustardseed John Bolger as Theseus, Oberon, Snug (Lion) Julie Boulianne, mezzo-soprano, as Fairy 2 Katie deBuys as Hermia, Peter Quince (Prologue), Cobweb Ying Fang, soprano, as Fairy 1 Marcus Kyd as Lysander, Flute (Thisby), Peaseblossom Cody Nickell as Demetrius, Bottom (Pyramus) Kate Eastwood Norris as Helena, Snout (Wall), Moth Linda Powell as Titania, Hippolyta

Please note there will be a 20-minute intermission.

The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor

For Marin Alsop’s biography see page 27.

Edward Berkeley, director

Edward Berkeley is on faculty at The Juilliard School, primarily as director of undergraduate opera studies, and also teaches Shakespeare at Circle in the Square Theater School.

On Broadway, he directed the Tony Award- and Drama Desk–nominated Wilder, Wilder, Wilder and other award-winning productions. His New York Shakespeare Festival productions include Pericles and “Best Revival” winner The Tempest. He directed Beatrice and Benedict at the New York Philharmonic, John Adams’ El Niño at Atlanta Symphony, The Disappointment at the Library of Congress, and Ah! Wilderness at Williamstown Theater Festival.

At the Aspen Opera Theater Center, Berkeley has directed classics and new operas by John Corigliano, John Harbison, Bright Sheng, Augusta Read Thomas, Mark-Anthony Turnage and Bernard Rands. In New York, Berkeley directed the premieres of Ned Rorem’s Our Town, Thomas Adès’ Powder Her Face and Ullman’s The Kaiser rom Atlantis (also directed in L.A., Houston, Spoleto and Ravinia).

Berkeley was an acting consultant for the Metropolitan Opera’s Lindemann Program, guest faculty at Princeton University and Williams College, distinguished guest professor at Carleton College and returning guest director at Rice University.

Favorite productions include Charlotte Delbo’s Holocaust play Who Will Carry the Word? for Willow Cabin, his adaptation of Mendelssohn’s A Midsummer Night’s Dream for the New York Philharmonic, Madama Butterfly for Houston Grand Opera, The Coronation of Poppea, John Adams’ The Death of Klinghoffer and Transformations at Juilliard. This summer he returns to Aspen APPLAUSE BU 4USBUINPSF t MAY/JUNE 2014 43

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Spencer Aste

Spencer Aste has appeared as Polonius/ Gravedigger in Hamlet at the Lincoln Center Institute, and in Prokofiev’s Romeo and Juliet with the New York Philharmonic). He also has appeared as Polonius in 3-D Hamlet at the Edinburgh Fringe Festival, and has portrayed Iago in Othello, Richard in Richard III and Edgar Allan Poe in Murder By Poe. Aste has performed with Axis Theater Company (company member), WorkShop Theatre Company (company member), Storm Theatre Company, The Cell, New York Theatre Workshop, MTC, MCC, Boomerang Theatre Company, Rising Phoenix Repertory and La MaMa, among other companies. He has appeared in the films 200 American and Taking Woodstock and the television shows Boardwalk Empire and Royal Pains.

John Bolger

John Bolger appeared in the NBC live broadcast of The Sound of Music as Admiral Von Schreiber. Other television appearances also include the shows Person of Interest, Royal Pains, The Black Donnellys, Law & Order, Sex and the City, NYPD Blue, General Hospital, One Life to Live, Another World and True Blue.

He played Captain Brackett in the Lincoln Center national tour of South Pacific, and was also seen as Dr. Jake Houseman in the national tour of Dirty Dancing. Bolger’s theater work includes Good People at George Street Playhouse and Seattle Repertory, That Face at MTC, The Real Thing and Anthony and Cleopatra at the Old Globe in San Diego, Richard III at the Hartford

Stage, and Light Up the Sky, Roundabout and Safe Sex at La Mama.

As a founding member with the Willow Cabin Theatre Company, he was seen in Twelfth Night, The Sea Plays, A Midsummer Night’s Dream, As You Like It, Macbeth, The Balcony, Street Scene and Lucrece. He also appears in the films Parting Glances and Black and White.

Bolger is a graduate of Bucknell University and went on to study at Circle in the Square, Royal Academy of Dramatic Art and the Actor’s Studio.

Julie Boulianne

Winner of the Prix Lyrique Français, French-Canadian Julie Boulianne has been acclaimed for the agility and expressive power of her dark-hued mezzo-soprano in a wide repertoire, with a special focus on the music of Mozart and Rossini.

During the 2013-2014 season, she returns to the Metropolitan Opera singing the role of Kitchen-Boy in Rusalka alongside Renée Fleming. She also will appear as Rosina in a concert version of The Barber of Seville with Orlando Philharmonic. Boulianne will make her Carnegie Hall debut performing Beethoven’s Missa Solemnis with the Orchestra of St. Luke’s under the baton of Sir Roger Norrington. She also will make her debut with Cleveland Orchestra singing in The Cunning Little Vixen conducted by Franz Welser-Möst. Other season highlights include performances of Handel’s Messiah with the Minnesota Orchestra and Colorado Symphony, Mahler’s Symphony No. 2 with Orchestra Iowa and St. Matthew Passion with Orchestre Métropolitain in Montréal.

A graduate of McGill University’s Schulich School of Music, Boulianne won the first prize in both the Cana dian Music Competition and the Joy of Singing Competition in New York. She has also been awarded the International Vocal Arts Institute’s Silverman Prize, and in 2007, the Prix de la Chambre des Directeurs for Most Promising Career at

the Concours International de Chant de Montréal.

Katie deBuys

Katie deBuys has previously acted at the Folger as Princess Katherine and the Boy in Henry V, The Duck in The Conference of the Birds and Lady Lucy in The

Gaming Table.

Her D.C. area theater credits include Seminar at Round House Theatre and Measure for Measure at Shakespeare Theatre Company. Her regional credits include Bug and Killer Joe at Capital T Theatre in Austin, Texas, and Twelfth Night and Julius Caesar at the Texas Shakespeare Festival.

DeBuys received a bachelor’s degree in theater from Northwestern University and an master’s of fine arts in acting from the University of Texas at Austin.

She is a native of Santa Fe, N.M.

Ying Fang

Ying Fang made her Metropolitan Opera debut in the 20132014 season, singing the role of Madame Podtochina’s Daughter in Shostakovich’s opera The Nose. She also has performed the role of Contessa di Folleville in Rossini’s Il Viaggio a Reims with Wolf Trap Opera Company.

In addition, Fang has sung the role of Bellezza in Handel’s oratorio Il Trionfo del Tempo e del Disinganno at Alice Tully Hall, Pamina in Mozart’s Die Zauberflöte and Maria in Bernstein’s West Side Story with the Aspen Opera Theater Center. She sang the soprano solo in Carl Orff’s Carmina Burana with the National Symphony Orchestra at the Filene Center in Wolf Trap.

In Juilliard opera productions, she has been featured as Zerlina in Mozart’s Don Giovanni and Fanny in Rossini’s La Cambiale di Matrimonio.

A native of Ningbo, China, Fang recently won the 2013 Opera Index

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for Eugene Onegin and Carmen, and then travels to Marseille for Shakespeare’s Macbeth.

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Vocal Competition and First Prize of the 2013 Gerda Lissner International Vocal Competition. She holds a master’s degree from The Juilliard School and a bachelor’s degree from The Shanghai Conservatory of Music.

She is a member of The Metropolitan Opera’s Lindemann Young Artist Development Program.

Marcus Kyd

Marcus Kyd’s stage credits include The Gaming Table, The Taming of the Shrew, Henry IV Part 1 and A Midsummer Night’s Dream at The Folger Theatre; Hamlet, A Midsummer Night’s Dream, Much Ado about Nothing, King Lear, Othello and Pericles at Nebraska Shakespeare Festival; and The Odd Couple and Lost in Yonkers at Theatre J. Kyd also has appeared in The Lyons, The Talented Mr. Ripley, The Chairs, A Sleeping Country and Alice at Round House Theatre; The Wars of the Roses at Alabama Shakespeare Festival; Intimations for Saxophone at Arena Stage; The Thousandth Night and One Good Marriage at Metro Stage; The Winter’s Tale at Center Stage; Shear Madness and Cyrano at the Kennedy Center; and Manifesto at Happenstance Theater.

Kyd has a bachelor of fine arts from Emerson College and master of fine arts from the Shakespeare Theatre Company’s Academy for Classical Acting at the George Washington University.

Cody Nickell

Cody Nickell is thrilled to be revisiting Mendelssohn’s A Midsummer Night’s Dream, which he had previously performed with the Anchorage Symphony Orchestra in Alaska.

Nickell is the artistic associate at Gulfshore Playhouse in Naples, Fla., where he has acted in Art, Blithe Spirit, The Whipping Man, Jacob Marley’s

Christmas Carol and Ken Ludwig’s The Game’s Afoot, and directed God of Carnage and Something Intangible. Nickell has performed at theaters all over the country including Woolly Mammoth, the Folger Shakespeare Theatre, Shakespeare Santa Cruz, Portland Center Stage, Shakespeare Theatre Company, Barrington Stage, Two River Theatre, The Wilma, The Arden Theatre, PlayMakers Rep and San Jose Rep. The recipient of the Connecticut Critics Circle Award for Best Actor and nominated three times for the Robert Prosky Award for Outstanding Lead Actor, Nickell’s work extends beyond the theater to films, television and voiceovers. Most recently he performed Baltimore native Gwydion Suilebhan’s piece Anthem for Baltimore Center Stage’s My America project, which director Hal Hartley is turning into a feature film. He also participated in Simon & Schuster and the Folger Shakespeare Library’s audio book recordings of Shakespeare’s A Midsummer Night’s Dream and Macbeth.

Nickell is a graduate of Carnegie Mellon University’s School of Drama.

Kate Eastwood Norris

Kate Eastwood Norris is a professional Equity actor who performs in theaters all across the country. Favorite Shakespeare credits include a previous performance of Mendelssohn’s A Midsummer Night’s Dream with the Anchorage Symphony Orchestra. She has played the wondrous role of Helena three times before and is also glad to revisit Moth.

Norris has appeared as Lady Macbeth in Macbeth, Katerina in The Taming of the Shrew, Olivia in Twelfth Night, Launce in Two Gentlemen of Verona, Beatrice in Much Ado about Nothing and Puck in A Midsummer Night’s Dream, all at the Folger Theatre. There, Norris also workshopped a one-woman Hamlet, inspired by her experience as Richard III at the American Shakespeare Center years before.

Norris has performed at Berkeley Repertory, Arena Stage, Portland Center Stage, Shakespeare Santa Cruz, Round House Theatre, the Humana Festival at Actor’s Theatre of Louisville, Florida Stage, Two River Theatre, Delaware Theatre, Arden Theatre, Pittsburgh Irish & Classical Theatre and the Wilma Theatre where she played Eleanor/Esme in Tom Stoppard’s Rock & Roll (Barrymore Award).

Norris is a company member at Woolly Mammoth theater in Washington, D.C., and favorite roles there include Kay/Jayne in She Stoops to Comedy. Norris also teaches Shakespeare and Clown for students of all ages.

She is pursuing a master’s degree in humanities and the creative life with an emphasis in depth psychology at Pacifica Graduate Institute. For more information go to kateeastwoodnorris.com.

Linda Powell

Linda Powell is a New York-based actress whose Broadway credits include The Trip to Bountiful with Cicely Tyson; Wilder, Wilder, Wilder and the Tony-nominated revival of On Golden Pond, in which she starred with James Earl Jones and Leslie Uggams.

Some of her favorite Off-Broadway credits include August Wilson’s Jitney, The Overwhelming at Roundabout and Jar the Floor at Second Stage. Powell’s work has been seen at regional theaters around the country including Arena Stage, Baltimore Center Stage, Long Wharf Theatre, Cleveland Playhouse, Pittsburgh Playhouse, American Repertory Theater and the Williamstown Theater Festival. For 10 years, she was active both as actor and producer with the critically acclaimed Willow Cabin Theater Company.

Her numerous television credits include recurring roles as social worker Lauren White on Law & Order: SVU and Ingrid Mills in Chicago Fire. She also can be seen as Lee Boyd Malvo’s legal aid attorney in the film Blue

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No. 3 Song with Chorus FIRST FAIRY You spotted snakes with double tongue, Thorny hedgehogs, be not seen; Newts and blind-worms, do no wrong, Come not near our fairy queen.

Hence away!

CHORUS OF FAIRIES Philomel, with melody Sing in our sweet lullaby: Lulla, lulla, lullaby; lulla, lulla, lullaby; Never harm, Nor spell nor charm Come our lovely lady night; So, good night, with lullaby.

Choral Score: Philomel, with melody Sing in our sweet lullaby: Lulla, lulla, lullaby; lulla, lulla, lullaby; Never harm,

Our lovely lady night; So, good night, with lullaby.

SECOND FAIRY Weaving spiders, come not here; Hence you long-legg’d spinners, hence!

Beetles black, approach not near; Worm nor snail, do no offence.

Hence away!

CHORUS OF FAIRIES Philomel, with melody Sing in our sweet lullaby; Lulla, lulla, lullaby; lulla, lulla, lullaby; Never harm.

Nor spell nor charm, Come our lovely lady night; So, good night, with lullaby.

FIRST FAIRY Hence, away! Now all is well: One aloof stand sentinel.

Caprice, which premiered at the 2013 Sundance Film Festival.

Powell received her degree in English literature with a theater minor from the College of William and Mary before studying acting at the Circle in the Square Theater School.

Program Notes Music for A Midsummer Night’s Dream, Op. 61

Felix Mendelssohn Born Feb. 3, 1809, in Hamburg, Germany; died Nov. 4, 1847, in Leipzig

“We were mentioning yesterday what an important part the Midsummer Night’s Dream has always played in our house. … We really were brought up on [it], and Felix especially has made it his own, almost re-creating the characters which had sprung from Shakespeare’s inexhaustible genius.

From the Wedding March, so full of pomp but so thoroughly festive in its character, to the plaintive music of Thisbe’s death, the fairy songs, the dances, the interludes … all and everything has found its counterpart in music, and his work is on a par with Shakespeare’s.”

Fanny Mendelssohn Felix Mendelssohn’s beloved and

No. 13 Finale CHORUS OF FAIRIES Through the house give glimmering light, By the dead and drowsy fire; Every elf and fairy sprite Hop as light as bird from briar; And this ditty, after me, Sing, and dance it trippingly.

FIRST FAIRY First, rehearse your song by rote, To each word a warbling note: Hand in hand, with fairy grace, Will we sing, and bless this place.

CHORUS OF FAIRIES Through this house give glimmering light…

Trip away; Make no stay; Meet me all by break of day.

gifted older sister, Fanny, was rhapsodizing over her brother’s incidental music to Shakespeare’s enchanted comedy, which she and the other Mendelssohn siblings had just heard at its premiere at the Prussian Royal Palace in Potsdam on Oct. 14, 1843.

Even allowing for a bit of sisterly pride, her assessment of his achievement here is on the mark. Countless composers have been inspired by Shakespeare’s comedies and tragedies; few have succeeded as brilliantly as Mendelssohn in capturing the Bard of Avon’s genius in music.

The magnitude of Mendelssohn’s achievement is even more astonishing when we realize that, while the incidental music was composed when the composer was 34, the overture— one of the best-loved curtain raisers ever penned—comes from 1826 when he was only 17. Even Mozart had not composed anything on this level of artistic originality and technical mastery at such a tender age.

Mendelssohn was truly a golden child, blessed with brains and prodigious talent, and a near-ideal environment in which to cultivate them.

His grandfather, Moses Mendelssohn, had risen from poverty to become an esteemed philosopher; his father, Abraham, was one of Germany’s leading bankers and had made the family

fortune. Both of Felix’s parents were highly educated people and were determined that their offspring would realize their full potential. The four children, all bright and eager students, were given the finest tutors and books.

As Felix’s musical genius hatched, he was able to spread his wings into all the areas that distinguished his adult career. Sunday afternoon musicales at the Mendelssohn household drew a crowd of Berlin’s artistic elite, and featured the youngster as impresario (planning the concert programs), piano soloist, conductor (the Mendelssohns sometimes hired a full professional orchestra) and composer.

In 1825, when the family moved to a grand estate on Berlin’s Leipzigerstrasse, they converted the summerhouse in the garden into an auditorium seating more than 200. It was there, probably in the summer or early fall of 1826, that the 17-year-old prodigy premiered his Midsummer Night’s Dream Overture.

As Fanny Mendelssohn recalled, the Mendelssohn children were enraptured with Shakespeare’s plays and delighted in acting them out as well as reading them. Family performances of their favorite, A Midsummer Night’s Dream, a tale of four mismatched lovers benighted and bedeviled by fairies in an Athenian wood, led to Felix’s precocious masterpiece. It is one of the finest of Romantic overtures, cast in traditional sonata form, but full of programmatic correspondences to the play’s plot and characters.

The opening is pure magic: four soft woodwind chords raising the curtain on a world of fantasy. This is followed by soft, fleet, otherworldly music in E minor for violins, an early example of Mendelssohn’s trademark scherzo music, here representing the world of the fairies. The world of mortals follows with a loud theme in E major, full of pomp and grandeur, befitting the court of Theseus and Hippolyta. We also meet two other groups of mortals in the exposition: the beleaguered lovers (Hermia and Lysander, Helena and Demetrius) in lyrical, yearning music

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for clarinets and violins, and finally the lower-class Athenian artisans in a clod-hopping peasant dance, punctuated with the hee-haws of Nick Bottom (transformed by the fairies into an ass). The development section is as much a dramatic story as an imaginative working-out of themes; notice the mischievous, even menacing sound of the woodwinds suggesting these fairies are more than a little dangerous. In the overture’s marvelous closing coda, the pompous court theme is slowed down to make a lovely, dreaming reverie for the violins, before the four magical woodwind chords ring down the curtain.

Seventeen years later, Mendelssohn returned to the world of his childhood to recapture and expand this spellbound music into a complete set of incidental music to accompany a court production of the play commissioned

by King Friedrich Wilhelm IV of Prussia. A sparkling Scherzo introduces us to Puck, the nimble elf who will create most of the mischief by unwary applications of his magic potions; Mendelssohn makes masterly use of bright woodwind colors here, especially a solo flute at the end. High woodwinds also dominate the impish “Fairies’ March.”

