Applause September/October by Strathmore

SEPTEMBER/OCTOBER 2012

Rich and Radiant

The National Philharmonic’s season includes fantastic soloists such as Elena Urioste and a celebration of Wagner

inside: Strathmore Productions test Concert Hall’s versatility Baltimore Symphony Orchestra Marin Alsop delves into ‘Kaddish’ Washington Performing Arts Society András Schiff and The Well-Tempered Clavier

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Principle Matters Stephen Clagett

Portfolio Administrator

Jordan VanOort Financial Advisor

Tara Barton

Financial Advisor

Robert Collins Managing Director

Sally Mullen

Client Services Specialist

Kristian Price

Administrative Manager

David Clark

Financial Advisor

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PRINCIPLE MATTERS

Fixed Income | Estate Investment Planning Fee-Based Portfolio Management | Equity Investments Education Planning | Lending* Retirement Plan Services CollinsInvestmentGroup.com 301.915.9630 The rankings are based on data provided by over 4,000, for 2010 and 2011, and 3,000, for 2009, of the nation’s most productive advisors. Factors included in the rankings: assets under management, revenue produced for the firm, regulatory record, quality of practice, and philanthropic work. Institutional assets are given less weight in the scoring. Investment performance isn’t an explicit component, because not all advisors have audited results and because performance figures often are influenced more by clients’ risk tolerance than by an advisor’s investment-picking abilities. *Lending services offered through affiliates of Wells Fargo & Company. Collins Investment Group and WFAFN do not offer tax or legal advice. Investment and insurance products: NOT FDIC-Insured, NO Bank Guarantee, MAY Lose Value Investment products and services are offered through Wells Fargo Advisors Financial Network, LLC (WFAFN), member SIPC, a broker brokerdealer affiliated with Wells Fargo & Company. Collins Investment Group is a separate entity from WFAFN. ©2011 Wells Fargo Advisors Financial Network, LLC, 1211-00014

prelude

On The Cover Ganz photo by Michael Ventura, Graves photo by Devon Cass Gold, Jackiw photo by Lisa-Marie Mazzucco, Shaham photo by Christian Steiner

Applause at Strathmore / september-october 2012

program notes

features

Sept. 22 22 / BSO: American Classics and Gil Shaham

Oct. 19 47 / Strathmore: A State of the Union Conversation—An Evening with Frank Rich & Fran Lebowitz

10 Center Stage

Sept. 29 28 / BSO: Bernstein’s “Kaddish”

Oct. 20 48 / Strathmore: The Ukulele Orchestra of Great Britain

Experience The National Philharmonic’s 2012-2013 season

Oct. 3 33 / Strathmore: Ballet Folklórico de México

Oct. 20 50 / BSO: Tchaikovsky’s Fourth Symphony

Oct. 4 35 / BSO: Beethoven’s Mighty “Eroica”

Oct. 23 54 / Strathmore: A Night With David Sedaris

Sept. 28 27 / Strathmore: Pat McGee

Oct. 5, 6 39 / Strathmore: Patti LuPone—Matters of the Heart Oct. 11 40 / BSO SuperPops: The Golden Age of Black and White Oct. 13, 14 42 / The National Philharmonic: Beethoven—The Power of Three

Oct. 27 55 / BSO: Mozart & Brahms Oct. 28 59 / Strathmore: Billy Collins & Mary Oliver Oct. 30 60 / WPAS: András Schiff

Challenging shows highlight Strathmore’s versatility

12 Tackling Questions of Faith The BSO explores Bernstein’s Symphony No. 3

14 Rich and Radiant 15 Witty and Versatile The ukulele is more flexible than you might think

16 Five on the Fifth Things you may not know about Beethoven’s Symphony No. 5

17 Music as Both Vocation and Passion Andrew Balio of the BSO wants to help symphonies evolve

18 The Power of Three The National Philharmonic’s conductors provide depth to performances

20 The Well-Tempered Pianist András Schiff and Book II of Bach’s Clavier

departments 6 Musings of Strathmore CEO Eliot Pfanstiehl 6 A Note from BSO Music Director Marin Alsop 8 Calendar: November and December performances 80 Encore: BSO Vice President of Education and Community