A charming choral song, “Ye spotted snakes,” is the fairies’ lullaby to their queen Titania and reminds us that Mendelssohn had tremendous influence on later English composers, including Sir Arthur Sullivan of Gilbert and Sullivan fame. In the agitated Intermezzo, phrases are hurled back and forth between violins and high woodwinds; this music expresses Hermia’s anguish after she awakens to discover her lover, Lysander, has deserted her. After Puck has put the four lovers—now hopelessly confused by his spells—to sleep, comes the beautiful dreaming Nocturne, led by a melancholy solo horn, the traditional instrument of the forest.

The lovers awaken and, restored to their rightful loves, are united with King Theseus and Queen Hippolyta in a triple wedding to the brilliant “Wedding March”; this music,

unfortunately, soon degenerated into cliché after Queen Victoria and Prince Albert of England, great Mendelssohn fans, chose it for the 1858 wedding of their eldest daughter to the Crown Prince of Prussia. Whimsically humorous music describes the artisans’ inept enactment of the myth of Pyramus and Thisbe (“Dance of the Clowns”) at the wedding festivities. Suggesting music from Shakespeare’s own era, a

trio of clarinet-bassoon-drum plays a droll “Funeral March” for Thisbe’s death. In the finale, “Through this house give glimm’ring light,” we return to where we began. Over the Overture’s scherzo music, the fairies creep through the palace to bless the newlyweds; the story closes with the violins’ lovely song and the enchanted woodwind chords.

Notes by Janet E. Bedell copyright 2014

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TUESDAY, JUNE 3, 2014, 7:30 P.M.

● Strathmore Presents

Strathmore Children’s Chorus: Spring Concert Combined Choruses Baba Yetu (Swahili adaptation of “The Lord’s Prayer”) Longfei Yang, soloist

Chris Kiagiri music by Christopher Tin

Strathmore Children’s Chorus Training Chorus Dream Angus (Old Gaelic melody)

arr. Mandy Miller

Singabahambayo (South African folk song) (“We Are Marching for Freedom”)

piano arr. Michael Spresser

Hand Me Down My Silver Trumpet

arr. Joy Webb

Strathmore Children’s Chorus Treble Chorus Et Exultavit This Shall Be For Music Bee! I’m Expecting You!

Antonio Vivaldi (1678-1741) Mark Patterson Emma Lou Diemer

The Maryland State Boychoir The Promise of Living Sure on this Shining Night Faithful Over a Few Things

Aaron Copland (1900-1990) Morten Lauridsen Glenn Burleigh (1949-2007)

Maryland Classic Youth Orchestras Intermezzo from Cavalleria Rusticana

Pietro Mascagni (1863-1945)

Strathmore Children’s Chorus Concert Chorus Papageno-Papagena Duet K. 620 Gloria Tibi Alice Dillon, soloist Yo Le Canto Todo El Dia

W.A. Mozart, arr: Doreen Rao (1756-1791) Leonard Bernstein (1918-1990) David L. Brunner

Strathmore Children’s Chorus Young Men’s Chorus Niska Banjo All Of Me

Nick Page Seymour Simons and Gerald Marks (1896-1949) and (1900-1997)

Combined Choruses Jerusalem Praise His Holy Name Oye

Charles H. Parry Keith Hampton Jim Papoulis

Accompanists Matthew Brown, trumpet Ian Stuart and John Patton, percussion Gerald Leonard, bass guitar 5IF .VTJD $FOUFS BU 4USBUINPSF t .BSSJPUU $PODFSU 4UBHF

Strathmore Children’s Chorus

The Strathmore Children’s Chorus was founded in the fall of 2012 with 90 members. Currently, Strathmore has more than 200 members and four ensembles: the Training Chorus, The Treble Chorus, the Concert Chorus and the Young Men’s Chorus. The chorus provides a pre-professional children’s chorus experience in Montgomery County for students ages 7-18 from all backgrounds.

Under the direction of Christopher G. Guerra, the ensembles promote selfexpression in singers, celebrate the diverse musical traditions of Montgomery County residents, engage talented youth in joy-filled and uplifting music-making and allow Strathmore to provide a living, breathing, singing presence in our community.

The Strathmore Children’s Chorus is a Strathmore Education program, and fulfills Strathmore’s mission to produce exemplary performing arts programs for diverse audiences, create dynamic arts education experiences that convene students and educators, and foster informed appreciation for and involvement in the arts. Auditions for all ensembles will be held on June 28 and Aug. 16. Visit www.strathmorecc.org for more information. Auditions for all ensembles will be held this summer. Visit www.strathmorecc.org for more information.

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Christopher G. Guerra, artistic director

Christopher Guerra is the founding conductor and artistic director of the Strathmore Children’s Chorus.

In 2005 he was a founding member of the A. Mario Loiederman Middle School for the Creative and Performing Arts in Silver Spring, where he currently directs all choral activities and teaches courses in digital music.

Guerra received the 2012 Maryland Music Educators Association’s (MMEA) Outstanding Teacher Award.

His Chamber Choir recently performed for the American Choral Directors Association’s National Middle School Choral Conference in Dallas, as well as at MMEA conferences and several performances at the Music Center at Strathmore. In 2012 his Chamber Choir received a perfect rating in all categories at the MMEA State Choral Festival competing at Level IV. His ensembles have received numerous county, state and interstate superior ratings and Best Chorus awards. He has directed and managed honors choruses for Montgomery County Public Schools.

Guerra was music director for the Chicago and D.C. Church of Christ and was the featured vocalist with the 566th Air Force Band. He has conducted numerous choral and production workshops in the U.S. and abroad.

He attended the Chicago Music College and earned his bachelor’s of music education from Ball State University, with graduate studies at the University of Maryland, Towson University and George Mason University.

Katelyn G. Aungst, treble choral manager

Choral Manager Katelyn Aungst received her bachelor’s degree in music education from the University of Maryland

in 2010 and has taught in Montgomery County Public Schools for the past three years. She is an active soprano soloist and chorister, regularly performing with the Washington Bach Consort, Six Degree Singers, Christ Church Georgetown and the University of Maryland Chamber Singers. This year, Aungst is also the assistant artistic director of the Six Degree Singers, a community choir of young professionals based in Silver Spring.

Aungst teaches general music and fourth and fifth grade chorus at Beall Elementary School in Rockville.

William Gonzales, concert choral manager

William Gonzales attended the University of New Mexico, graduating cum laude with a bachelor’s degree in music education. In New Mexico, Gonzales interned for and directed the University of New Mexico’s Children’s Chorus as well as the adult choir at St. Mark’s on the Mesa Episcopal Church.

His other professional experience includes adjudicating solo and ensemble festivals and working as a choral clinician for various music programs in Albuquerque Public Schools.

Gonzales is pursuing a master’s degree in music education at the University of Maryland while teaching choral and general music for Montgomery County Public Schools at Newport Mill Middle School in Kensington.

Hei Jung Kim, accompanist

Hei Jung Kim is a graduate of the University of Maryland, College Park School of Music.

While attending the University of Maryland, Kim studied piano with Santiago Rodriguez.

Kim is a music teacher for Montgomery County Public Schools, teaching general music and chorus for the past 12 years at Dr. Sally K. Ride Elementary

School in Germantown. She serves as the accompanist for the Montgomery County Youth Chorus and the Montgomery County Elementary Honors Chorus. Kim is also a Strathmore Children’s Chorus parent.

Alice Dillon, vocal coach

Alice Dillon has taught choral music from the elementary school through collegiate level, and is the choral music teacher at Diamond Elementary School in Gaithersburg.

Dillon has appeared as a soloist locally and across the United States, in concert with Washington Performing Arts, the Capital Wind Symphony, NOVA Manassas Symphony & Community Chorale, Annapolis Opera and the Illiana Oratorio Society.

Maryland Classic Youth Orchestras

The Maryland Classic Youth Orchestras program creates a seamless connection between the artistic and the educational experience. Founded in 1946, MCYO is the oldest and most established youth orchestra program in the Washington, D.C., metropolitan area. Since 2005, MCYO has been a resident partner in the Music Center at Strathmore. Now under the direction of MCYO Artistic Director Jonathan Carney, MCYO proudly ushers in its 68th season of providing a quality orchestra program for the area’s young talented musicians.

MCYO offers three full orchestras, a chamber orchestra, two string orchestras, a harp ensemble and chamber ensembles to more than 450 talented musicians in grades 3-12. Auditions for MCYO are held annually in late August.

Kristofer Sanz, conductor Philharmonic for the Maryland Classic Youth Orchestra Kristofer Sanz has quickly matured as a vibrant and talented conductor whose energy and fervor for music have allowed him to achieve a passionate, mature and musical sound with any ensemble he has conducted.

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conductor for the Strathmore Children’s Chorus’ inaugural concert. He also has had the honor of conducting the world premiere of Three Songs Without Words with violinist/composer Daniel Bernard Roumain in 2008.

Sanz is a founding member and music director/conductor for Young Artists of America, a non-profit organization that provides aspiring and talented young artists with opportunities to perform with and be mentored by professional artists and educators.

Maryland State Boychoir Now celebrating its 26th season, the Maryland State Boychoir under the direction of Stephen A. Holmes, serves the state of Maryland as its “Official Goodwill Ambassadors.” The choir performs more than 60 times annually throughout Maryland as well as on national and international tours that have taken them to 30 states, and to Ireland, Wales, France, the

Netherlands, Germany, Austria, Italy, Bermuda and Canada.

Recent musical programs have included Bernstein’s “Kaddish” Symphony at both the Joseph Meyerhoff Symphony Hall in Baltimore and the Music Center at Strathmore with the Baltimore Symphony Orchestra; Mahler’s Symphony No. 3 with the National Orchestral Institute at the Clarice Smith Performing Arts Center in College Park; the debut of John Rutter’s Mass of the Children with the Metropolitan Chorus; performances of Howard Shore’s Fellowship of the Rings Symphony with the BSO; and Andrew Earle Simpson’s A Crown of Stars with the Cantate Chamber Singers.

The choir’s annual Festival of Nine Lessons and Carols has sold out all three performances for the past 16 years.

Other memorable performances include a tribute to the Rev. Dr. Martin Luther King, Jr. with the Washington Choral Arts Society at the Kennedy Center, the

Maryland State Boychoir Stephen A. Holmes, Artistic Director Joseph G. Shortall, Assistant Director Kathy Hawker, Administrative Director

Concert Choir Ben Bartlett Jonathan Bishop Alex Blenman Bradley Bonham Owen Briggs William Bristol Quinton Brooks Marlon Brown John Bryan Henrique Carvalho Jayce Cornell Connor Cortright Andrew Cuthrell Christian Doraisingh Jack Dorsey Alex Ford David Foster Joshua Frick Anthony Garcia Zaire Griffin-Miles Julian Hague Lucas Hague Marcus Hague Tristan Harvey

David Holcombe Thomas Hornbeck Justice Ibeawuchi Calvin Israel Frederico Jones Christian Jorge JonCarlos Ley Christopher Lottes Connor Lowrimore Brian Lyght Timothy Maly Brendan McCarron Alec McCreight Ben McDaniel Liam McDanolds Syaire Mitchell Ethan Moore Edvenu Mouko Rich Mouko Jack Mountain Bryce Neidhardt Daniel Onyijen Nicholas Peretti David Pontious Joseph Reichelt Jacob Reynolds

Justin Rose Luke Salyers Jeremiah Schleupner Eli Schwartz Noah Schwartz Joshua Schwarz Henry Sin Jaren Smith Eli Stiewing Donald Stockton Evan Terveer Yanah Valkenberg Graham Velsey David Wagner Freddy Wolfe Justin Wolff Tour Choir Mharl Arias Lukas Austin C. Max Bachmann Daniel Beasman Rafael Bernabe James Cavallon Angelo Cicone

Sean Costello Joshua Franklin Danny Fritsch Toby Garver George Haynes Joshua Jones Peter Juengst Bryan Kihara Andrew Lebovitz Jack Logansmith Joseph Mades Joseph Mattson John Moses Dan O’Neill Armon Raygani Carl Reed Luc Renaux Mark Rosser James Rouchard Robert Spratt Braden Stinar Scott Thomsen Keith Tobin Joris Valkenberg Eric Willner Robert Winfield

13th Baltimore Boychoir Festival and the Opening Ceremony at the PGA Presidents Cup. Stephen A. Holmes, artistic director Stephen A. Holmes began his formal musical training with the Maryland State Boychoir at age 9. His strong ties and commitment to the choir continue today; he is in his 14th year on staff and now oversees the choir’s six ensembles.

Holmes serves in various leadership roles throughout the Maryland and D.C. area. He also serves as director of choral activities at Notre Dame of Maryland University and director of the Annapolis Area Christian School Men’s Chorus. He has served as associate director of the Glorystar Children’s Choir, director of the University of Maryland Men’s Chorus and chair of the Boychoir Repertoire & Standards Committee of the Maryland/D.C. division of the American Choral Directors Association. In addition, he is the director/organist for the Church of the Resurrection.

Holmes has served as a guest conductor of county and state honor choirs and festivals. He has performed as a soloist and chorister with numerous regional ensembles and has been recognized with a number of voice, organ and conducting awards. He received his bachelor of music degree in voice and organ performance from Towson University and his master’s degree in choral conducting from the University of Maryland, College Park. He is currently a doctoral candidate in conducting at the University of Maryland.

Program Notes Baba Yetu

Baba Yetu was composed in 2005 when video game designer Sorent Johnson asked his friend and composer, Christopher Tin, to write the theme music for the video game “Civilization IV.” Baba Yetu is the theme song of the game and in 2011 it was the first video game song to ever win a Grammy for Best Instrumental Arrangement Accompanying Vocalist. It was released on Tin’s 2009

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album Calling All Dawns. With an opening cry signaling the dawn, Baba Yetu comes alive quickly with its world fusion sounds, chants and strong syncopated vocal rhythms. The text is taken from the Lord’s Prayer and sung in Swahili.

Translation Our Father, who art in Heaven, Amen!

Our Father, hallowed be thy name.

Give us this day our daily bread, forgive us of our trespasses As we forgive others who trespass against us Lead us not into temptation, but deliver us from the evil one forever.

Thy kingdom come, thy will be done, on Earth as it is in Heaven. Amen!

Dream Angus

Dream Angus is a well-known and popular Scottish song sung to the tune Nam bu keam fhin thu thalaidhinn thu/ If you were mine I would lull you to sleep. This lullaby tells the story of Dream Angus, one of the earliest and most beloved of the Celtic deities.

Dream Angus resembles the mythical Sandman.

Singabahambayo

Singabahambayo is a traditional Nguni text arranged for unison voices with optional two- and three-part sections. In South Africa, apartheid developed as outsiders moved into the area and native inhabitants were deprived of their land, jobs and rights. Singabahambyo has been sung by choirs the world over as a song about the struggle for freedom.

Hand Me Down My Silver Trumpet

Hand Me Down My Silver Trumpet is a delightful spiritual and is excellent for our chorus as it introduces two-part harmony for less-experienced singers in a call-and-response fashion. The verses are sung in unison and the refrain in harmony. This is the song we would usually save to sing last before we left rehearsal each week. It was energetic and uplifting for our group.

Et Exultavit

Et Exultavit is from Antonio Vivaldi’s

Strathmore Children’s Chorus Christopher G. Guerra, Artistic Director Hei Jung Kim, Accompanist Mary Twillman, Managing Director & Training Choral Manager Katelyn Aungst, Treble Choral Manager William Gonzales, Concert Choral Manager Lauren Campbell, Program Director Concert Chorus Catherine Andres Gabbie Ballesteros Christina Bloomer Aliza Broder Hannah Broder Marc Burlina Ana Canales Frederick Chang Amita Chatterjee Priya Chatterjee Taira Comfort Caitlin Deerin Mahima Dewan Emily Donahue Katherine Donahue Caitlyn Forte Brianna Frost Ella Gatlin Liliana Gillespie Jerzy Gillon Myka Graves Sierra Hill Anna Maria Höijer Roman Holbrook Paris Holbrook Ellinore Homan Anna Hosh Sindy Joya Elissa Kim Melanie Komolafe Ann Li Sophia Lieske Tatiana Malykh Madeline Matson Leah McLean McKenzie McMahon Melissa Melkonian Madeleine Menkes Aprill Park Sofia Pereira Mackenzie Polgreen Sarah Rankin Grace Reachmack Geneva Synthia Reese Kailyn Richards Nikita Singh Olivia Smith Preston Steimel Pamela Steimel Irene Su

Samantha Ventola Bronwyn Weikert Tiana Wright Training Chorus Addie Aubley Sophie May Bagheri Elena Bamburg Dylan Brown Ryan Brown Maya Buchmuller Ethan Corbin Liam Darnell Katelynn Diuguid Kaitlyn Fry Jasmine Gong Jessica Grace Hackman Mya Hammond Abigail Hill Darren Hong Cecilia Gabrielle Ilagan Aasir Simon Jeyachandran Anita Justin Divya Kadiyala Jacob Kim Tomoki Kobayashi-Nguyen Karolina Konieczny Elyas Laubach Chloe Lee Mingming Lee Julia Liu Ellie Maurano Angelo Mazhandu Maggie McHugh Sarah Meyer Mariah Plummer Petrina Steimel Khadacha Storks Lauren Stubblefield Alexis Turbat Anna Grace Uehlein Sophia Van Lowe Miranda Wang Eliana Wong Lingwen Xu Eileen Yang Tong-Tong Ye Eileen Zhang

Joyce Zhou Treble Chorus Lilyana Acharya Annabelle Adams Fadbala Adjei Lana Anderson Narmer Bell Brittany Broadus Erik Conor Brown Asha Sydney Burtin Alana Claire Campbell Victoria Chai Camille Chavis Ashley Chen Cynthia Chen Sona Chudamani Lauren Cooke Connor Crotzer Colleen Curto Pria Dahiya Cameron Darnell Katie Rose Dunphy Abby Ellis Morgan Fanyo-Tabak Sacha Feldberg Rohit Gore Meimei Greenstein Ashley Loreley Hallet Evelyn Hoon Charlie Jennings Caitlin Jimenez Anna Job Svea Johnson Yu Kaminishikawara Amila Kapetanovic Lancie Kear Inaya Laubach Audrey Le Kaitlyn Lee Wilmer Leon IV Vivian Li Devin Lucas Jacob Lunsford Hannah Markov Caroline Maurano Katherine Maurano Megan Townsend McWright Jansikwe MedinaTayac Allen Murillo Galanakos Leilani Nti Benjamin Nye

Ashley Ondoua Konga Eleanor Orzulak Emily Ott Brandon Parada Katerina Parker Sophia Parker Laura Pires Tsedey Mari Pretto Parker Puleio Yunshu (Peter) Qiu Genevieve Reineke Jennifer Ren Nicolas Rossi Kennedy Salamat Thomas Sanders Nicoletta Smith Antonio Smith-Pinelo Ceci Snyder Aidan Stanton-Brand Kate Juliet Stiglitz Leia Terrenzi Gabriela Tuncer Naveen Upender Jacqueline (Jackie) Verba Jasmine Voon Alyssa Wang Katherine Weaver Klaudia Weidlich Mary Claire Wright Chuning Yang Julie Yang Laura Yao Kristen Yee Joey Yeoh Kaleigh Young Amy Zhong Grace Zhou Young Men’s Chorus Fernando Aguilar Chin Yong (Alex) Chung Alex Green Simon Hoon Ben Jin Alan Lin Dominic Manzella Joshua Mays Max Powers Khalil Quinn Josiah Segui Matthew Twillman Longfei Yang

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masterwork Magnificat. While originally written for soprano, alto and tenor soloist, Janet Galvan (director of choral activities at Ithaca College) edited this version for treble voices. Often called the artists’ gospel because of its poems and songs, the gospel of Luke supplies the text for this selection.

The excerpt is from Mary’s prayer in chapter two. With its florid vocal runs and melismatic phrases, young singers enter the next level in their vocal development. Divided into three sections and sung in Latin, the tempo, accidentals and melismas demand a higher level of vocal technique and aural skill. The orchestration is from the original score.

Translation And my spirit rejoices in God my Savior. For He has regarded the lowliness of His handmaiden.

Behold, from henceforth, I will be called blessed by all generations.

For the Mighty One has done great things for me, And holy is His name.

This Shall Be For Music

This Shall Be For Music is a poem by Scottish novelist and poet Robert Louis Stevenson (1850-1894). Used by several composers, this musical setting is from Mark Patterson. Additional lyrics are added by Patterson. The Treble Chorus was quick to grasp this lyrical melody with its smooth lines. The song calls for a beautiful tone as we strived to follow the dynamic levels with the rising and falling phrases.

Bee! I’m Expecting You!

Bee! I’m Expecting You! is from a set of three poems of Emily Dickinson set to music by Emma Lou Diemer. This delightful song is written in unison for treble voices and was commissioned for the Indiana University of Pennsylvania in 1994. It has become standard repertoire for children’s choruses with its highly infectious melody and engaging storyline. The fly is writing to the bee and wondering what is the delay in his return for the spring season. Birds, frogs, everyone has arrived! ‘You are

due’ states the fly. With its varied articulations, long sustained notes and melodic leaps and jumps, it was easily the favorite for Treble Chorus. Enjoy!

Papageno-Papagena Duet

The Papageno-Papagena Duet is taken from the Act II finale of Mozart’s opera The Magic Flute. It was arranged

by Doreen Rao as a part of the Boosey & Hawkes Choral Music Experience Opera Workshop series for elementary, middle and high school choirs. Having lost Papagena, Papageno prepares to take his life before three spirits urge him to play the magic bells. Papagena appears and they go on to share their affections one with another. Sung in German and with its numerous pronouncements and retorts, engaging staccato Pa-Pa beginning and rapid conclusion, this selection calls for close attention to diction and the several rhythmically quick and constant entrances.

Translation Pa–Pa Papagena!

Have you to me only been given?

Then you will be my dear little wife!

My dear little wife!

When the gods grace us, And our love with children bestowing, First comes a little Papageno!

Then another Papageno!

Pa-Pa Papageno!

Only have I to you been given.

I will be your heart’s little darling!

What a joy will it be.

When the gods grace us, such dear little children!

Then a little Papagena!

Then another Papagena…

Gloria Tibi

Gloria Tibi is taken from Leonard Bernstein’s Mass, created for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. on Sept. 8, 1971. Conceived as a dramatic presentation with dancers, singers and players and the text taken from the liturgical mass, Bernstein’s

Mass was written at the request of Jacqueline Kennedy Onassis. The strong rhythmic accents, soloistchorus call and response and 5/8 meter all add to the driving rhythm that is felt and heard from beginning to end. With its rapid tempo and unusual meter, singers are called upon to feel an “inner pulse” in order to execute accurate entrances throughout.

Translation Glory to Thee, glory to the Father, glory to the Son, and to the Holy Spirit We praise Thee, we adore Thee, we glorify Thee, we bless Thee Glory to the Father, the Son and the Holy Spirit, Glory!

Yo Le Canto Todo El Dia

Yo Le Canto Todo El Dia was written by David Brunner for the Miami Choral Society on its 30th anniversary. Brunner is the director of choral activities at the University of Central Florida in Orlando and a prominent conductor and composer well known for his compelling and dynamic works.

With its infectious rhythms and playful melodies, Yo Le Canto Todo El Dia captures the vitality and charm of the Venezuelan region’s rich music culture.

Translation So I am moving with my heart, So I am leaving with a drum, I sing to you all day long with affection and joy, So I am leaving with a drum with affection and emotion.

Niska Banja

Niska Banja is a Romani dance. Its 2+2+2+3 meter is as common in Central Europe as the 4/4 meter is in Western music. “Niska” refers to the city of Nis in Serbia and “Banja” means bath. Boston-based composer and arranger Nick Page states, “The song is a flirtatious dance that basically means, ‘Let’s go to the baths of Nis where we shall kiss, kiss, kiss.’”

The piano part may bring to mind

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Dave Brubeck’s Blue Ronda a la Turk.

Niska Banja was originally arranged for the Chicago Children’s Choir.

All of Me

All of Me is a jazz standard performed by countless jazz and pop artists throughout the years. This selection was arranged by Jay Althouse, who has more than 600 choral selections in print. While one of the truly American genres, jazz vocal music is sparingly heard in the young singer’s repertoire. The jazz combo gives a more authentic feel to the piece.

Jerusalem

Jerusalem was originally a short poem entitled “And did those feet in ancient time” written by William Blake in his preface to this epic Milton a Poem penned in the early 19th century. Set to music by Sir Hubert Parry in 1916, this anthem is sung for numerous events in England, including the wedding of Prince William and Catherine Middleton in Westminster Abbey. The poem

was inspired by the apocryphal story of a young Jesus, accompanied by his uncle Joseph of Arimathea, who travelled to what is now England during the unknown years of Jesus. Blake implies the visit by Jesus is in contrast to the “dark Satanic mills” of the Industrial Revolution.

Praise His Holy Name

Praise His Holy Name is performed by all-state choirs throughout the United States and, as the North Central American Choral Directors Association says, “Praise His Holy Name should be standard repertoire for choirs today and for the next 25 years.” With its high energy, lively and up-beat gospel style, Praise His Holy Name is sung in church and concert settings the world over.

Oye

Oye was composed by Jim Papoulis.

The song was conceived when Papoulis performed a songwriting workshop in Acapulco where the children spoke

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little English but were easily reached with the music. When asked if they had a message to convey to the world in song, their answer was simple: to listen.

The translation of “listen” or “listen up” is “oye.” With its highly engaging melody, chorus and bridge, Latin rhythms, dynamic orchestration and meaningful text, Oye has been taken on as a signature piece and a staple to our annual spring concert. Former members of the Strathmore Children’s Chorus are invited to join us on stage for this song.

Translation All alone, in the darkness, they are crying out for your help, They are hoping, they are dreaming, they are asking, for a chance to be heard, Are you listening, can you hear their cries?

They are watching, they are listening, they are searching to find their way, Can you see them, can you hear them calling, what their voices are trying to say.

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THURSDAY, JUNE 5, 2014, 8 P.M.

● Strathmore and S&R Foundation Present

Evermay Chamber

Under the patronage of Dr. Ryuji Ueno Dr. Ryuji Ueno, President Tamaki Kawakubo, Music Director (winner of the 2002 Tchaikovsky Competition) Tamaki Kawakubo, violin Alissa Margulis, violin Gareth Lubbe, viola Ayane Kozasa, viola Tim Park, cello Claudio Bohórquez, cello Nabil Shehata, double bass Yu Kosuge, piano Ryo Yanagitani, piano Ria Ideta, marimba with guest musicians Jonathon Troy, clarinet Sabatino Scirri, flute/piccolo

Carnival of the Animals Yu Kosuge Ryo Yanagitani Tamaki Kawakubo Alissa Margulis Gareth Lubbe Tim Park Nabil Shehata Ria Ideta

Piotr Ilyich Tchaikovsky (1840-1893)

Grand Prize winner of the 2001 Pablo Sarasate International Violin Competition and winner of the 2002 Tchaikovsky Competition, violinist Tamaki Kawakubo started playing at age 5 in Los Angeles.

Kawakubo’s 2009-2010 season included engagements and tours with the Russian National Orchestra, Moscow Radio Symphony, NHK Chamber, and Yomiuri Symphony Orchestra, and a tour of Germany with Sinfonia Varsovia. Kawakubo has performed numerous recitals in Japan, Spain, Germany and Israel, and made her Kennedy Center recital debut in 2009.

In 2010-2011 she performed with the Tokyo Metropolitan Symphony in Vietnam, the Dresden Philharmonic, the Tel Aviv Chamber Orchestra, the Tokyo Philharmonic and the Yomiuri Symphony Orchestra. Recently, Kawakubo has been active in chamber music, performing in a piano trio in Japan, and in a string trio and piano quartet in Europe.

Kawakubo studied at the Colburn School of Performing Arts in Los Angeles, at Juilliard Pre-College and the Zurich Musikhochschule.

Alissa Margulis, violin

Camille Saint-Saëns (1835-1921)

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Appreciated for her expressive and very emotional performances, Alissa Margulis regularly plays in important concert halls such as the Palais des Beaux Arts in Brussels, the Cologne Philharmony, the Vienna Musikverein, the Tonhalle Düsseldorf and Zurich, the St. Petersburg Philharmonic Hall, Beethovenhalle Bonn and the Schönberg Hall in Los Angeles.

Born in Germany into a family of Russian musicians, Margulis studied in Cologne with Zakhar Bron, in Brussels

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Beauty of France and Italy Souvenir de Florence, Op.70 Tamaki Kawakubo Alissa Margulis Gareth Lubbe Ayane Kozasa Claudio Bohórquez Tim Park

Tamaki Kawakubo, violin

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with Augustin Dumay and in Vienna with Pavel Vernikov. She made her first public appearance at age 7 with the Budapest Soloists and has performed since then with numerous orchestras such as the Camerata Switzerland, Kremerata Baltica, the Düsseldorfer Symphoniker, the Jerusalem Symphony Orchestra, the SWR, NDR and the WDR Rundfunkorchester, or the Orchestre National de Lorraine, among others.

During the 2012-2013 season Margulis played concerts at the Philharmonie Essen, and appeared with the World Youth Orchestra in Rome, Orchestre Philharmonique de Lorraine and the Stellenbosch International Chamber Music Festival in South Africa. Further, Margulis toured Japan with her brother Jury Margulis and Sweden with the Camerata Nordica in 2013, and gave her debut at the Enescu Festival in Bucharest.

Margulis has won numerous international competitions and awards, such as “Pro Europa” from the European Cultural Foundation, which was presented to her by Daniel Barenboim.

Gareth Lubbe, viola

Gareth Lubbe is currently principal violist in the Gewandhaus Orchestra of Leipzig, and has been a teacher at the “Felix Mendelssohn Bartholdy” Musikhochschule.

He recently accepted a viola professorship at the Folkwang University of the Arts in Essen, Germany.

Born 1976 in Johannesburg, South Africa, Lubbe received his first musical education on piano and violin at age 4.

He made his orchestral debut at age 9, after which he received numerous prizes at national and regional competitions.

He also performed as pianist with the Radio Orchestra of South Africa and conducted the Johannesburg Symphony Orchestra.

Lubbe has appeared as soloist and chamber musician throughout Europe, North America, Africa and Asia and

has worked regularly as principal violist with the Mahler Chamber Orchestra, performing and recording with conductors such as Claudio Abbado and Daniel Harding.

Since 1996, Lubbe has worked in close collaboration with the New Zealand-born multi-instrumentalist and composer Hayden Chisholm, with whom he has performed in various parts of the world. Together they were commisioned to create music at the Deutsche Schauspielhaus in Hamburg. The collaboration has also led to work with the artist Rebecca Horn, with whom Chisholm has been a creative partner for many years.

Lubbe has also been a member of the ensemble “Gelberklang,” known in Europe for its work in the contemporary music scene and workshops on free improvisation with young classical musicians. The ensemble recorded for BBC and other major European radio stations.

Ayane Kozasa, viola

Winner of the prestigious Primrose International Viola Competition in 2011, Ayane Kozasa also captured the competition’s Mozart Award for the best chamber music performance, as well as its Askim Award for her performance of the competition’s commissioned work.

Kozasa was named principal violist of the Chamber Orchestra of Philadelphia in 2013, and made her European debut with the Augsburg Philharmonic in Mozart’s Sinfonia Concertante in April 2013, with violinist Jehye Lee. Her interest in chamber music has led her to a number of concert appearances across the U.S., including a national concert tour with pianist Ignat Solzhenitsyn, as a part of “Curtis on Tour.” She participated in Ravinia’s “Steans on Tour” in the 2012 and 2013 seasons, and appeared on Ravinia’s series in August 2013. Kozasa also performs as a member of the Aizuri Quartet and is a founding member of

the Philadelphia-based chamber group, ensemble39.

Kozasa graduated from the Curtis Institute of Music, where she studied with violists Misha Amory and Roberto Díaz and was the George and Marie Hecksher Annual Fellow. She holds a bachelor’s degree from the Cleveland Institute of Music, where she studied with Kirsten Docter. She also studied violin with William Preucil, and has also worked with Michael Tree, Nathan Cole, Cyrus Forough and Philip Lewis.

Tim Park, cello

American cellist Tim Park has performed as soloist with the New York Chamber Orchestra, Detroit Symphony, Orquestra Sinfonica de Venezuela, Moscow Radio Symphony Orchestra, Berlin Symphony Orchestra, Lithuanian National Chamber Orchestra, Palo Alto Philharmonic, Juilliard Orchestra, Interlochen Arts Academy Orchestra and the Pharos Soloists.

An avid chamber musician, Park is cellist of the Erlenbusch String Quartet, based in Berlin, Germany. He is regularly invited to such festivals as the Pablo Casals Prades, Schleswig-Holstein Music Festival, Klavierfestival Ruhr, Mecklenburg Vorpommern, Lucerne, Santander, Moscow, Aspen Music Festival, Kronberg Cello and the Jerusalem Chamber Music Festival.

Park also dedicates his time to various outreach programs, performing and teaching at schools and hospitals in Korea, Japan, Venezuela and the United States. Born to Korean parents, Park grew up in New York and entered the Juilliard School at age 11. He continued his studies at Yale University, where he studied with Aldo Parisot.

Park performs on a violoncello made

by Gennaro Gagliano in 1740.

Claudio Bohórquez, cello

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Nabil Shehata, double bass

Nabil Shehata was born in Kuwait in 1980 to parents of German and Egyptian descent.

At age 4 the family returned to Germany. After receiving piano lessons from his mother at age 6 he took his first double bass lessons three years later with Thomas Zscherpe.

Shehata has won several international competitions, including the Julio Cardona Competition in Portugal and the Valentino Bucchi Competition

in Rome. In 2003 conductor Daniel Barenboim brought Shehata to the Staatsoper Berlin as the first double bass soloist. One year later Shehata began his tenure with the Berlin Philharmonic Orchestra in the same position.

Shehata has a special affinity for chamber music repertoire. Together with colleagues of the Berlin Philharmonic Orchestra and Tatjana Vassiljewa he founded the Philharmonic String Quintet, which after its first great success was invited to return to Japan for the 2009-2010 season.

Furthermore, he performed the Trout Quintet by Franz Schubert and the Sextet by Felix Mendelssohn-Bartholdy in numerous concerts with the Fauré Quartet.

Yu Kosuge, piano

With her superlative technique, sensitivity of touch and profound understanding of the music she plays, Yu Kosuge has become one of the world’s most noted young

pianists.

Kosuge has been giving recitals and performing with orchestras since early childhood. At age 9 she made her debut with the Tokyo New City Orchestra. In 1993, she moved to Europe to continue her studies with Karl-Heinz Kämmerling in Hannover and Salzburg, and subsequently has received great support and inspiration from András Schiff.

Kosuge has performed in cities including Berlin, Hamburg, Köln, Munich, Vienna, Salzburg, Paris, Brussels, Amsterdam, Zurich, Moscow, St. Petersburg, Tokyo, Boston, New York, Philadelphia and Washington.

In addition to her busy concert schedule in Europe, Kosuge performs regularly in Japan, where her tours with the Finnish Radio Symphony Orchestra and Sakari Oramo, Seiji Ozawa and the New Japan Philharmonic inspired rave reviews and great public acclaim.

Ryo Yanagitani, piano

Ryo Yanagitani has distinguished himself as one of Canada’s most promising young concert artists. His most recent success includes winning the gold medal at the 10th San Antonio International Piano Competition.

Yanagitani has made concerto appearances with the Vancouver Symphony Orchestra, the Montreal Metropolitan Orchestra, Edmonton Symphony Orchestra, San Antonio Symphony, Minnesota Orchestra, Hartford Symphony Orchestra and the Moroccan Symphony Orchestra.

In addition to many solo recitals, he is frequently invited as guest pianist to chamber music festivals across the U.S., in the capacity of both lecturer and pianist. His most recent collaboration with cellist Dai Miyata has resulted in a number of concert tours of Japan. He is also pianist of Duo Chrysalis with cellist Jacques Lee Wood, and their collaboration has taken them on a tour of performances across the United States and Korea.

Ria Ideta, marimba

Ria Ideta was born 1982 in Vienna to a musical family.

At age 6, she began playing the piano and marimba in Japan. In 2001, she continued her studies at the Conservatoire Supérieur de Paris, finishing in 2006 with a first prize and a special jury prize. During her studies, Ideta won the first prize at the Inter national Marimba Competition in Paris.

She has completed additional studies in Japan with Yoshihisa Mizuno and in France with Eric Sammut and Emmanuel Séjourné.

Since 2003, Ideta has taught master classes in many countries, including during the 2005 Days of Percussion at the

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fascinating musicians of his generation by conductors, audiences, concert presenters and critics alike. In the 2012-2013 season Bohórquez appeared in Madrid and Bilbao together with Jörg Widmann and Katia Skanavi and performed piano trios by Beethoven with Viviane Hagner and Jonathan Gilad during the Beethoven Marathon at Konzerthaus Berlin.