Engagement Carol Bogash

musician rosters

24 Baltimore Symphony Orchestra 44 National Philharmonic Orchestra and Chorale 2 applause at Strathmore • september/october 2012

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Strathmore

partners ● Strathmore

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

● Baltimore Symphony Orchestra

● National Philharmonic

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

● Washington Performing Arts Society

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

● CityDance Ensemble

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

● Maryland Classic Youth Orchestras

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

● Levine School of Music

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

● interPLAY

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

4 applause at Strathmore • september/october 2012

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

Editor and Publisher Steve Hull Associate Publisher Susan Hull Senior Editor Cindy Murphy-Tofig Design Director Maire McArdle Art Director Karen Sulmonetti Advertising Director Sherri Greeves Advertising Account Executives Paula Duggan, Penny Skarupa, LuAnne Spurrell 7768 Woodmont Ave. Suite 204 Bethesda, MD 20814 301-718-7787 Fax: 301-718-1875 Volume 9, Number 1 Applause is published five times a year by the Music Center at Strathmore and Kohanza Media Ventures, LLC, publisher of Bethesda Magazine. Copyright 2010 Kohanza Media Ventures. All rights reserved. Reproduction in whole or part without permission is prohibited.

strathmore photo by jim morris

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

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musings from Strathmore In our 2012-2013 season, Strathmore shows that we’re so much more than a Concert Hall. We’re a theater, a circus ring, a black box, a cabaret club, a salón de baile and a classical music box. This season, Strathmore stretches the boundaries of our stage by bringing you full-scale theatrical events filled with torrid dance, new spectacles of light and sound and thrilling acrobatic choreography that will redefine your concept of our Concert Hall. The season will excite you with the high-energy choreography of Tap Dogs, the off-Broadway sensation VOCA PEOPLE, the gravity-defying acrobatics of Cirque Ziva and the lighting marvels of Luma Theater. Sizzling dance by Flamenco Vivo/Carlota Santana will scorch the stage, and vibrant folk dances from Ballet Folkórico de México will have the Concert Hall explode with color. You’ll swoon for the operatic voice of Nathan Pacheco, be blown away by Broadway dynamo Patti LuPone and wowed by pianists George Winston and Maurizio Pollini. Go on a season-long exploration of the violin with Storied Strings: The Violin in America, featuring 11 exceptional string luminaries in the Concert Hall and the Mansion. We’ll survey violin repertoire and traces its role in the development of American music. The series centerpiece is a performance with exceptional violinist Mark O’Connor. In the Mansion, Chelsey Green will perform the world premiere of a Strathmore-commissioned work by composer Robert Miller, Jennifer Koh will present the Washington, D.C. premiere of her Bach and Beyond series, and the Carpe Diem Quartet will share the Washington, D.C. premiere of Korine Fujiwara’s Fiddle Suite Montana. Stimulating your mind as well as your heart, Strathmore continues to build on our Speakers Series with best-selling humorist David Sedaris, cultural writer turned political commentator Frank Rich, incisive satirist Fran Lebowitz and renowned poets Billy Collins and Mary Oliver. Strathmore is also your passport to the world’s culture and musical traditions with the return of China National Symphony, the Ukulele Orchestra of Great Britain, Ladysmith Black Mambazo and Celtic singer Julie Fowlis with music from the Disney/Pixar blockbuster Brave. This is Strathmore, built for you, by you and with you.