As a student of Boris Pergamenschikow, Bohórquez achieved success at an early age at international competitions such as the Tchaikovsky Youth Competition in Moscow and the Rostropovich Cello Competition in Paris. This culminated in 2000 with three awards at the first International Pablo Casals Competition held under the auspices of the Kronberg Academy. He also won first prize at the International Music Competition in Geneva, an achievement that marked the start of his career as a soloist.

Bohórquez’s 2013-2014 season includes appearances at Konzerthaus Berlin and the Beethoven Festival Bonn, as well as performances in Puerto Rico and Fort Worth, Texas.

Bohórquez plays a G.B. Rogeri violoncello presented to him by the Landeskreditbank Baden-Württemberg.

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Berklee College of Music in Boston. She was invited to be a jury member for the International Percussion Competition of Fermo in Italy and the International Marimba Competition in Paris.

She is regularly invited to such festivals as Musique à l’Emperi in Salon de Provence in France and Rolandseck International Music Festival in Germany, performing chamber music with Emmanuel Pahud, Eric LeSage, Guy Braunstein, François Leleux, Franc Braley, Paul Meyer, Nabil Shehata and many others. In 2013 she performed a concerto with Das Sinfonie Orchester Berlin at Berlin Philharmonie and Hamburger Sinfoniker at Laeiszhalle. In 2014, Ideta will perform with Japan Philharmonic Orchestra under Kazuki Yamada’s conducting.

Since 2012, Ideta has performed regularly with Kammeroper München. She is a guest professor at Heisei College of Music at Kumamoto in Japan.

Ideta currently lives in Berlin.

About Evermay Chamber

Evermay Chamber is an ensemble of solo caliber artists from five continents, assembled by S&R Washington Award Grand Prize Winner Tamaki Kawakubo. This diverse group has nine performers, including multiple award-winners, who assemble in distinct configurations for different seasons and concerts. While Evermay is the chamber’s artistic home, it will also be performing at other venues, beginning with Strathmore on June 5, 2014.

Evermay Chamber is presented by the S&R Foundation under the patronage of Dr. Ryuji Ueno. The S&R Foundation is dedicated to supporting the chamber music community—both artists and music lovers—by providing more opportunities for this genre to flourish.

About S&R Foundation

The S&R Foundation is a 501(c)(3)

non-profit organization based in Washington, D.C. founded in 2000

by Dr. Sachiko Kuno and Dr. Ryuji Ueno. The S&R Foundation was created to support talented individuals with great potential and high aspirations in the arts, sciences and social entrepreneurship, especially those who are furthering international cultural collaboration. Donations to the S&R Foundation go directly to funding our mission.

Overhead and general operational costs are covered by founders’ contributions and use of existing assets.

For more information, visit www.

SandRFoundation.org.

Headquartered at the historic Evermay Estate in the heart of Georgetown, the S&R Foundation sponsors annual award programs, hosts events and works with its partners to encourage scientific and artistic innovation, cultural and personal growth.

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● Strathmore Presents

Sergio Mendes and Eliane Elias This concert is part of Strathmore’s Jazz Samba Project festival, celebrating Brazilian bossa nova music.

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Sergio Mendes

Producer, composer, keyboardist and vocalist, Sergio Mendes’ influence on the music industry has spanned five decades and continues to evolve through new collaborations and media.

The Brazilian artist has recorded more than 35 albums, many of which went gold or platinum, and he’s a threetime Grammy Award winner. He’ll be bringing the distinctive rhythms of Brazil and his music to a global audience as the executive music producer for the animated film Rio 2.

Mendes started his career with 1961’s Dance Moderno and the groups Bossa Rio and the Sergio Mendes Trio. But it was Sergio Mendes and Brasil ’66 that sparked global stardom. Performing “The Look of Love” at the 1968 Academy Awards, the ensemble’s version went top 10, quickly followed by the hits “The Fool on the Hill” and “Scarborough Fair.” Enjoying immense popularity, Mendes added soul and funk to his jazz and pop, but always with a Brazilian rhythm. His earlier single, “Mas

Que Nada,” marked the first time that a song sung entirely in Portuguese hit Billboard’s pop chart in the U.S. In the ’80s, he scored with the No. 1 adult contemporary and pop Top 10 hit “Never Gonna Let You Go.” And in 1992 Mendes received the Grammy Award for Best World Music for his album Brasileiro. Mendes also has received two Latin Grammy Awards for Best Brazilian Record, Timeless (2006) and Bom Tempo (2010).

Mendes’ iconic album, Herb Alpert Presents Sergio Mendes & Brasil ’66, was inducted into the Grammy Hall of Fame in 2012, joining Bruce Springsteen’s Born In The U.S.A., the Rev. Dr. Martin Luther King, Jr.’s “I Have a Dream” speech, the Rolling Stones’ Exile On Main St., and others in the class of historically significant recordings.

Mendes’ new album, scheduled to be released in May, features eclectic and upbeat Brazilian rhythms and guest vocalists.

Eliane Elias

Pianist/singer/songwriter Eliane Elias is known for her distinctive and immediately recognizable musical style, which blends her Brazilian roots and her sensuous voice

with her instrumental jazz, classical and compositional skills.

Born in São Paulo, Brazil, Elias started studying piano at age 7, and at age 12 was transcribing solos from the great jazz masters. Her performing career began in Brazil at age 17, working with Brazilian singer/songwriter Toquinho and the great poet Vinicius de Moraes. In 1981, she headed for New York and in 1982 landed a spot in the group Steps Ahead.

Her first album release was a col laboration with Randy Brecker entitled Amanda in 1984. Shortly thereafter her solo career began, spanning more than 20 albums. Considered one of the great interpreters of Antonio Carlos Jobim’s music, Elias has recorded two albums solely dedicated to the works of the composer, Plays Jobim and Sings Jobim.

In 2008 Elias recorded Bossa Nova Stories, featuring some of the landmark songs of Brazil with American classic and pop standards. A year later EMI Japan released Eliane Elias Plays Live, an all-instrumental modern jazz trio album with bassist Marc Johnson and drummer Joey Baron of a concert recorded in Amsterdam in 2002.

Light My Fire, released in 2011, features four compositions written or co-written by Elias herself and also includes covers of familiar works by songwriters as diverse as Jim Morrison and the Doors, pop icon Stevie Wonder and jazz saxophonist Paul Desmond. In May 2013 Concord Jazz presented Elias’ I Thought About You (A Tribute to Chet Baker), an album that offers her personalized spin on the work of a key American jazz artist while spotlighting her connection to the singer-instrumentalist tradition.

With 23 albums to date demonstrating her unique gifts as a pianist, singer, composer and arranger as well as melding her immense talents in jazz, pop, classical and Brazilian music, Elias is—as Jazziz magazine has called her— “A citizen of the world” and “an artist beyond category.”

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Friday, June 6, 2014, 8 p.m.

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Saturday, June 7, 2014, 8 p.m.

SATURDAY, JUNE 7, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Beethoven’s Ninth Marin Alsop, conductor Angela Meade, soprano Jennifer Johnson Cano, mezzo-soprano Dimitri Pittas, tenor James Morris, bass-baritone Baltimore Choral Arts Society Tom Hall, Music Director Peabody Children’s Chorus Doreen Falby, Director On the Transmigration of Souls Baltimore Choral Arts Society Peabody Children’s Chorus

John Adams (1947-)

ALSOP PHOTO BY DEAN ALEXANDER, MEADE PHOTO BY DARIO ACOSTA

INTERMISSION Symphony No. 9 in D minor, Op. 125, “Choral” Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto—Allegro assai— Allegro assai vivace Angela Meade Jennifer Johnson Cano Dimitri Pittas James Morris Baltimore Choral Arts Society

Ludwig van Beethoven (1770-1827)

Angela Meade, soprano

Presenting Sponsor: M & T Bank The concert will end at approximately 10 p.m.

The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor

Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vision and

appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008.

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

In the summer of 2011, Alsop served her 20th season as music director of the acclaimed Cabrillo Festival of Contemporary Music in California.

Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.”

distinction who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages.

Alsop made history with her

Soprano Angela Meade is the winner of the 2012 Beverly Sills Artist Award from the Metropolitan Opera and the 2011 Richard Tucker Award. Since her professional debut in 2008, she has quickly become recognized as one of the outstanding vocalists of her generation.

Meade made her professional operatic debut on the stage of the Metropolitan Opera in March 2008, in the role of Elvira in Verdi’s Ernani. She had previously sung on the Met stage as one of the winners of the 2007 Metropolitan Opera National Council Auditions, a process that is documented in the film The Audition.

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Jennifer Johnson Cano, mezzo-soprano

A 2012 Richard Tucker Career Grant and Opera Index Winner and 2011 Sara Tucker Study Grant recipient, mezzo-soprano Jennifer Johnson Cano joined the Lindemann Young Artist Development Program at the Metropolitan Opera in 2008 and made her Met debut in 2009-2010. As first prize winner of the 2009 Young Concert Artist International Auditions, she was awarded the MecklenburgVorpommern Festival and Princeton University prizes and has given stunning recital debuts at Merkin Hall and the Kennedy Center, and in Boston, Philadelphia, Houston and Chicago.

Following performances at the Metropolitan Opera as Mercedes, Emilia,

Wellgunde and Waltraute last season, Cano debuted this season as Meg Page in Falstaff and Bersi in Andrea Chenier.

Other operatic debuts include The Sharp Eared Fox in Janácek’s Cunning Little Vixen with the Cleveland Orchestra and Franz Welser-Moest and Marguerite in Berlioz’s La Damnation de Faust in collaboration with the Tucson Symphony and Tucson Desert Song Festival in February 2014.

In addition to her continued relationship with the Metropolitan Opera, Cano has appeared with the New York and Los Angeles philharmonic orchestras, Cleveland Orchestra, San Francisco Symphony and Orchestra of St. Luke’s. She toured with Musicians from Marlboro singing Respighi’s Il Tramonto and Cuckson’s Der gayst funem shture, recorded live and released by the Marlboro Recording Society.

Cano is a native of St. Louis, Mo., and earned her bachelor’s degree in music from Webster University and her master’s degree from Rice University.

Jennifer Johnson Cano is making her BSO debut.

Dimitri Pittas, tenor

Dimitri Pittas has appeared on leading opera stages throughout North America and Europe, including debuts with the Bavarian State Opera, the Vienna State Opera, Royal Opera House Covent Garden and the Canadian Opera Company.

He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and has been heard on the Met stage as Rodolfo in La bohème, Macduff in Macbeth, Nemorino in L’elisir d’amore and Tamino in Die Zauberflöte. His repertoire includes performances as Alfredo in La traviata, Tebaldo in I Capuletti e i Montecchi, Edgardo in Lucia di Lammermoor and the Duke of Mantua in Rigoletto.

Pittas begins the current season

performing Verdi’s Requiem with the Royal Concertgebouw Orchestra in Amsterdam. He also performs this work with the Kansas City Symphony later this season. Pittas makes his debut at the Hamburg State Opera singing the role of Oronte in a new production of Verdi’s I Lombardi.

Additional performances include his return to the Canadian Opera Company, first as Rodolfo in La bohème, then to sing his first performances of Riccardo in Un ballo in maschera, and to Deutsche Oper Berlin to sing Nemorino in a new production of L’elisir d’amore.

Dimitri Pittas is making his BSO debut.

James Morris, bass-baritone

Bass-baritone James Morris is world famous for his performances in opera, concert, recital and recording. With a repertoire including works by Wagner, Verdi, Puccini, Offenbach, Stravinsky, Mussorgsky, Mozart, Gounod and Britten, Morris has performed in virtually every international opera house and has appeared with the major orchestras of Europe and the United States.

Recently, Morris debuted as Oroveso in Norma at the Metropolitan Opera. He returned to the Lyric Opera of Chicago as Hans Sachs in a new production of Die Meistersinger von Nürnberg and the Four Villains in Les contes d’ Hoffmann. Morris also returned to the Metropolitan Opera in his signature role of Scarpia in Tosca, and then as Ramfis in Aida and Commendatore in the new production of Don Giovanni. When the Metropolitan Opera brought Benjamin Britten’s Billy Budd into the repertoire, Morris triumphed in the role of John Claggart and repeated performances of the role in the spring of 2012.

Morris recently added to his repertoire the role of the Doctor in Berg’s Wozzeck with the English National Opera. Recent concert performances

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During the 2013-2014 season, Meade sang the title role of Norma at the Metropolitan Opera and portrayed Alice Ford in Verdi’s Falstaff under the baton of James Levine, seen as part of the Met’s Live in HD series around the world. She made her Frankfurt Opera debut as Fidelia in concert performances of Puccini’s Edgar and her Italian debut at the Teatro Regio di Torino as Mathilde in Rossini’s Guglielmo Tell.

Meade has appeared in recital at the Kennedy Center, and as soloist with the Boston Symphony, Cleveland Orchestra, Houston Symphony, Minnesota Orchestra, Montreal’s Orchestre Métropolitain, The Philadelphia Orchestra and Seattle Symphony, among others. Conductors with whom she has collaborated in concert include Roberto Abbado, Will Crutchfield, Thomas Dausgaard, Charles Dutoit, Manfred Honeck, Sebastian Lang-Lessing, Yannick Nézet-Séguin, Gerard Schwarz and Osmo Vänskä.

Angela Meade last appeared with the BSO in 2011, singing Verdi’s Requiem, with Music Director Marin Alsop conducting.

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have included Hans Sachs’ monologues from Die Meistersinger von Nürnberg under Rafael Frühbeck de Burgos and the Boston Symphony Orchestra and in Rossini’s rarely-heard Moïse et Pharaon in the title role of Moïse with the Collegiate Chorale at Carnegie Hall.

Born and educated in Baltimore, Morris studied at the Peabody Conservatory and studied with Rosa Ponselle.

He continued his education at the Philadelphia Academy of Vocal Arts.

James Morris last appeared in concert with the BSO in December 1967, when he sang Messiah conducted by Elyakum Shapira.

The Baltimore Choral Arts Society

The Baltimore Choral Arts Society, now in its 48th season, is one of Maryland’s premier cultural institutions.

The Symphonic Chorus, Full Chorus, Orchestra and Chamber Chorus

perform throughout the mid-Atlantic region, as well as in Washington, D.C., New York and Europe.

For the past 17 years, WMAR Television has featured Choral Arts in an hour-long special, Christmas With Choral Arts, which won an Emmy Award in 2006. Music Director Tom Hall and the chorus were also featured in a PBS documentary called Jews and Christians: A Journey of Faith, broadcast nationwide and on National Public Radio in 2001. 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.

Choral Arts has appeared with the National Symphony, and has made regular appearances with the Baltimore Symphony Orchestra. Artists collaborating with Choral Arts have included Chanticleer, Dave Brubeck, the King’s Singers, Peter Schickele, Sweet Honey in the Rock and Anonymous 4.

Tom 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, Rosephanye Dunn Powell and many other internationally acclaimed composers.

Hall is also active as a guest conductor in the U.S. and Europe, including appearances with the Handel and Haydn Society in Boston,

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the Choral Arts Society of Philadelphia, the Berkshire Choral Festival, Musica Sacra in New York and Britten Sinfonia in Canterbury, England. Hall has prepared choruses for Leonard Bernstein, Robert Shaw, Helmuth Rilling and others, and he served as the chorus master of the Baltimore Opera Company for 10 years.

The Baltimore Choral Arts Society last appeared with the BSO in May 2014, performing Mendelssohn’s A Midsummer Night’s Dream, with Music Director Marin Alsop conducting.

The Peabody Children’s Chorus

The Peabody Children’s Chorus, founded in 1989, is dedicated to providing age-appropriate vocal training for young people. The chorus brings children together to rehearse and perform art and folk music of multiple cultures, languages, historical periods, and styles. In six ensembles rehearsing in Towson or Columbia, young people gain invaluable experience making music in ensemble settings, and studying ear-training and music-reading.

About 400 children between the ages of 6 and 18 participate each year in three levels of training, rehearsing high quality treble music of advancing challenge and sophistication, and performing in public concert at least twice a year.

The Peabody Children’s Chorus has performed with the Baltimore Chamber Orchestra, the Baltimore Choral Arts Society, the Baltimore Symphony Orchestra, Concert Artists of Baltimore, Lyric Opera Baltimore, the Mid-Atlantic Symphony Orchestra, the Morgan State University Choir, Peabody Conservatory’s Opera Theater, and the Peabody Symphony Orchestra. During the 2009-2010 season

the chorus performed in the Somerset International Youth Choral Festival in England and celebrated the release of the Naxos American Classics Grammy-nominated recording of Bernstein’s Mass, upon which it collaborated with the Baltimore Symphony Orchestra under the baton of Marin Alsop.

In 2011, the chorus performed at the Vatican, in Rome and in St. Mark’s Cathedral in Venice and with the Baltimore Symphony Orchestra in Carnegie Hall. In the summer of 2013, the chorus was featured in the Dimanches Musicaux de La Madeleine Concert Series in Paris, performed at the American Cemetery in Normandy, and sang mass in Notre Dame Cathedral.

The Peabody Children’s Chorus last appeared with the BSO in November 2013, performing Britten’s War Requiem with Music Director Marin Alsop conducting.

Program Notes On the Transmigration of Souls

John Adams Born Feb. 15, 1947, in Worcester, Mass.; now living in Berkeley, Calif.

When the New York Philharmonic approached John Adams in January 2002 about creating a work to commemorate the lives lost on Sept. 11, 2001 for the opening concerts of its 2002-2003 season, which would fall close to the first anniversary of that terrible tragedy, the composer remembers that he said “yes” without any hesitation.

There were indeed good reasons to refuse. Usually, Adams explained, a commission for such a major work would come at least a year in advance, but this one would need to be accomplished in no more than six months.

Nevertheless, “I knew immediately that I very much wanted to do this piece— in fact I needed to do it. … I was probably no different from most Americans in not knowing how to cope with the enormous complexities suddenly thrust open us. Being given the opportunity to make a work of art that would speak

directly to people’s emotions allowed me not only to come to grips personally with all that had happened, but also gave me a chance to give something to others.”

It was hardly surprising that the New York Philharmonic would choose Adams for this special commission, for more than any other American composer working today he has shown an extraordinary gift for taking events right out of the newspapers and turning them into eloquent works of art. In collaboration with the iconoclastic director Peter Sellars, he first stunned audiences with a singing Richard Nixon and a dancing Chairman Mao in his 1987 opera Nixon in China, based on Nixon’s dramatic visit to China in 1972. This was followed in 1991 by another topical opera, The Death of Klinghoffer, about the hijacking of the cruise ship Achille Lauro

by Palestinian terrorists and the murder of one of its Jewish passengers, as well as Doctor Atomic (2005), about the physicist J. Robert Oppenheimer and the scientific and moral crises surrounding the creation of the first atomic bomb.

But creating music in response to 9/11 seemed a far more difficult task for that day was far too recent and the resulting wound not yet cauterized.

Adams decided that this should be quite different from a conventional memorial piece. “I want to avoid words like ‘requiem’ or ‘memorial’ when describing this piece because they too easily suggest conventions that this piece doesn’t share. If pressed, I’d probably call [it] a ‘memory space.’ It’s a place where you can go and be alone with your thoughts and emotions. … My desire … is to achieve in musical terms the same sort of feeling one gets upon entering one of those old, majestic cathedrals in France or Italy. ... Even though you might be with a group of people … you feel very much alone with your thoughts and you find them focused in a most extraordi nary and spiritual way.”

Ultimately, Adams decided on a sound-collage approach that would mingle a large orchestra and mixed chorus, including a children’s chorus, with a pre-recorded tape of voices

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speaking words and phrases about the event drawn from a variety of sources. “I eventually settled on a surprisingly small amount of text. One is the simple reading of names [of the dead], like a litany, ... starting with the voice of a 9-year-old boy [saying over and over, “Missing”] and ending with two middle-aged women, both mothers themselves.”

The two women at the end repeat an enigmatic phrase: “I see water and buildings”; these were among the last recorded words of Madeline Amy Sweeny, a flight attendant on American Airlines Flight 11, as she tried to tell her supervisor what was happening on her doomed plane. Adams continues: “I mixed this with taped sounds of the city—traffic, people walking, distant voices of laugher or shouting … sirens, breaks squealing— all the familiar sounds of the big city which are so common that we usually never notice them.” These ambient street sounds are what we hear

at both the beginning and the end of Transmigration; it is as though we are still outside the door of Adams’ imaginary cathedral, about to enter and later depart from the sacred space of the music.

The composer chose other bits of texts from The New York Times’ remarkable series “Portraits of Grief”: brief, touching biographies of the victims as remembered by family members and friends. Another source was the missing-persons signs that dotted New York in the days and weeks after the tragedy.

The completed work was given the evocative title On the Transmigration of Souls. Adams explains its meaning: “ ‘Transmigration’ means ‘the movement from one place to another’ or ‘the transition from one state of being to another.’ … In this case I mean it to imply the movement of the soul from one state to another. And I don’t just mean the transition from living to dead, but also the change that

takes place within the souls of those who stay behind, of those who suffer pain and loss and then themselves come away from that experience transformed.”

For its first audiences in New York in mid-September 2002, On the Transmigration of Souls seems to have had the deep cathartic effect Adams had intended; it has since traveled around the United States and to Europe as well. In 2003, it won the coveted Pulitzer Prize for Music, and in 2005 a recording made at those inaugural performances received three Grammy Awards. But more than most musical works, its effect depends to a large degree on the depth of concentration and feeling its listeners bring to it. “Modern people have learned all too well how to keep our emotions in check,” says Adams, “and we know how to mask them with humor or irony. Music has a singular capacity to unlock those controls and bring us face to face with our raw, uncensored and unattenuated feelings.

It’s music to my ears.

GEICO is proud to support students and education in the cultural arts, including Strathmore Student Concerts.

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That is why during times when we are grieving or in need of being in touch with the core of our beings, we seek out those pieces that speak to us with that sense of gravitas and serenity.”

Symphony No. 9 in D minor, Op. 125

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

In the nearly 200 years since its composition, Beethoven’s Symphony No. 9 has become far more than just another symphony. It is now “The Ninth”: an artistic creation, like Shakespeare’s Hamlet, in which every age and nearly every culture finds a mirror of its identity, its struggles and its aspirations. In his guide to the work, Nicholas Cook traces the breadth and often-contradictory nature of the Ninth’s appeal. To the European revolutionaries of 1848, it expressed their democratic aspirations to break free of entrenched autocratic regimes. And yet to the Chinese during the Cultural Revolution of the 1960s it became identified with Communist ideology: Beethoven’s “joy through struggle” was seen as identical to Communism’s slogan “victory through struggle.” And who can forget Leonard Bernstein’s supercharged performance of the Ninth with musicians from the former East and West Germanys at the crumbling Berlin Wall in 1989? Capturing the exhilaration of the collapse of the Iron Curtain, he asked the singers in the finale to change the word “freude”—“joy”—to “freiheit”—“freedom.”

How could one work mean so much to so many different cultures and for so many different reasons? And what does it mean to us today? Most listeners would agree with Michael Steinberg that, “Explicitly, it seeks to make an ethical statement as much as a musical statement.” Beethoven always believed that music had a higher purpose beyond the making of beautiful sounds, that it could express and inspire human aspirations toward a more exalted life, in closer harmony with neighbors and strangers alike, and ultimately with

God. In the Ninth, he drove home this message by crowning his instrumental symphony with an unprecedented choral finale: a setting of Friedrich Schiller’s poem “Ode to Joy,” in which joy is defined as a state in which, “All men are made brothers.”

The Ninth Symphony comes from the visionary last years of Beethoven’s life during which he also created the Missa solemnis and his celebrated late string quartets. He had not written a symphony since the Eighth in 1812.

The years that followed had been a period of emotional struggle and artistic stasis. Only when Beethoven resolved the battle for custody of his nephew Karl in 1820 did his creative powers flow freely again. Now virtually stone deaf, he had, in biographer Maynard Solomon’s words, “reached a stage where he had become wholly possessed by his art.”

Since at least the early 1790s, Beethoven had loved Schiller’s “Ode to Joy” (written in 1785 as a drinking song!) and considered setting it to music. When he made the bold decision to risk a vocal finale, he edited the poem to make it express a higher joy for mankind than could be found in any tavern.

Premiered at Vienna’s Kärtnertor Theater on May 7, 1824, the first performance reportedly moved its audience to tears as well as cheers. Beethoven was on the podium, but the real conductor was Michael Umlauf; the musicians had been instructed to follow only his beat and ignore the deaf Beethoven’s. The performance probably would have sounded terrible to us today: orchestra and singers had had only two rehearsals together of a work that many found beyond their capabilities. And yet the magic of the Ninth somehow won out. At the end of symphony, the alto soloist, Caroline Unger, had to turn Beethoven around to see the audience’s tumult; unable to hear them, he had remained hunched over his score.

And what of the wonders of this score? Later composers wrote longer first movements, but the Ninth’s opening movement, at just 15 minutes,

seems the vastest of them all. From the opening trickle of notes, seemingly born from the primordial ooze, emerges the mightiest descending theme. After moods of struggle, reverie and provisional triumph, Beethoven appends a huge coda that even touches on a ghostly funeral march before the orchestra shouts the principal theme one last time.

The Scherzo second movement— Beethoven’s greatest example of the fierce dance form he refashioned from the 3/4-time minuet—is built out of another descending motive, consisting of just two pitches and a dotted rhythm.

From that dotted rhythm and the potential it offers to the timpani to become a major player instead of an accompanist, Beethoven creates a witty, infectious movement of relentless intensity. And if the scherzo is the apotheosis of a rhythm, the succeeding slow movement is the apotheosis of melody. Here Beethoven builds a double variations movement out of two melodies, one slow and noble, the other like a flowing stream: a musical representation of a heavenly utopia.

The key of D major finally triumphs over D minor in the exhilarating choral finale, famed for making the cellos and basses speak like human voices as they review the events of the previous movements and then dismiss them in favor of the sublimely simple “Joy” theme. The remainder of the finale then becomes a series of extraordinary variations on this heart-stirring melody, sung by chorus, the solo quartet and orchestra.

The other major theme of this huge finale is sung in unison by the tenors and basses at the words, “Seid umschlungen, Millionen”: “Be embraced, ye millions.” It opens an extended, awestruck episode in which the chorus hails the loving Father, creator of the universe, and concludes in a magnificent double fugue in combination with the “Ode to Joy” theme. At the end, Beethoven drives his voices almost beyond their capacities to express his glorious vision of a new world just beyond human reach.

Notes by Janet E. Bedell copyright 2014

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FRIDAY, JUNE 13, 2014, 8 P.M.

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John Prine, acoustic and electric guitar, lead vocals Dave Jacques, acoustic and electric bass, background vocals Jason Wilber, acoustic and electric guitar, mandolin, harmonica, background vocals The Music Center at Strathmore Marriott Concert Stage

John Prine

Some four decades since his remarkable debut, John Prine has stayed at the top of his game, both as a performer and songwriter. Recently honored at the Library of Congress by U.S. Poet Laureate Ted Kooser, Prine has been elevated into the realm of American treasures.

Performers who have recorded Prine’s songs include Johnny Cash, Bonnie Raitt, the Everly Brothers, John Denver, Kris Kristofferson, Carly Simon, Ben Harper, Joan Baez and many others.

“He’s so good, we’re gonna have to break his fingers,” Kris Kristofferson once said after being justifiably stunned by a Prine performance. Bob Dylan remarked, “Beautiful songs… Nobody but Prine could write like that.”

But long before all the concerts and albums, Prine trudged through snow in the cold Chicago winters, delivering mail across Maywood, his childhood suburb. “I always likened the mail route to a library with no books,” says Prine.

“I passed the time each day making up these little ditties.”

The Singing Mailman Delivers, released in 2011, features the earliest studio and live recordings from Prine dating back to 1970.

In August 1970, John Prine went to Chicago’s WFMT Studios to be interviewed by Studs Terkel. “I asked after the show if it were possible to stick around and tape all the songs I had written up until then,” Prine says.

These studio recordings were simply and sincerely recorded with Prine’s trademark guitar finger-picking and early vocal style. The disc closes with the unreleased track titled “A Star, A Jewel and a Hoax,” a brief and whimsical look into an often-overlooked cranny of everyday life.

The live performance was recorded at the Fifth Peg in Chicago in November 1970, where Prine would play three nights a week, while still delivering mail during the day. “I still maintain that Chicago winters and postman-hungry dogs finally drove me to songwriting,” Prine says.

These amateur recordings on The Singing Mailman Delivers show Prine as a poet whose consummate songs were refined since inception.

Words by Jon Nowak & Paul Zollo

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Saturday, June 14, 2014, 8 p.m.

SATURDAY, JUNE 14, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

A Symphonic Night at the Movies Casablanca with the score performed live by the Baltimore Symphony Orchestra conducted by Emil de Cou Screenplay by Julius J. Epstein, Philip G. Epstein and Howard Koch Directed by Michael Curtiz Produced by Hal B. Wallis and Jack L. Warner Music by Max Steiner Film Courtesy of Warner Bros. Entertainment Inc. THE CAST Humphrey Bogart Rick Blaine Ingrid Bergman Ilsa Lund Paul Henreid Victor Laszlo Claude Rains Captain Renault Conrad Veidt Major Strasser Sydney Greenstreet Signore Ferrari Peter Lorre Ugarte S.K. Sakall Carl Madeline Lebeau Yvonne Dooley Wilson Sam This film is presented with one intermission and will end at approximately 9:45 p.m.

Producer: John Goberman Live orchestra adaptation by Patrick Russ Technical Supervisor: Pat McGillen Music Preparation: Larry Spivack Symphonic Night at the Movies is a production of PGM Productions Inc. of New York and is presented by arrangement with IMG Artists.

The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

The Music Center at Strathmore Marriott Concert Stage

Emil de Cou, conductor

American conductor Emil de Cou appears regularly as guest conductor with orchestras across the United States. After serving as associate conductor with the National Symphony Orchestra for eight years, he was appointed as music director of the Pacific Northwest Ballet, a position he began in 2011.

De Cou has appeared as guest conductor with many leading orchestras, including those of Philadelphia, Chicago, Houston, Saint Louis, Detroit, Montreal, Boston Pops, Minnesota, Denver, Portland and San Francisco.

He was acting music director for the San Francisco Ballet and conductor of the American Ballet Theatre for eight seasons, conducting performances at Lincoln Center as well as national and international tours.

His innovative concerts at the Wolf Trap Pavilion have included the first screenings of The Wizard of Oz with the score performed with live orchestra, the first ever live Twitter program notes (Beethoven’s “Pastoral” Symphony) and live in-time podcast for a concert called “Fantastic Planet.” In 2008 he conducted the first performance ofRodgers & Hammerstein at the Movies.

Program Notes Casablanca

Music by Max Steiner Born May 10, 1888, in Vienna, Austria; died Dec. 28, 1971 in Hollywood, Calif.

The 1942 movie Casablanca is now considerably more than a classic World War II film; it is a cinematic legend and perhaps the most beloved movie ever made. Ranked by most film surveys among the greatest of all American films—in 1998 the American Film Institute placed it at No. 2 for the entire 20th century—it is the source of several immortal lines now part of the English language: “Round up the usual

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suspects”; “Of all the gin joints in all the towns in all the world, she walks into mine”; “I think this is the beginning of a beautiful friendship”; and “Here’s looking at you, kid.” (Incidentally, that last line wasn’t actually in the script; Humphrey Bogart improvised it in rehearsal and it was kept in.) One famous quotation that doesn’t appear in the film is “Play it again, Sam”; it’s really: “Play it, Sam. Play ‘As Time Goes By.’” Casablanca is the most frequently broadcast film on American television. It is also part of an iconic tradition at Harvard University in Cambridge, Mass. On April 21, 1957, that town’s Brattle Theater screened it as part of a season of old films; it was such a runaway hit that it has been shown during the week of Harvard’s final exams every year since.

Creating a Masterpiece When producer Hal Wallis of Warner Brothers studio decided to make the film—based on an unproduced play Everybody Comes to Rick’s by Murray Burnett and Joan Allison—he surely didn’t set out to make a classic. This was a topical film, designed to appeal to war time audiences and specifically to capitalize on the recent Allied invasion of North Africa. The cast included A-list stars—Humphrey Bogart and Ingrid Bergman—but the shooting schedule and budget were tight. Casablanca was shot entirely on the Warner Brothers lot (except for the brief scene of Major Strasser’s arrival, filmed at the Van Nuys Airport) and completed in just over two months (May 25 to Aug. 3, 1942).

The story line was perfectly attuned to its times: the sacrifice of a great love for a higher cause. The script was only half-completed when director Michael Curtiz began filming. Twin brothers Julius J. and Philip G. Epstein began working on it in 1941, but temporarily left after Pearl Harbor for war-related projects; Howard Koch was brought in during their absence. The cast spent much of the film not knowing how the story was to conclude—specifically, which man Bergman’s character Ilse

Lund would end up with—and Curtiz and the writers even considered a different denouement. But the assertion that no one in the cast knew the ending until the last day of shooting is an exaggeration.

The casting was mostly inspired.

As Rick Blaine, owner of Rick’s Café Américain, Bogart was tackling his first romantic lead. Bergman had been in a few previous American movies, but this one finally made her a star in America; the cinematographer Arthur Edson used special lighting to capture her beauty and the tears sparkling in her eyes.

The rather stiff Austrian-American actor Paul Henreid as her husband, the Czech resistance leader Viktor Laszlo, was perhaps the one bit of miscasting.

The film also boasted a marvelous group of supporting actors, including a brilliant Claude Rains as the unscrupulous French officer Captain Louis Renault and an oily Sidney Greenstreet as Signor Ferrari, owner of a rival nightclub.

A special strength for this story of international refugees holed up in Casablanca, Morocco in December 1941, just before the attack on Pearl Harbor, was the fact that only three of the cast members were born in the United States: Bogart and Dooley Wilson as the piano-player Sam, among them. Most were themselves refugees from Nazi-occupied lands, including Peter Lorre from Hungary (the petty criminal Ugarte), Conrad Veidt (the Nazi commandant Major Heinrich Strasser), and S.Z. Sakall (Carl the waiter), who fled Germany only in 1939 and lost his sisters to the Holocaust. In the stunning musical duel between the Germans and the French, many participating cast members were reported to be in tears.

Casablanca was premiered in New York City on Nov. 26, 1942 and released nationwide in January 1943. Lauded by the critics, it was a popular success.

It was nominated for eight Academy Awards (among them, Max Steiner for Best Score) and won three: Best Picture of 1943, Best Director (Curtiz) and— despite its scriptwriting rotation—Best Screenplay. But it’s fabulous career had only just begun.

Max Steiner and Casablanca’s Score Though he didn’t win an Academy Award for Casablanca, Max Steiner was a three-time Academy Award laureate. Born in Vienna in 1888 to a prominent theatrical family (his father was responsible for building the giant Ferris wheel in the Prater amusement park that is a Viennese landmark), Steiner was a child prodigy and studied with Gustav Mahler. After working in England and on Broadway, he moved to Hollywood in 1929 and became one of the great pioneers of film-score composition. First employed by RKO, he was hired away by Warner Brothers in 1937 because Jack Warner decided he wanted his company to produce movies with the best music in the business.

Steiner was also the favorite composer of legendary producer David O. Selznick and composed the iconic score for Gone With the Wind. Over his long career, he created more than 300 film scores, including those for King Kong, Now, Voyager (Academy Award), and three other Bogart pictures: The Big Sleep, Key Largo and The Treasure of the Sierra Madre. He received 24 Academy Award nominations.

Steiner biographer Christopher Palmer notes: “One of Steiner’s most positive assets is his ability to crystallize the essence of a film in a single theme.” How ever, in Casablanca that most memorable theme was actually written by someone else: the hauntingly nostalgic song “As Time Goes By,” associated with Rick and Ilse’s romance, was composed by Herman Hupfeld. In addition to its performances by Sam, the nightclub’s pianist, this melody is incorporated in Steiner’s music throughout the movie. Two other themes also appear frequently: the French anthem “La Marseillaise” and the German “Deutschlandlied.” In one of the film’s most powerful scenes, these two songs collide in a dramatic proxy battle between the German soldiers and the Free-French residents and refugees in Rick’s Café. Indeed, in Casablanca the music plays as important a role as do the two unforgettable leads, Rick Blaine and Ilse Lund.

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Beauty

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BE IN THE KNOW. INTRODUCING:

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Music Center at

Strathmore

IMPORTANT INFORMATION

please contact the Ticket Office for replacements.

patrons. Both main entrances have power- assisted doors.