Eliot Pfanstiehl

from the BSO

Dear Friends, Thank you for joining the Baltimore Symphony Orchestra for the 2012-2013 season. This season, we celebrate three major musical themes: the art of the film score, works of American composers and the 200th anniversary of the birth of Richard Wagner. Cinema-inspired programs include Charlie Chaplin’s Modern Times (May 11, 2013), a screening of Leonard Bernstein’s movie musical West Side Story (June 13, 2013) and the 1938 historical drama Alexander Nevsky with a film score by Sergei Prokofiev (Jan. 12, 2013). As an extension of that theme, SuperPops conductor Jack Everly will collaborate with Baltimore-born filmmaker John Waters to mark the 25th anniversary of the original film release of Hairspray with a premiere concert production for which Waters will both write and narrate an original script (Jan. 24, 2013). Also of note, the orchestra and I will return to Carnegie Hall with the innovative ensemble Time for Three to perform Jennifer Higdon’s Concerto 4-3 for the opening concert of the Spring for Music Festival (May 6, 2013)! I am thrilled to be returning to Carnegie with the BSO, and with Time for Three in tow, it will surely be an unforgettable experience! This season is full of exciting, not-to-be-missed programming here at Strathmore. I look forward to seeing you in the Concert Hall!

Marin Alsop

Music Director | Baltimore Symphony Orchestra 6 applause at Strathmore • september/october 2012

ELiot Pfanstiehl photo by michael ventura; Marin alsop photo by grant leighton

a note

CEO | Strathmore

We are pleased to announce and congratulate the first inductees into the Montgomery County Business Hall of Fame. We cordially invite you to attend our inaugural event. Monday, October 15, 2012 12:00 Noon The Universities at Shady Grove Conference Center 9630 Gudelsky Drive, Rockville, MD 20850

WHAT iS iT?

The Montgomery County Business Hall of Fame, co-founded by Monument Bank and Grossberg Company LLP CPA’s, is a celebration of people who have made a real impact on the Montgomery County business community. Eun Yang, NBC4 morning anchor, will be the emcee at this luncheon.

The 2012 honorees are: Norm Augustine, formerly of Lockheed Martin Cliff Kendall, formerly of Computer Data Systems, Inc. Sid Kramer, Kramer Enterprises Aris Mardirossian, Technology Patents, LLC J. Willard Marriott, Jr., Marriott International Carol Trawick, currently of Jim & Carol Trawick Foundation

WHy SUppOrT iT?

All net proceeds from the MCBHF will benefit the scholarship programs at The Universities at Shady Grove (USG), the University System of Maryland’s regional educational center that brings nine Maryland public universities and more than 70 academic degree programs directly to Montgomery County. The same type of vision that led to the creation of USG – to do something truly unique and extraordinary – is the type of vision our honorees all share.

preSeNTed By

Sponsorships to honor these great contributors are available. For more information, visit our website at www.MCBusHallofFame.com, or contact Lenore Dustin at 301-571-1900 or ldustin@grossberg.com

calendar u FRI., NOV. 9, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: Beethoven’s Fifth Marin Alsop, conductor Beethoven: Symphony No. 5 Marin Alsop explains why Beethoven’s Fifth still captures the imagination after more than two centuries.

Schubert: Rondo for Piano in B minor, Op. 70 Strauss: Sonata for Violin & Piano in E-flat Major, Op. 18 SAT., NOV. 10, 8 P.M. Dvořák: Romantic Pieces, Op. 75, B.150 u The National Philharmonic Prokofiev: Sonata for Violin & Piano Prokofiev: Beyond Peter and No. 2 in D Major, Op. 94 bis the Wolf Brian Ganz, piano Joshua Bell Magdalena Wór, mezzo-soprano National Philharmonic Chorale Victoria Gau, conductor

“The greatest American violinist active today.” — The Boston Herald u SAT., NOV. 3, 8 P.M. Strathmore presents Keb’ Mo’ Guitarist/ singer/songwriter Keb’ Mo’—who is returning to Strathmore— is fluidly virtuosic across the spectrum Mo’from ofKeb’ music, jazz to soul to pop to gospel and beyond. u THURS. NOV. 8, 8 P.M. Baltimore Symphony Orchestra “Songbirds” with Linda Eder This program features the music of Lena Horne, Etta James, Barbra Streisand, Judy Garland, Eva Cassidy and more. Please note that the BSO does not perform in this concert.