CHILDREN

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

GROUP SALES, FUNDRAISERS

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others.

Some presenters do not allow children under the age of six years to non-family concerts. As always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. Contact the Ticket Office at (301) 581-5100 for additional information.

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

PARKING FACILITIES

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

TICKET OFFICE HOURS Monday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m.

Wednesday 10 a.m. – 9 p.m.

Saturday 10 a.m. – 2 p.m.

Sixty minutes prior to each performance in the Music Center through intermission.

All tickets are prepaid and non-refundable.

Concert parking is located in the Grosvenor-Strathmore Metro garage off Tuckerman Lane. At the end of each ticketed event in the Music Center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. If you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the stanchion video camera at the exit gate to exit at no cost. For all non-ticketed events, Monday-Friday, parking in the garage is $5 and may be paid using a Metro SmarTrip card or major credit card.

Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the GrosvenorStrathmore Metro garage, walk across the glass-enclosed sky bridge located on the fourth level.

WILL CALL

PUBLIC TRANSPORTATION

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

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

TICKET POLICIES Unlike many venues, Strathmore allows tickets to be exchanged.

Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the Music Center. Exchanges must be for the same presenter within the same season. Ticket exchanges are NOT available for independently produced shows. Please contact the Ticket Office at (301) 581-5100 for details on how to exchange tickets.

If a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket Office for 30 days after the original scheduled performance date.

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

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

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

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

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

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

LOST AND FOUND During a show, please see an usher.

All other times, please call (301) 581-5100.

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

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

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

ASSISTIVE LISTENING

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

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

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

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

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

In the case of fire, use the stairs, not the elevators.

WARNINGS The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building.

Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

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JONATHAN TIMMES

STRATHMORE HALL FOUNDATION, INC. BOARD OF DIRECTORS EXECUTIVE COMMITTEE Dale S. Rosenthal Chair Robert G. Brewer, Jr., Esq. Vice Chair William R. Ford Treasurer Carolyn P. Leonard Secretary and Parliamentarian

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

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

DONORS Strathmore thanks the individuals and organizations who have made contributions between January 1 and December 31, 2013. Their support of at least $500 and continued commitment enables us to offer the affordable, accessible, quality programming that has become our hallmark.

$250,000+ Arts and Humanities Council of Montgomery County Maryland State Arts Council $100,000+ Hogan Lovells (in-kind) Post-Newsweek Media, Inc. (includes in-kind) $50,000+ Booz Allen Hamilton Lockheed Martin Corporation The Morris and Gwendolyn Cafritz Foundation Symphony Park LLC $25,000+ Asbury Methodist Village Federal Realty Investment Trust GEICO Glenstone Foundation Yanqiu He and Kenneth O’Brien Carolyn and Jeffrey Leonard Paul M. Angell Family Foundation PEPCO TD Bank Carol Trawick $15,000+ Abramson Family Foundation Inc. Nancy and Raymond Hardwick Elizabeth and Joel Helke Lyle and Cecilia Jaeger (in-kind) Sachiko Kuno and Ryuji Ueno Lerch, Early & Brewer, Chartered (includes in-kind) MARPAT Foundation, Inc. Mid Atlantic Arts Foundation National Endowment for the Arts $10,000+ Bank of America Jonita and Richard S. Carter

Capital One Services Inc. Clark Construction Group, LLC Comcast Elizabeth W. Culp EagleBank Suzanne and Douglas Firstenberg Giant Food LLC Dorothy and Sol Graham Guardian Realty Management, Inc. Lerner Enterprises Janet L. Mahaney Montgomery County Department of Economic Development Patricia and Roscoe Moore Natelli Communities LP Janine and Phillip O’Brien PBS Della and William Robertson Dale S. Rosenthal Reginald Van Lee $5,000+ Cathy Bernard Gary Block Mary and Greg Bruch Frances and Leonard Burka Dallas Morse Coors Foundation for the Performing Arts Carl M. Freeman Foundation Elizabeth and Peter Forster Ellen and Michael Gold Jane Elizabeth Cohen Foundation Julie and John Hamre The Kiplinger Foundation Allen Kronstadt Delia and Marvin Lang Tina and Arthur Lazerow Constance Lohse & Robert Brewer Minkoff Development Corporation Milton and Dorothy Sarnoff Raymond Foundation Carol Salzman and Michael Mann

Strathmore Artist in Residence Elijah Jamal Balbed is a jazz saxophonist, composer and bandleader. His residency concerts take place in the Mansion on May 14 and 28. Each year, Strathmore selects six Artists in Residence to receive intensive professional and artistic development. Balbed’s residency is sponsored by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr.

John Sherman, in memory of Deane Sherman Meredith Weiser & Michael Rosenbaum WGL Holdings, Inc. Ellen and Bernard Young Nancy and Harold Zirkin

Soltesz Associates, Inc. Annie S. Totah Paulette and Larry Walker Ward & Klein, Chartered Susan Wellman Anne Witkowsky and John Barker

$2,500+ Agmus Ventures, Inc. Anonymous Louise Appell Atsite, Inc. Bank of Georgetown Alison Cole and Jan Peterson Community Foundation for the National Capital Region Margaret and James Conley Carin and Bruce Cooper CORT Business Services Carolyn Degroot Hope Eastman Starr and Fred Ezra Michelle Newberry Barbara Goldberg Goldman Carolyn Goldman and Sydney Polakoff Lana Halpern Diana and Paul Hatchett Monica Jeffries Hazangeles and John Hazangeles Cheryl and Richard Hoffman A. Eileen Horan Igersheim Family Foundation Alexine Jackson Dianne Kay Peter S. Kimmel, in memory of Martin S. Kimmel Eleanor Kleinman and Mark Zaid Teri Hanna Knowles & John M. Knowles Judie and Harry Linowes Jill and Jim Lipton Sharon and David Lockwood Effie and John Macklin NOVA Research Co., Peggy & Paul Young Carol and Jerry Perone Mindy and Charles Postal Randy Hostetler Living Room Fund Cheryl and William Reidy Lorraine and Barry Rogstad Karen Rosenthal & M. Alexander Stiffman Barbara and Ted Rothstein Janet and Michael Rowan Katherine Rumbaugh and Diana Downey Phyllis and J. Kenneth Schwartz Lynne Sendejo Kerri Sharabi Victor Shargai and Craig Pascal Christine Shreve & Thomas Bowersox Mary Kay Shartle-Galotto & Jack Galotto Ann and Jim Simpson Leon and Deborah Snead Tanya and Stephen Spano

$1,000+ Anonymous Marie Allen Mary Kay and Dave Almy Doris and David Aronson Mary Barton and Elizabeth Biegelson Margaret and Craig Bash Susan and Brian Bayly Jane Beard and Jeff Davis Sheila and Kenneth Berman Carol and Scott Brewer Vicki Britt and Robert Selzer Jeff Broadhurst Lucie and Guy Campbell Eleanor and Oscar Caroglanian Conference and Visitors Bureau of Montgomery County Susan and Jane Corrigan Mary Denison and John Clark III Dorothy Fitzgerald Gail Fleder Marlies and Karl Flicker Robert Fogarty Theresa and William Ford Senator Jennie Forehand and William E. Forehand, Jr. Sandra and Victor Frattali Noreen and Michael Friedman Suzanne and Mark Friis Juan Gaddis Leslie and Art Greenberg Greene-Milstein Family Foundation Jai Gupta Linda and John Hanson Maureen and Brent Hanson Boots Harris Sara and James A. Harris, Jr. Vicki Hawkins-Jones & Michael Jones Linda and I. Robert Horowitz Linda and Van Hubbard Deirdre and John Johnson Pamela & Senator Edward Kasemeyer Joan and Howard Katz Deloise and Lewis Kellert Renee Korda and Mark Olson Iris and Louis Korman Jonathan Kugel Carole and Robert Kurman Susan and Gary Labovich Barbara & The Honorable Laurence Levitan Linowes and Blocher LLP Douglas Liu Sandy and M. Gerald Loubier Sandra and Charles Lyons M&T Bank

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MATT STIGLITZ

JONATHAN TIMMES

LEFT: On March 16, members of the Strathmore Children’s Chorus Treble and Young Men’s ensembles opened for Escolania de Montserrat, an internationally lauded boy choir from the Catalonia region of Spain.

Exciting performance opportunities such as this one provide great musical experiences for the young singers. Children’s chorus tuition scholarships are supported in part by Strathmore donors. RIGHT: Earlier this season Strathmore presented the Teatro alla Scala Academy Orchestra in conjunction with the Italian Embassy and the Bracco Foundation. When bringing cultural programming to the Music Center, Strathmore often collaborates with Washington’s extensive diplomatic community.

Jacqueline and J. Thomas Manger Edith and Fred Marinucci J. Alberto Martinez Catherine and David Meloy Leanne and Tim Mertz Ann G. Miller Mocho, LLC Gerry Murphy Esther and Stuart Newman Susan Nordeen Paley, Rothman, Goldstein, Rosenberg, Eig & Cooper Chtd Dale and Anthony Pappas Gloria Paul and Robert Atlas Cynthia and Eliot Pfanstiehl Charla and David Phillips Tammy and Vincent Prestipino Republic National Distributing Co. Jane and Paul (deceased) Rice Karen Rinta-Spinner & Joseph Spinner Rivkin Livingston Levitan & Silver LLC Charlotte and Hank Schlosberg Fran and Richard Silbert Merle and Steven Steiner Mary Sturtevant Marilyn and Mark Tenenbaum Myra Turoff and Ken Weiner Regina and Ken Vasan Judy Whalley and Henry Otto Jean and Jerry Whiddon Irene and Steven White Vicki and Steve Willmann Cindy and Rick Zitelman $500+ Anonymous Judy and Joseph Antonucci Benita and Eric Bailey Dena Baker and Terry Jacobs Laura Baptiste and Brian Kildee Mary Bell Debra Benator and Randall Wagner James Brady Eileen Cahill Trish and Timothy Carrico Kathy and C. Bennett Chamberlin Michael Curto Sr. Ken Defontes David Dise Sue Downes Shoshanah Drake Sue and Howard Feibus Linda Finkelman and Leo Millstein Winifred and Anthony Fitzpatrick Gregory Flowers Joanne and Vance Fort Carol Fromboluti Nancy and Peter Gallo Reva Gambrell Pamela Gates and Robert Schultz Loreen and Thomas Gehl Sandra and Steven Gichner Mr. and Mrs. Alan Gourley Ellie and John Hagner

Sue Hains and Brian Eaton Gerri Hall and David Nickels Wilma and Arthur Holmes Jr. Carol and Larry Horn Barbara and David Humpton JD and JDK Foundation Henrietta and Christopher Keller KHS America, Inc. Richard Klinkner Patricia and James Krzyminski Jennifer and Chuck Lawson Catherine & The Honorable Isiah Leggett Scott Leventhal Ronald Lewis Dorothy Linowes Claire and Scott Livingston Susan Shaskan Luse and Eric Luse Richard Marlo Glenn Marvin Janice McCall Nancy McGinness and Thomas Tarabrella Sabrina and Patrick McGowan Viji and Dan Melnick Dee and Robert Metz Marilyn and Douglas Mitchell Ann Morales and Rice Odell Denise and Thomas Murphy Katie Murphy Ellen and Jim Myerberg Joyce and George Newmyer Margie Pearson and Richard Lampl Mary Pedigo and Daniel Washburn Brian Potts Dianne and Gregory Proctor Yolanda Pruitt Barbara and Mark Rabin Grace Rivera-Oven and Mark Oven Kitty and Glenn Roberts Rodgers Consulting Jacqueline Rogers Henry Schalizki Imogene Schneider Estelle Schwalb Betty Scott and Jim McMullen Gail Scott-Parizer and Michael Parizer Jean and Louis Seiden Bob Sheldon Roberta and Lawrence Shulman Donald Simonds Judi and Richard Sugarman Chris Syllaba Susan Talarico & Michael Sundermeyer Aurelie Thiele Linda and Steuart Thomsen Marion and Dennis Torchia Linda and Irving Weinberg Karen and Roger Winston Jean and Robert Wirth Irene and Alan Wurtzel Susan and Jack Yanovski Gerson Zweifach

Con Brio Society Securing the future of Strathmore through a planned gift.

Anonymous Louise Appell John Cahill Jonita and Richard S. Carter Irene Cooperman Trudie Cushing and Neil Beskin Julie and John Hamre Yanqiu He and Kenneth O’Brien A. Eileen Horan Vivian and Peter Hsueh Tina and Arthur Lazerow Chiu and Melody Lin

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

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

PROGRAMMING Shelley Brown VP/Artistic Director Georgina Javor Director of Programming Phoebe Anderson Dana Artist Services Coordinator Harriet Lesser Visual Arts Curator Kaleigh Bryant Mansion Programming Coordinator

EDUCATION Lauren Campbell Development & Education Manager Betty Scott Education Coordinator

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

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

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

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

STRATHMORE TEA ROOM Mary Mendoza Godbout Tea Room Manager

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BALTIMORE SYMPHONY ORCHESTRA

BOARD OF DIRECTORS OFFICERS

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

BOARD MEMBERS

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

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

LIFE DIRECTORS

Peter G. Angelos, Esq. Rheda Becker H. Thomas Howell, Esq. Yo-Yo Ma Harvey M. Meyerhoff Robert E. Meyerhoff Decatur H. Miller, Esq. Linda Hambleton Panitz

DIRECTORS EMERITI

Barry D. Berman, Esq. Murray M. Kappelman, M.D. 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 The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and government donors whose annual giving plays a vital role in sustaining the Orchestra’s tradition of musical excellence. The following donors have given between January 1, 2013 and March 21, 2014.

LEADERSHIP CIRCLE

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

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

MAESTRA’S CIRCLE

($10,000 AND ABOVE) Mr. and Mrs. A. G. W. Biddle, III Michael G. Hansen & Nancy E. Randa Joel and Liz Helke In memory of James Gavin Manson Hilary B. Miller & Dr. Katherine N. Bent Mr. and Mrs. Arnold Polinger Shugoll Research

Total Wine & More

GOVERNING MEMBERS GOLD ($5,000-$9,999) Anonymous The Charles Delmar Foundation Susan Fisher Dr. David Leckrone & Marlene Berlin Dr. James and Jill Lipton Susan Liss and Family Mr. and Mrs. William Rogers Mike & Janet Rowan Daniel and Sybil Silver

GOVERNING MEMBERS SILVER ($3,000-$4,999) Anonymous (2) Alan V Asay and Mary K Sturtevant Jane C. Corrigan Marcia Diehl and Julie Kurland Ms. Marietta Ethier J. Fainberg Sherry and Bruce Feldman Georgetown Paper Stock of Rockville S. Kann Sons Company Foundation, Amelie & Bernei Burgunder Kiplinger Foundation

Marc E. Lackritz & Mary DeOreo Burt & Karen Leete Mr. & Mrs. Howard Lehrer Dr. Diana Locke & Mr. Robert E. Toense Howard and Linda Martin Mr. & Mrs. Humayun Mirza David Nickels & Gerri Hall Ms. Diane M. Perin Jan S. Peterson & Alison E. Cole Martin and Henriette Poretsky Bill and Shirley Rooker Patricia Smith and Dr. Frances Lussier Mr. Alan Strasser & Ms. Patricia Hartge John & Susan Warshawsky Dr. Edward Whitman Sylvia and Peter Winik Ms. Deborah Wise / Edith and Herbert Lehman Foundation, Inc. ($2,500-$2,999) Dr. Nancy D. Bridges Lt Gen (Ret) Frank B. and Karen Campbell Geri & David Cohen Kari Peterson and Benito R. & Ben De Leon Mr. and Mrs. Charles Kelber Burt & Karen Leete Mrs. June Linowitz & Dr. Howard Eisner Don Spero & Nancy Chasen Paul A. & Peggy L. Young, NOVA Research Company

SYMPHONY SOCIETY GOLD

($2,000-$2,999) Leonard and Gabriela Bebchick Mr. and Mrs. Kenneth R. Feinberg John and Meg Hauge Mr. and Mrs. Gerald Hoefler Dr. Phyllis R. Kaplan Marie Lerch and Jeff Kolb Jennifer Kosh Stern and William H. Turner

SYMPHONY SOCIETY SILVER

($1,200-$1,999) Anonymous (2) Mr. and Mrs. Anthony Abell Ms. Franca B Barton & Mr. George G. Clarke David and Sherry Berz Drs. Lawrence and Deborah Blank Hon. & Mrs. Anthony Borwick Mr. Richard H. Broun & Ms. Karen E. Daly Gordon F. Brown Frances and Leonard Burka Catoctin Breeze Vineyard Cecil Chen & Betsy Haanes Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Harvey A. Cohen & Mr. Michael R. Tardif Joan de Pontet Mr. John C. Driscoll Chuck Fax and Michele Weil Mr. and Mrs. Anthony Fitzpatrick Dr. Edward Finn Mr. and Mrs. Arthur P. Floor Mr. and Mrs. Roberto B. Friedman Mary Martin Gant Mary and Bill Gibb Dr. and Mrs. Sanford Glazer George and Joni Gold Joanne and Alan Goldberg Drs. Joseph Gootenberg & Susan Leibenhaut David and Anne Grizzle Mr. & Mrs. Norman M. Gurevich Mr. & Mrs. John Hanson Sara and James A. Harris, Jr. Esther and Gene Herman David A. & Barbara L. Heywood Madeleine and Joseph Jacobs Betty W. Jensen Mr. & Mrs. Christopher Keller Ms. Kristine Kingery Darrell Lemke and Maryellen Trautman Drs. David and Sharon Lockwood Dr. and Mrs. Peter C. Luchsinger Ms. Janet L. Mahaney Mr. Winton Matthews Marie McCormack David and Kay McGoff David and Anne Grizzle The Meisel Group Dr. & Mrs. Stanley R. Milstein Ms. Zareen T. Mirza Mr. and Mrs. Glenn Miyamoto Douglas and Barbara Norland Mr. and Mrs. Peter Philipps Richard and Melba Reichard Estelle D. Schwalb Roger and Barbara Schwarz Mrs. Phyllis Seidelson Laura H. Selby Donald M. Simonds Dr. and Mrs. Jeffrey R. Singer

Mr. and Mrs. Richard D. Spero Mr. & Mrs. Richard Tullos Donna and Leonard Wartofsky David Wellman & Marjorie Coombs Wellman H. Alan Young & Sharon Bob Young, Ph.D. ($1,000-$1,199) Anonymous (2) Charles Alston and Susan Dentzer Mr. William J. Baer and Ms. Nancy H. Hendry Phebe W. Bauer Mrs. Elaine Belman Dorothy R. Bloomfield Mr. Kurt Thomas Brintzenhofe Bruce and Deborah Broder Mr. and Mrs. John Carr Mr. Vincent Castellano Mr. and Mrs. Arthur C. Cox Delaplaine Foundation Dimick Foundation Mr. and Mrs. John Ford Peter Gil Dr. and Mrs. Harvey R. Gold Mr. & Mrs. Frank Goldstein Mark & Lynne Groban Ms. Lana Halpern Mr. Fred Hart and Ms. Elizabeth Knight Ellen & Herb Herscowitz Fran and Bill Holmes Virginia and Dale Kiesewetter Michael & Judy Mael Mr. and Mrs. David Menotti Herb and Rita Posner Dr. and Mrs. Gerald Rogell Mr. and Mrs. Barry Rogstad Marcia and John Rounsaville Dr. Allyson Slater Margot & Phil Sunshine Mr. and Mrs. Richard Swerdlow Ms. Susan Wellman Richard and Susan Westin Dr. Ann M. Willis Marc and Amy Wish

BRITTEN LEVEL MEMBERS

($500-$999) Rhoda and Herman Alderman Ellen Apatov and Linda Clark Donald Baker Mr. and Mrs. Robert Benna Nancy and Don Bliss Ms. Marcia D. Bond Ms. Cynthia L. Bowman-Gholston Judy and Peter Braham Mr. Philip Brannen Ms. Sharon Phyllis Brown Louis and June Carr Bradley Christmas and Tara Flynn Mr. Herbert Cohen Marion Fitch Connell Mr. & Mrs. Jim Cooper Ms. Brenda K. Edwards Mr. and Mrs. Robert Fauver Drs. Charles and Cynthia Field Wendy and Fred Goldberg Ms. Alisa Goldstein Mr. Robert Green Frank & Susan Grefsheim Ms. Melanie Grishman & Mr. Herman Flay, MD Drs. Marlene and Bill Haffner Ms. Haesoon Hahn Keith and Linda Hartman Mr. Jeff D. Harvell & Mr. Ken Montgomery Mr. Lloyd Haugh Mr. & Mrs. William L. Hickman Mr. & Mrs. Howard Iams Mr. and Mrs. Norman Kamerow Ms. Daryl Kaufman Dr. Birgit Kovacs Dr. Arlin J. Krueger Ms. Delia Lang Harry and Carolyn Lincoln Mr. Christopher Loveless R. Mahon Mr. Mark Mattucci Mr. and Mrs. Martin McLean Merle and Thelma Meyer Ellen G. Miles and Neil R. Greene Mr. & Mrs. Walter Miller William and Patricia Morgan Mr. Koji Mukai Eugene and Dorothy Mulligan Amanda & Robert Ogren Mr. and Mrs. Philip Padgett Thomas Plotz and Catherine Klion Marie Pogozelski and Richard Belle Andrew and Melissa Polott Mr. and Ms. Donald Regnell

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Principal Pops Conductor Jack Everly with BSO donors at a cast party

Harold Rosen Henry Roth Ms. Ellen Rye Lois and David Sacks Mr. Allen Shaw and Ms. Tina Chisena Donna and Steven Shriver Ms. Terry Shuch and Mr. Neal Meiselman Ms. Sonja Soleng Gloria and David Solomon Mr. Peter Thomson Mr. and Mrs. Mark and Debra Udey Mr. and Mrs. Robert Wein Linda and Irving Weinberg Allan and Wendy Williams Mr. David M. Wilson Robert and Jean Wirth Ms. MaryAnn Zamula

BRAHMS LEVEL MEMBERS

($250-$499) Ms. Judith Agard Dr. Don D. Anderson Mr. Bill Apter Pearl and Maurice Axelrad Mr. and Mrs. James Bailey Mr. Paul Balabanis Mr. Robert Barash Mariv and Rachel Becker Mr. & Mrs. John W. Beckwith Melvin Bell Alan Bergstein and Carol Joffe Mr. Donald Berlin Mr. Neal Bien Drs. Ernst and Nancy Scher Billig Ms. Ruth Bird Ms. Monica M. Bradford Dr. Chris H. and James D. Bridgeman Mr. and Mrs. Serefino Cambareri Ms. Patsy Clark Ms. June Colilla Dr. and Mrs. Eleanor Condliffe Mr. Kevin Connell & Ms. Mary Theresa Burton Mr. and Mrs. Herbert Cooper Ms. Ellen Cull Mr. and Mrs. Charles Davenport Dr. & Mrs. James R. David Mr. David S. Davidson Mr. Jeffrey Davis Anne and Arthur Delibert Anonymous Ms. Sandra Kay Dusing Drs. Stephen and Irene Eckstrand Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Claudia and Eliot Feldman Mr. Michael Finkelstein Dr. & Mrs. David Firestone Mr. and Ms. Clifford and Betty Fishman Robert and Carole Fontenrose Mr. & Mrs. Michael Scott Friedman Lucian & Lynn M. Furrow Roberta Geier Mr. Bernard A. Gelb Irwin Gerduk Mr. and Mrs. Stephen Giddings Mr. Harry Glass and Ms. Judy Canahuati Ellen and Michael Gold Edward G. Griffin Dr. Marlene Haffner

BSO President and CEO Paul Meecham addresses Governing Members about the “State of the Orchestra” from the stage

Brian and Mary Ann Harris Mrs. Jean N. Hayes Marylyn Heindl Mr. John C. Hendricks Mr. Robert Henry Ms. Patricia Hernandez Jeff Herring Joel and Linda Hertz Ms. Linda Lurie Hirsch Mr. Frank Hopkins Dr. and Mrs. Robert Horowitz Mr. John Howes Mr. & Mrs. Paul Hyman Carol and Terry Ireland Ms. Susan Irwin Ms. Katharine Jones Mrs. Lauri Joseph Mr. Peter Kaplan Dr. & Mrs. Robert W. Karp Lawrence & Jean Katz Mr. & Mrs. Robert Katz James and Tomoko Kempf Ms. Jennifer Kimball Fred King Dr. Richard D. Guerin and Dr. Linda Kohn Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Mr. Stephen Kramer Mr. and Mrs. Eugene Lambert Robert Lanza Ms. Joanne LaPorte Michael Lazar & Sharon Fischman Ms. Flora Lee Mr. Myles R. Levin Alan and Judith Lewis Dr. Richard E. and Susan Papp Lippman Jacqueline London Andrea MacKay Frank Maddox and Glenda Finley Mr. James Magno Ms. Donna Malarkey Mr. David Marcos Mr. and Mrs. Charles H. Matterson Mr. Michael Mccollum & Ms. Jennfier Ricks Anna Therese McGowan Mr. Steve Metalitz Mr. Gary Metz Mrs. Rita Meyers Dr. and Mrs. Arve Michelsen Ms. Barbara Miles Naomi Miller Ms. Carol Moorefield Mr. Jose Muniz Mr. and Mrs. Robert and Mary Nisbet Ms. Caren Novick Dr. & Mrs. John R. Nuckols Dr. Jon Oberg Ms. Marian O’Donnell Mr. Joseph O’Hare Ms. Mary Padgett Mr. and Mrs. James Palmer Mr. Kevin Parker John and Maureen Pelosi Dr. Maria A Pena-Guerrero Ms. Johanna Pleijsier Mr. and Mrs. Edward Portner Mr. and Mrs. Stanley Rabin Ms. Laura Ramirez-Ramos Thomas Raslear and Lois Keck Mr. Samuel G. Reel Jr.

BENEFITS OF MEMBERSHIP WITH THE BSO Make a donation today and become a Member of the BSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra.

For a complete list of benefits, please call our Membership Office at 301.581.5215 or contact via e-mail at membership@BSOmusic.org. You may also visit our Web site at BSOmusic.org/benefits.

Music Director Marin Alsop speaks with Governing Members at the March Artist Reception

Dr. and Mrs. Bernard Reich Mr. Thomas Reichmann Dr. Joan Rittenhouse & Mr. Jack Rittenhouse Mr. William Robertson Mr. & Mrs. Robert Sandler Ms. Beatrice Schiff Ronald Schlesinger David and Louise Schmeltzer Hanita and Morry Schreiber Anonymous Norman and Virginia Schultz Mr. J. Kenneth Schwartz Mr. Paul Seidman Ms. Debra Shapiro Dr. Janet Shaw Mr. & Mrs. Larry Shulman Mr.and Mrs. Donald A. Sillers Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith

Mr. Howard Spira Bill Grossman Fund of the Isidore Grossman Foundation Mr. and Mrs. Charles Steinecke III Jesse and Deborah Stiller Erica Summers John and Susan Symons Dr. Andrew Tangborn Mr. Alan Thomas Alan and Diane Thompson Mr. John Townsley Dr. and Ms. George Urban Mr. Mallory Walker Mr. and Mrs. Matthew Waugaman Ms. Roslyn Weinstein Mr. and Mrs. Elliot and Esther Wilner Eileen and Lee Woods Mrs. Sandra Wool Dr. & Mrs. Richard N. Wright

BALTIMORE SYMPHONY ORCHESTRA STAFF Paul Meecham, President & CEO John Verdon, Vice President and CFO Leilani Uttenreither, Executive Assistant Eileen Andrews, Vice President of Marketing and Communications Carol Bogash, Vice President of Education and Community Engagement Jack Fishman, Vice President of External Affairs, BSO at Strathmore Dale Hedding, Vice President of Development Matthew Spivey, Vice President of Artistic Operations ARTISTIC OPERATIONS Nishi Badhwar, Director of Orchestra Personnel Toby Blumenthal, Manager of Facility Sales Tiffany Bryan, Manager of Front of House Patrick Chamberlain, Artistic Coordinator David George, Assistant Personnel Manager Anna Harris, Operations Manager Tabitha Pfleger, Director of Operations and Facilities Meg Sippey, Artistic Planning Manager and Assistant to the Music Director EDUCATION Nicholas Cohen, Director of Community Engagement Annemarie Guzy, Director of Education Patrick Locklin, Education Program Manager Nick Skinner, OrchKids Director of Operations Larry Townsend, Education Assistant Dan Trahey, OrchKids Artistic Director DEVELOPMENT Jessica Abel, Grants Program Manager Jordan Allen, Institutional Giving Coordinator Megan Beck, Manager of Donor Engagement and Special Events Adrienne Bitting, Development Operations and Membership Specialist Kate Caldwell, Director of Philanthropic Services Stephanie Johnson, Manager of Annual Giving, BSO at Strathmore Stephanie Moore, Manager of the Annual Fund Joanne M. Rosenthal, Director of Major Gifts, Planned Giving and Government Relations

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

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Dieneke Johnson for the All Kids Free Fund Misbin Family Student Performance Fund Dr. Kenneth P. Moritsugu, Emily Moritsugu & Ms. Lisa R. Kory, includes match by Johnson & Johnson Paul & Robin Perito for the Guest Artist Vocal Fund MAESTRO CIRCLE The Jacob & Malka Goldfarb Charitable Foundation, Inc. Daniel Nir & Jill Braufman Family Foundation Laszlo N. Tauber Family Foundation, Inc.

NATIONAL PHILHARMONIC BOARD OF DIRECTORS BOARD OF DIRECTORS

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

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

BOARD OFFICERS

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

BOARD OF ADVISORS Joel Alper Albert Lampert Chuck Lyons Roger Titus Jerry D. Weast

*Executive Committee

As of April. 1, 2014

SUPPORTERS OF THE NATIONAL PHILHARMONIC The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the Philharmonic’s ambitious plans possible through their generous contributions.

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

$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 Paul M. Angell Family Foundation Arts and Humanities Council of Montgomery County Morris and Gwendolyn Cafritz Foundation Philip L. Graham Fund Ingleside at King Farm Maryland State Arts Council Montgomery County, MD Montgomery County Public Schools Musician Performance Trust Fund National Endowment for the Arts Schiff Hardin, LLP The State of Maryland CONCERTMASTER CIRCLE Clark-Winchcole Foundation Embassy of Poland The Gazette PRINCIPAL CIRCLE Ann and Gordon Getty Foundation Johnson & Johnson Jim and Carol Trawick Foundation, Inc. PHILHARMONIC CIRCLE Exxon Mobil Foundation National Philharmonic/MCYO Educational Partnership The Washington Post Company

BENEFACTOR CIRCLE Rockville Christian Church, for donation of space SUSTAINER CIRCLE American Federation of Musicians, DC Local 161-170 Bank of America Dimick Foundation Executive Ball for the Arts Lucas-Spindletop Foundation Target PATRON American String Teachers’ Association DC/MD Chapter Gailes Violin Shop, Inc. GE Foundation IBM Lashof Violins Potter Violin Company Washington Music Center CONTRIBUTOR Violin House of Weaver

INDIVIDUALS

GIFTS OF $50,000+ Ms. Anne Claysmith* for the Chorale Chair-Soprano II Fund Robert & Margaret Hazen for the Second Chair Trumpet Fund Mrs. Margaret Makris GIFTS OF $25,000+ Ann & Todd Eskelsen for the Chorale Music Fund Tanya & Albert Lampert for the Guest Artist Fund GIFTS OF $15,000+ Mrs. Hilda Goodwin Patricia Haywood Moore and Roscoe M. Moore, Jr. for the Guest Artist Fund

CONCERTMASTER CIRCLE Mr. and Mrs. Paul Dudek PRINCIPAL CIRCLE Anonymous Dr. Paul Jay Fink Dr. Ryszard Gajewski Dr. & Mrs. Val G. Hemming Drs. Charles and Edna Foa Kahn Mr. Arthur Langerman Dr. Gregory & JaLynn Prince Dr. Saul Sternberg PHILHARMONIC CIRCLE Mrs. Ruth Berman Mr. Edward Brinker & Ms. Jane Liu Mr. Dale Collinson * Dr. & Mrs. John V. Evans J. William & Anita Gadzuk * Dr. Robert Gerard * & Ms. Carol Goldberg Mr. & Mrs. Joseph Hamer Mr. & Mrs. Ken Hurwitz Mr. William A. Lascelle & Ms. Blanche Johnson Mr. & Mrs. Kent Mikkelsen * Pfeffer Family Foundation Mr. & Mrs. Peter Ryan Drs. Charles and Cecile Toner Ms. Elzbieta Vande Sande, in memory of George Vande Sande, Esq. BENEFACTOR CIRCLE Dr. Lawrence Deyton * & Dr. Jeffrey Levi Mr. & Mrs. John L. Donaldson Mr. Greg Lawson & Mr. Sai Cheung, includes match by UBS Financial Services Mr. Robert Misbin Michael & Janet Rowan SUSTAINER CIRCLE Anonymous (3) Mrs. Rachel Abraham Mr. & Mrs. Joel Alper Fred & Helen Altman * Ms. Sybil Amitay Mr. Stanley Asrael Ms. Nurit Bar-Josef Mr. Robert Beizer John & Marjorie Bleiweis Dr. Etsuko Hoshino-Browne Dr. Ronald Cappelletti * Dr. Mark Cinnamon & Ms. Doreen Kelly Ms. Nancy Coleman * Mr. Steven C. Decker & Ms. Deborah W. Davis Paul J. & Eileen S. DeMarco * Mr. & Mrs. Robert Dollison Ms. Justine D. Englert Mr. William E. Fogle & Ms. Marilyn Wun-Fogle Dr. Maria A. Friedman * Darren & Elizabeth Gemoets * Ms. Sarah Gilchrist * Mr. Barry Goldberg Dr. Joseph Gootenberg & Dr. Susan Leibenhaut Dr. Stacey Henning * Mr. & Mrs. Joseph A. Hunt Drs. William & Shelby Jakoby Sarah Liron & Sheldon Kahn Ms. Margaret Keane Ms. Katherine Kopp Ms. Joanna Lam, in memory of Mr. Chin-Man Lam Mr. & Mrs. John R. Larue, includes match by IBM Mr. & Mrs. Harald Leuba Mrs. Joan M. Levenson Mr. Larry Maloney * Ms. Cecily Mango Mr. Winton Matthews Mrs. Eleanor D. McIntire * Dr. Wayne Meyer *

Mr. & Mrs. Raymond Mountain Susan & Jim Murray * Mr. & Mrs. Charles Naftalin Mr. Thomas Nessinger * Ms. Martha Newman * David Nickels & Gerri Hall Dr. & Mrs. Goetz Oertel Mr. & Mrs. William Pairo Dr. and Mrs. Edward Perl Mr. & Mrs. Jerome Pinson, includes match

by GE Foundation Ms. Phyllis Rattey Ms. Aida Sanchez * Mrs. Jan Schiavone * Mr. & Mrs. Steven Seelig Seltzer Family Foundation Ms. Kathryn Senn, in honor of Dieneke Johnson Shara Family, in honor of the Langerman Family Mr. & Mrs. Gerald Stempler Ms. Carol A. Stern * Sternbach Family Fund Dr. & Mrs. Robert Temple * Ms. Ellen van Valkenburgh * Mr. & Mrs. Robert Vocke * Mr. & Mrs. Royce Watson Dr. Jack & Susan Yanovski Mr. & Mrs. Bernard J. Young Paul A. & Peggy L. Young Mr. & Mrs. Walter Zachariasiewicz Ms. Sandra Zisman PATRON Mr. & Mrs. Richard Azrael, in honor of Mary Azrael and Janice Hamer Mr. David E. Kleiner & Ms. Mary Bentley * Mr. Philip Bjorlo Mr. Thomas M. Boyle Dr. Edwarda Buda & Richard Okreglak Rabbi & Mrs. Leonard Cahan Susan Linn & Clifford Craine Mr. & Mrs. Norman Doctor Mr. John Eklund Dr. Stan Engebretson Dr. Joseph Fainberg David & Berdie Firestone Dr. & Mrs. Arnold Fridland Mr. & Mrs. Mayo Friedlis Mr. Steven Gerber Mr. & Mrs. Herbert Goldman Mr. & Mrs. William Hickman Mr. David Hofstad William W. * & Sara M. Josey * Mr. Michael Lame Ms. May Lesar Ms. Judy Lieberman Mr. Pardee Lowe, Jr. Ms. Jane Lyle * Mr. Jerald Maddox Ms. Florentina Mehta Dr. Hanna Siwiec & Mr. Spencer Meyer Mr. & Mrs. Richard Michalski Mr. Larz Pearson & Mr. Rick Trevino Mr. & Mrs. Don Regnell Mrs. Bernice Sandler Ms. Kari Wallace & Dr. Michael Sapko Silvan S. Schweber & Snait B. Gissis Ms. Lori J. Sommerfield * and Mr. Dennis Dollinger Ms. Carla Wheeler Mr. and Mrs. John F. Wing CONTRIBUTOR Anonymous (2) Mr. & Mrs. Byron Alsop Mr. Robert B. Anderson Mrs. Marietta Balaan * Mike & Cecilia Ballentine Mr. Michael Belfer Mr. & Mrs. Richard Bender Ms. Michelle Beneke, in honor of Jeff Levi & Bopper Deyton Ms. Patricia Bulhack Mr. John H. Caldwell, in memory of Dale Collinson Mr. John Choi Mrs. Patsy Clark Ms. Irene Cooperman Ms. Linda Edwards Ms. Kimberly Elliott Mr. & Mrs. Dwight Ellis, in memory of Dale Collinson Claudia & Eliot Feldman