u SAT., NOV. 17, 8 P.M. Baltimore Symphony Orchestra Lyrical Dvořák and Brahms Marin Alsop, conductor Denis Kozhukhin, piano Dvořák: Symphony No. 8 in G Major Brahms: Piano Concerto No. 2 in B-flat Major Marin Alsop and the BSO have been acclaimed for their performances and recordings of Czech master Antonin Dvořák, and will give another with his Symphony No. 8.

u FRI., NOV. 23, 8 P.M. Strathmore presents Classic Albums Live: Pink Floyd’s Dark Side of the Moon Last year’s Abbey Road presentation Prokofiev: Lieutenant Kijé Suite was a resounding success, and now Piano Concerto No. 3 Pink Floyd’s 1973 masterpiece gets the Alexander Nevsky Suite Classic Albums Live treatment. Top muAward-winning pianist Brian Ganz persicians will re-create the epic disc live forms Prokofiev’s thrilling Piano Concerto onstage in track order. No. 3, rich with lyrical passages and propulsive tempi. Prokofiev wrote several u SAT., NOV. 24, 4 and 8 P.M. scores for films, including Lieutenant Kijé Strathmore presents and Alexander Nevsky. A free pre-conDein Perry’s Tap Dogs cert lecture will begin at 6:45 p.m. Tapping upside down, dancing through

u SUN., NOV. 11, 4 P.M. Strathmore presents Nathan Pacheco The American singer/songwriter’s rich operatic voice first gained fame as part of the Yanni Voices project. He’ll share selections from his debut release on Walt Disney Records, Introducing Nathan Pacheco. u TUES., NOV. 13, 8 P.M. Strathmore presents Rita: My Joys In Israel, Rita Yahan-Farouz is so wellknown she goes by one name: Rita. The Iranian-born pop singer/actress will perform the inspiring, hopeful music that’s made her an icon in the Middle East, including selections from her new 2012 release, My Joys.

8 applause at Strathmore • september/october 2012

water and jumping through scaffolding, dancers move to the groove of their own beat in a thrillingly fast-paced show. Sol Gabetta

u THURS., NOV. 29, 8 P.M. Baltimore Symphony Orchestra Elgar Cello Concerto Mario Venzago, conductor Sol Gabetta, cello Liszt: Mephisto Waltz No. 1 Elgar: Cello Concerto in E Minor Franck: Symphony in D Minor

Bell photo by Lisa Marie Mazzucco, Gabetta photo by Marco Borggreve

NOVEMBER

u THURS., NOV. 1, 8 P.M. Washington Performing Arts Society Joshua Bell, violin Sam Haywood, piano

[November/December]

The commanding cellist Sol Gabetta makes her BSO debut in Elgar’s impassioned Cello Concerto.

DECEMBER

u THURS., DEC. 6, 8 P.M. Strathmore presents Natalie MacMaster: Christmas in Cape Breton Fiddler Natalie MacMaster invokes the traditions of her native Cape Breton with foottapping rave-ups. It’s holiday cheer with a capital C! Natalie MacMaster

Commence the holiday season with Handel’s 1741 masterpiece, the most performed and beloved work in all of Western choral music. u WED. DEC. 12, 8 P.M. Baltimore Symphony Orchestra Holiday Pops Celebration Robert Bernhardt, conductor Daniel Narducci, host and vocals Baltimore Choral Arts Society Experience the thrill of the season as the BSO SuperPops brings you a sparkling holiday celebration with full chorus, orchestra and guest vocalists. u THURS., DEC. 13, 8 P.M. Strathmore presents Mark O’Connor: An Appalachian Christmas

[beyond the stage] Strathmore

u Tues., Dec. 18, 7:30 p.m. The National Philharmonic A Festive Evening With the Washington Symphonic Brass Washington Symphonic Brass Victoria Gau, conductor Come hear traditional holiday music performed by the Washington Symphonic Brass in its spirited annual Yuletide celebration at Strathmore.

Exhibit Will Show a Little Skin With Skin, Strathmore showcases six artists’ “body of work” and explores the cultural significance and artistry of body modification through tattoo, henna, bodypainting, hair and makeup. The exhibition features tattoo artists including Paul Roe, who created “Peacock.” Roe also will re-create a modern tattoo parlor and a parlor from 100 years ago Peacock by Paul Roe in a room of the Mansion at Strathmore. The exhibition, which runs through Nov. 3, will also include photographs of sculptural, natural African American hair, intricate bridal henna painting and a stunning photo series of lipstick application gone awry, as well as education activities for kids and adults. An opening reception—featuring henna art stations and light fare—will be 7-9 p.m. Sept. 20. For more details on the exhibition, call 301-581-5100 or visit www.strathmore.org.

u SAT., DEC. 15, 4 and 8 P.M. Strathmore presents Mannheim Steamroller Christmas by Chip Davis Sponsored by Pandora. Supported in part by Joel and Elizabeth Halke. Revel in an enveloping sound, awe-inspiring light show and orchestrations that bring new energy and majesty to beloved Christmas classics.

paul roe

O’Connor photo by Christopher Mclallen, Washington Symphonic Brass photo by Ed Kelly

u WED., DEC. 5, 8 P.M. Strathmore presents George Winston Pianist George Winston’s compositions evoke the wonders of a season so clearly that you can smell the burning leaves in “Autumn” or blink away the first snowflakes of “December.”

For the O’Connors, Christmas time was a mixture of Christmas carols and traditional American music—and that is the spirit of An Appalachian Christmas. Join a preconcert lecture with Mark O’Connor at 6:30 p.m. on the Promenade level. Free with Mark O’Connor concert ticket.

u SAT., DEC. 8, 8 P.M. SAT., DEC. 22, 8 P.M. SUN., DEC. 23, 3 P.M. The National Philharmonic Handel’s Messiah Danielle Talamantes, soprano Magdalena Wór, mezzo-soprano Matthew Smith, tenor Kevin Deas, bass National Philharmonic Chorale Stan Engebretson, conductor

applause at Strathmore • september/october 2012 9

strathmore

Center Stage

The Concert Hall shows off its flexibility as more diverse acts come to the Music Center By Chris Slattery

ustralian tap dancers on girders of steel. Chinese acrobats balancing chandeliers on the soles of their feet. Light dancers juggling sparkly torches and a beatbox made up of humans dressed all in white. During the 2012-2013 season Strathmore will be presenting more theatrical productions than ever, and more productions—such as Tap Dogs, Cirque 10 applause at Strathmore • september/october 2012

Ziva, Luma Theater and VOCA PEOPLE—that make use of the Music Center in unconventional and new ways. “We’re lucky to be a very flexible space,” says Shelley Brown, Strathmore’s vice president of programming. “As we planned our 2012-13 season in the Music Center, we wanted to bring in elaborate productions that give our audiences new and interesting things to see, and that give our staff new technical challenges to surmount backstage.”