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Soprano Danielle Talamantes, who sang the role of Lala in Lost Childhood, and baritone Kerry Wilkerson (left) with National Philharmonic Music Director and Conductor Piotr Gajewski

Ms. Shannon Finnegan Mr. Philip Fleming Mr. & Mrs. William Gibb Mr. & Mrs. Paul Goldstein Dr. William & Dr. Marlene Haffner Ms. Jacqueline Havener Dr. & Mrs. John Helmsen Mr. & Mrs. Robert Henry Mr. & Mrs. James Hochron * Mr. Myron Hoffmann Ms. Katharine Cox Jones Mr. & Mrs. Allan Kirkpatrick * Dr. Mark & Dr. Cathy Knepper Mr. & Mrs. William Kominers Ms. Martha Jacoby Krieger * Cherie & Ron Krug Mr. Steven Lainoff, in memory of Dale Collinson Ms. Rachel Leiton Mr. & Mrs. Eliot Lieberman * Dr. Marcia D. Litwack Dr. & Mrs. David Lockwood Dr. Susan Lotarski Mr. Kevin MacKenzie Mr. David E. Malloy & Mr. John P. Crockett * Mrs. Julie Mannes & Dr. Andrew Mannes Mr. & Mrs. James Mason Mr. David McGoff * Dr. & Mrs. Oliver Moles, Jr. * Ms. Cecilia Muñoz & Mr. Amit Pandya Dr. Stamatios Mylonakis Mr. & Mrs. Harvey Nathan Dr. Ruth S. Newhouse Mrs. Jeanne Noel Mr. and Mrs. Kenneth A. Oldham, Jr. Ms. Victoria J. Perkins Evelyn & Peter Philipps Mr. & Mrs. William Pitt Dr. & Mrs. Manuel Porres Mrs. Dorothy Prats Mr. Mark Price, in memory of Dale Collinson Drs. Dena & Jerome Puskin Mr. Jacques Rosenberg Ms. Beryl Rothman * Ms. Lisa Rovin * Mr. J. Michael Rowe & Ms. Nancy Chesser Mr. Ronald Sekura Dr. & Mrs. Kevin Shannon Mr. & Mrs. Robert Smith Mr. John I. Stewart & Ms. Sharon S. Stoliaroff Ms. Sarah Thomas Gen. & Mrs. William Usher Mr. & Mrs. Gerald Vogel Tom & Bobbie Wolf Dr. & Mrs. Richard Wright Mrs. Beatrice Zuckerman MEMBER Anonymous Mr. Dan Abbott Ms. Ann Albertson Mr. Jose Apud Mr. Robert Barash Mrs. Barbara Botsford Ms. Cheryl A. Branham

Lost Childhood librettist Mary Azrael and composer Jan Hamer with tenor Michael Hendrick, who played Judah.

Mr. & Mrs. Herman Branson Mr. & Mrs. Jerome Breslow Mr. & Mrs. Frederick Brown Mrs. Dolores J. Bryan John & Rosemary Buckley Dr. John Caldwell Dr. F. Lawrence Clare Dr. & Mrs. Gordon M. Cragg Mr. Alan T. Crane Ms. Louise Crane Mr. Dean Culler Deborah Curtiss Ms. Margaret E. Cusack Mr. & Mrs. David Dancer * Mr. & Mrs. Mike Davidson Mr. Carl DeVore Mr. & Mrs. Bruce Dickson Ms. Terri Dobbins Mr. Paul Dragoumis Mr. & Mrs. Tom Dunlap Mr. & Mrs. J. Steed Edwards F.W. England Mr. & Mrs. Elliott Fein Dr. John Ferguson Mr. John Francis Mr. Harold Freeman Mr. Bernard Gelb Mr. & Mrs. Richard O. Gilbert Ms. Melanie Grishman Ms. Lucy Hamacheck Ms. Lisa Helms Dr. & Mrs. Terrell Hoffeld Mr. & Mrs. Waldemar Izdebski Mr. & Mrs. Doug Jacobson Mr. & Mrs. Jerome Jaffe Mr. & Mrs. Donald Jansky Mr. & Mrs. Barbara Jarzynski Mrs. Harriett G. Jenkins Dr. Elke Jordan Mr. Gerald Kaiz Ms. Kari Keaton Ms. Elizabeth King Mr. Dale Krumviede Mr. & Mrs. Sheldon Landsman Ms. Sandra Lebowitz Ms. Michelle Lee Mr. & Mrs. Paul Legendre Mr. & Mrs. Herbert J. Lerner Ms. Elizabeth Levin Mr. & Mrs. Forbes Maner Dr. Lorenzo Marcolin Ms. Jean A. Martin Mrs. Nancy C. May Mr. Alan E. Mayers * Mr. & Mrs. Robert McGuire Mr. & Mrs. Curtis Menyuk Mr. & Mrs. Michael Merchlinsky Mr. & Mrs. David Miller Mr. & Mrs. Edward Mills Mr. & Mrs. Thaddeus Mirecki Mr. & Mrs. David Mitchell Ms. Stephanie Murphy Mrs. Gillian Nave Mr. Leif Neve *, includes match by Aquilent Mr. Stephen Nordlinger

Dr. Sammy S. Noumbissi Mr. & Mrs. Kenneth Oldham Dr. & Mrs. David Pawel Mr. & Mrs. Alan Peterkofsky Anton Pierce Mr. & Mrs. Robert Pirie Mr. Charles O’Connor & Ms. Susan Plaeger Mr. & Mrs. Paul Plotz Mr. Luke Popovich Mr. & Mrs. Richard Riegel Mr. & Mrs. Clark Rheinstein * Ms. Sandi Saville Mr. Ronald Saunders Mr. John Schnorrenberg Mr. John Schultz Gabriela & Dennis Scott Mr. & Mrs. John Shorb

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

Dr. & Mrs. Paul Silverman Ms. Myra W. Sklarew Mr. Victor Steiger Ms. Priscilla Stevens Mr. & Mrs. Carl Tretter Ms. Maureen Turman Ms. Virginia W. Van Brunt * Mr. & Mrs. William Wadsworth Mr. David B. Ward Ms. Krystyna Wasserman Mr. Stephen Welsh Ms. Joan Wikstrom Mr. Robert E. Williams Ms. Claire Winestock Dr. & Mrs. Kevin Woods * * Chorale members

Mr. Larry Maloney Mrs. Eleanor D. 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 The Heritage Society at the National Philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National Philharmonic through the provision of a bequest in their wills or through other estate gifts.

For more information about the National Philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112.

Mr. David Abraham* Mrs. Rachel Abraham Mr. Joel Alper Ms. Ruth Berman Ms. Anne Claysmith Mr. Todd Eskelsen Mrs. Wendy Hoffman, in honor of Leslie Silverfine Ms. Dieneke Johnson

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

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

Isaac Bell, Music Instructor Chris Sanchez, Suzuki Instructor

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

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

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

PAST CHAIRS

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

WOMEN’S COMMITTEE OFFICERS

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

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

* Executive Committee + Ex Officio † Deceased (c) Committee Chair As of March 1, 2014

WASHINGTON PERFORMING ARTS ANNUAL FUND Washington Performing Arts gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of March. 1, 2014)

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

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

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

$35,000-$49,999 Anonymous Ambassador and Mrs. Tom Anderson Mr. Jake Jones and Mr. Veronice Nyhan-Jones Mr. Bruce Rosenblum and Ms. Lori Laitman Ms. Wendy Thompson-Marquez

$25,000-$34,999 BB&T Private Financial Services

BET Networks Billy Rose Foundation Mrs. Ryna Cohen Ernst and Young Fluor Corporation Mark and Terry McLeod Mr. Gary Nordlinger (in memory of Mr. Gerson Nordlinger III) National Endowment for the Arts PEPCO NoraLee and Jon Sedmak Ruth and Arne Sorenson

$15,000-$24,999 Anonymous Arcana Foundation AT&T Services Diane and Norman Bernstein

Mr. and Mrs. Arturo E. Brillembourg Embassy of South Africa, His Excellency Ebrahim Rasool Ms. Pamela Farr Mr. and Mrs. Jose Figueroa Mr. and Mrs. Morton Funger Mr. and Mrs. Jay M. Hammer Carl D.† and Grace P. Hobelman Mr. and Mrs. Steven Kaplan Kiplinger Foundation Inc. Judith A. Lee, Esq. (L) Ms. Marcia MacArthur Mr. and Mrs. John Marshall The Dan Cameron Family Foundation, Inc. The Meredith Foundation PricewaterhouseCoopers LLP Mr. James J. Sandman and Ms. Elizabeth D. Mullin (L) Mr. and Mrs. Hubert M. Schlosberg (L) (W) Mr. and Mrs. Daniel Simpkins Verizon Washington, DC Versar Ms. Mary Jo Veverka Washington Gas Light Company Wells Fargo Bank

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

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

$5,000-$7,499 Dr. and Mrs. Clement C. Alpert Mr. Henry Armour and Ms. Natalie Clark Ludmila and Conrad Cafritz Capitol Tax Partners Mrs. Dolly Chapin Ms. Josephine S. Cooper Mr. Joaquin Fajardo Bob and Jennifer Feinstein James A. Feldman and Natalie Wexler Mr. and Mrs. Stephen Graham Mr. and Mrs. Brian J. Hardie Host Hotels & Resorts Ms. Debra Lee Ms. Sandy Lerner Mr. Mark London and Ms. Dania Fitzgerald Mr. and Mrs. David O. Maxwell Dr. Robert Misbin Mr. and Mrs. Glenn A. Mitchell Ms. Rachel Tinsley Pearson The Honorable and Mrs. Stephen Porter Renah Blair Rietzke Family and Community Foundation Mr. and Ms. Steve Silverman Mr. and Mrs. John V. Thomas Venable Foundation Mr. Marvin F. Weissberg and Ms. Judith Morris † The Washington Post Company

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

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

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

Stephen and Mary Kitchen (L) Ms. Betsy Scott Kleeblatt Mr. and Mrs. Steven Lamb Mr. and Mrs. Gene Lange (L) Mr. and Mrs. Richard F. Larkin Dr. and Mrs. Lee V. Leak (W) Ms. Jacqueline Rosenberg London and Mr. Paul London Rear Adm. and Mrs. Daniel P. March Mr. and Mrs. Michael Marshall Mrs. Gail Matheson Ms. Katherine G. McLeod Ms. Cheryl C. McQueen (W) Mr. and Mrs. Samuel Muscarella Lt. Gen. and Mrs. Michael A. Nelson Ms. Michelle Newberry The Nora Roberts Foundation Mr. and Mrs. Jack H. Olender Ms. Jean Perin Mr. James Rich Ms. Mary B. Schwab Virginia Sloss (W) Mrs. Nadia Stanfield Mr. Richard Strother Ms. Loki van Roijen Ms. Viviane Warren A. Duncan Whitaker, Esq. (L) $1,000-$1,499 Anonymous Ruth and Henry Aaron Mrs. Rachel Abraham Mr. John B. Adams Mr. and Mrs. James B. Adler Ms. Carolyn S. Alper Mr. and Mrs. Michael Barnello Hon. and Mrs. John W. Barnum Mr. Mark Bisnow and Ms. Margot Machol Mr. A Scott Bolden Mr. and Mrs. Hans Bruland Ms. Liz Buchbinder S. Kann Sons Company Fdn. Inc. Amelie and Bernei Burgunder, Directors Edison W. Dick, Esq. (L) Mr. and Mrs. Sidney Dickstein Ms. Nancy Ruyle Dodge Daniel J. DuBray and Kayleen M. Jones Dr. Irene Farkas-Conn Ms. Janet Farrell Mr. Gregory I. Flowers Mr. Donald and Mrs. Irene Gavin Gelman, Rosenberg & Freedman The Hon. Ruth Bader Ginsburg Mr. and Mrs. William L. Goldman (W) Mrs. Barbara W. Gordon (W) Ms. Gail Harmon Ms. Tatjana Hendry Mr. Charles E. Hoyt and Ms. Deborah Weinberger (L) Mr. David Kahn and Ms. Sherry A. Bindeman Mrs. Carol Kaplan Mr. and Mrs. Sherman E. Katz (L) Dr. Marvin C. Korengold Simeon M. Kriesberg and Martha L. Kahn Sandra and James Lafond Dr. Jeanne-Marie A. Miller Mr. and Mrs. Adrian L. Morchower (W) Mr. Richard Moxley Mr. and Mrs. Daniel Mulcahy Nancy Peery Marriott Foundation, Inc. Mr. and Mrs. Patrick Nettles

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

$500-$999 Anonymous (2) Ms. and Mrs. Edward Adams (W) Mr. Donald R. Allen Mr. and Mrs. Gary Altman Esq Mr. and Mrs. Ricardo Andrade Ms. Amy Ballard Miss Lucile E. Beaver Ms. Patricia N. Bonds (W) Ms. Francesca Britton (W) Mrs. Elsie Bryant (W) Mrs. Gloria Butland (W) Ms. Johnnetta B. Cole Mr. Andrew Colquitt Mr. John W. Cook Dr. and Mrs. Chester W. De Long Mr. and Mrs. James B. Deerin (W) Mr. John Driscoll Ms. Sayre E. Dykes Mrs. Yoko Eguchi Mr. and Mrs. Harold Finger Fitness For Older Adults, LLC Mr. Michael Frankhuizen Mr. Juan Gaddis Dr. and Mrs. Robert Gagosian (W) Dr. Melvin Gaskins Jack E. Hairston Jr. Ms. June Hajjar Dr. and Mrs. Harry Handelsman (W) Mrs. Robert A. Harper Mr. and Mrs. Carl F. Hicks, Jr. Mr. and Mrs. Laszlo Hogye J.S. Wagner Company Ralph N. Johanson, Jr., Esq. (L) Ms. Anna F. Jones (W) Mr. and Mrs. Charles Jones Mr. and Mrs. Sunny Kapoor Ms. Janet Kaufman (W) Dr. Allan Kolker Mr. and Mrs. John Koskinen Ms. Albertina D. Lane (W) Mr. William Lascelle and Blanche Johnson The Honorable and Mrs. Jan Lodal Mr. and Mrs. David Maginnes (W) Mr. Winton E. Matthews, Jr.

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

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

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

WASHINGTON PERFORMING ARTS STAFF Jenny Bilfield President & CEO Douglas H. Wheeler President Emeritus Allen Lassinger Chief Administrative Officer Murray Horwitz Director of Special Projects Leah Manning Administrative Assistant Development Mitchell Bassion Director of Development Meiyu Tsung Director of Individual Giving Daren Thomas Director of Leadership Gifts Michael Syphax Director of Foundation and Government Relations Helen Aberger Development Coordinator Catherine Trobich Development Associate Adam Schaff 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

Marketing and Communications Jonathan Kerr Director of Marketing and Communications Hannah Grove-DeJarnett Associate Director of Marketing and Communications Scott Thureen Creative Media and Analytics Manager Wynsor Taylor Audience Engagement Manager Celia Anderson Graphic Designer Brenda Kean Tabor, Publicist Programming Samantha Pollack Director of Programming Torrey Butler, Production Manager Rachael Patton Programming and Production Coordinator Shay Stevens Mars Uban Arts Curator Stanley J. Thurston Artistic Director, WPAS Gospel Choirs Ticket Services Office Folashade Oyegbola Ticket Services Manager Stephanie Aboukasm Ticketing and Marketing Coordinator Edward Kerrick Group Sales Coordinator

Finance and Administration Erica Hogan, Accounting Manager Rebecca Tailsman Accounting Associate Robert Ferguson Database Administrator

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

WASHINGTON PERFORMING ARTS LEGACY SOCIETY Legacy Society members appreciate the vital role the performing arts play in the community, as well as in their own lives. By remembering Washington Performing Arts in their will or estate plans, members enhance our endowment fund and help make it possible for the next generations to enjoy the same quality and diversity of presentations both on stages and in our schools.

Mrs. Shirley and Mr. Albert H. Small, Honorary Chairs Mr. Stefan F. Tucker, Chair Anonymous (6) Mr. David G.† and Mrs. Rachel Abraham Dr. and Mrs. Clement C. Alpert Mr. and Mrs. George A. Avery Mr. James H. Berkson † Ms. Lorna Bridenstine † Ms. Christina Co Mather Mr. and Mrs. Douglas Cook Mr. and Mrs. F. Robert Cook Ms. Josephine Cooper Mr. and Mrs. James Deerin Mrs. Luna E. Diamond † Mr. Edison W. Dick and Mrs. Sally N. Dick Mr. and Mrs. Sidney Dickstein Ms. Carol M. Dreher

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

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

Find Your Voice .

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

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BM_FP

WHEN BUSINESSES DO GOOD, THE COMMUNITY PROFITS. As members of Community Profits Montgomery, the following businesses have committed to give at least 2% of their net income back to the community. To learn more, or to join in our pledge, visit CommunityProfitsMontgomery.org

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FIND OUT MORE ABOUT STUART KITCHENS BY VISITING OUR NEW WEB SITE. JUST ENTER WWW.STUARTKITCHENS.COM AND YOU’LL FIND LOTS OF USEFUL INFORMATION ABOUT OUR CABINETS, CAPABILITIES AND MUCH MORE. BETHESDA SHOWROOM MCLEAN SHOWROOM GUNSTON SHOWROOM

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ANNE ARUNDEL SHOWROOM B A LT I M O R E S H O W R O O M

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10440 FURNACE RD. 703-690-4045

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1858 REISTERSTOWN RD. 410-486-0500

www.stuartkitchens.com

4/17/14 9:14 AM