Brown notes that in recent years blues and jazz venues have proliferated in the Washington, D.C. metro area. Strathmore saw this as an opportunity to expand its offerings and use its popular Broadway shows as a springboard to present more theatrical works. “People love the Broadways singers— the Great American Song Series has been a best-seller for us, with its top-flight Broadway vocalists,” she says. “So adding theatrical productions is an effort to give people more of that kind of quality entertainment.” This season’s first theatrical production is Tap Dogs, a high-energy show set on a construction site in a steelworks town. “It’s really stretching us technically,” admits Brown, who knows the human drum kit, scaffolding sets and dancethrough-water sequences that have made Tap Dogs a thriller around the world will be challenging to replicate. “We’re working with the company to see what will work, and that’s been fun for the staff.” Fun and challenging, according to Jon Foster, the stage production manager/ technical director who’s in charge of outfitting the Music Center based on the specific needs of each show. “Basically we try to conform to the shows’ specifications as much as we can,” says Foster. “But we do have to draw certain lines: we have a pristine space here; we have to protect Strathmore.” Foster says that most theatrical shows are designed for a proscenium stage, one with an arch that creates a window around the performers and allows for hidden elements like lighting that help solve complex staging problems. Foster and his team have learned to create a proscenium from soft goods—black curtains, for example. “This allows us to frame things in

Left and top: The Music Center’s stage is flexible enough to accommodate acts as varied as the Cirque Ziva acrobats and the athletic hoofers from Tap Dogs.

the way they’re meant,” he explains, which provides greater flexibility in how Strathmore is able to use the Music Center stage. Like Strathmore, Tap Dogs show creator Dein Perry is interested in presenting unconventional performances. The Laurence Olivier Award-winning actor-dancer-choreographer grew up in the industrial city of Newcastle, Australia and got his union card as an industrial machinist at 17 before setting out for stardom in Sydney as a dancer. After years in chorus lines and a big break in 42nd Street, he created the hybrid of dance and hard-rocking industrial soul that became Tap Dogs. Since its debut at the 1995 Sydney Festival, Tap Dogs has been performed in more than 330 cities and 37 countries, dazzling audiences of more than 11 million with a rock ‘n’ roll score and some wow-the-crowd dance sequences. But it’s a show that requires some pretty special staging.

“Everybody loves the routines on inclined beams, ropes and ladders—where we get some height,” says Perry, who will bring Tap Dogs to the Music Center at Strathmore Nov. 24. “Upside down tapdancing, angle grinders sparking and water dancing—those are all favorites.” Favorites that require much more than a simple spotlight-and-piano setup. Tap Dogs, for example, requires scaffolding, ladders, beams, ropes and other equipment to create the construction site where the action takes place. In addition, Foster says, dance productions are challenging to stage because the lighting can take time. What’s never compromised at Strathmore, Foster adds, is the quality of the sound. “This room is about as good as it gets,” he says. “And we love the challenge of presenting different kinds of performances. I love it when a hard-tostage show comes in and I get to roll up my sleeves.” 

applause at Strathmore • september/october 2012 11

Baltimore Symphony ORchestra

Tackling Questions

of Faith In composing Symphony No. 3, Bernstein sought answers to existential questions By Pamela Toutant

n celebration of American composers on Sept. 29, the Baltimore Symphony Orchestra will present the rarely performed original version of Leonard Bernstein’s Symphony No. 3, commonly known as the “Kaddish” Symphony. “I want to pray. I want to say Kaddish,” begins the narrator of Bernstein’s symphonic work. Kaddish is the traditional Hebrew prayer of sanctification and an affirmation of faith, and is often recited in the context of mourning. In composing this work, as all artists, Bernstein was searching for answers to existential questions. “Bernstein loved to ask questions; he loved to challenge the status quo,” says BSO Music Director Marin Alsop. “The narration in the ‘Kaddish’ Sym-

phony, in which God is questioned, is quintessential Bernstein.” The genesis of the “Kaddish” Symphony was the crisis of faith brought by the Holocaust, as well as the tumult of the early 1960s, the Cold War and nuclear threat. Bernstein completed the symphony in 1963 and dedicated it to President John F. Kennedy, who was assassinated just before the work’s premiere. As much a music drama as a symphony, Symphony No. 3 is a monumental work calling for mixed chorus, boy choir, speaker, soprano soloist and orchestra. While singing sacred words have traditionally been reserved for men in the synagogue, Bernstein originally chose women to play the roles of speaker of the libretto—a one-sided conversation, and at times an argument

12 applause at Strathmore • september/october 2012

with God—and of vocal soloist. In the spoken text, Bernstein also sought to capture Judaism’s deep personal intimacy with God, one that allows honesty and challenge. With Alsop conducting, iconic theater and film actress Claire Bloom narrating and soprano Kelly Nassief performing as soloist, the BSO’s performance marks the first time all three of the work’s major roles have been performed by women. (Notably, this unique program will be recorded for commercial release.) “I have done practically all of the major orchestral narrator pieces,” says Bloom. “When Marin invited me to perform this work with her I was thrilled. It is a wonderful piece of music. And there is nothing more exciting than being on stage with an orchestra. For an actress it is the icing on the cake.” For Alsop, performing the music of

Faith Bernstein photo by Paul de Hueck, Bernstein and Alsop photo by Walter Scott

At left: With his Symphony No. 3, Leonard Bernstein showed the listener that he’s an inventive composer who’s not afraid to ask questions. Bottom: BSO Music Director Marin Alsop studied with her idol, Leonard Bernstein, early in her conducting career.

Leonard Bernstein is always deeply resonant. “Leonard Bernstein was my idol when I was growing up,” she says. “And because I grew up in New York he was ever present.” Early in Alsop’s career, Bernstein became her ardent supporter and mentor. “He was a great conductor and a fascinating composer,” says Alsop. “He broke down many musical barriers, creating a kind of hybrid genre by mixing classical composition with accessible modern music. While composers such as Mahler and Gershwin certainly influenced him, Bernstein is Bernstein.” During the late 1970s, Bernstein asked his longtime friend, international diplomat and Holocaust survivor Samuel Piser, to write a new version of the symphony’s text; Piser completed it a decade after Bernstein’s death and fol-

lowing the events of Sept. 11, 2011. The BSO, however, will be performing Bernstein’s original version of the text, which was written for Bernstein’s wife Felicia Montealegre to perform, while incorporating revisions he made to the music in 1977. “We are happy to be presenting the original text, especially with someone as accomplished as Claire Bloom who will bring new life to the narration,” Alsop says. “The music of the ‘Kaddish’ Symphony is very dramatic and at the same time thematically unified,” says Alsop. “It has great rhythmic drive; it is personal and poignant. The solo part is gorgeous and will be performed by soprano Kelly Nassief who has a beautiful voice and has performed the piece many times.” While Kaddish is often said in mourning, not a single mention of

death appears in the entire prayer. Instead, chayim, the Hebrew word for life, is used several times. Fascinated by the duality expressed in this prayer and by many of life’s paradoxical truths, Bernstein expounded at length in his book, The Infinite Variety of Music, on what he believed to be the role of art. “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” Bernstein’s “Kaddish” Symphony grapples with the tension between the universal emotions of grief, anger and disillusionment, and humanity’s desire for faith, hope and peace. Widely known and loved for his masterpiece West Side Story, the “Kaddish” Symphony expands the listener’s understanding and appreciation of Leonard Bernstein as an inventive composer and as a humanitarian. 

applause at Strathmore • september/october 2012 13

THE National Philharmonic

Victoria Chiang

Brian Ganz

Denyce Graves

Stefan Jackiw

Orli Shaham

Elena Urioste

Rich and

rand choral works, two composer anniversaries and operatic superstar Denyce Graves light up the National Philharmonic’s forthcoming season at the Music Center at Strathmore. “We have a rich season ahead, including several superb soloists,” enthuses National Philharmonic Music Director and Conductor Piotr Gajewski. “We are also tipping our hat to two great composers, Witold Lutosławski and Richard Wagner.” The season begins with “Beethoven: The Power of Three” on Oct. 13 and 14, 2012 presenting three mature works by the composer, including the transporting Piano Concerto No. 3 featuring acclaimed pianist Orli Shaham. On three dates in December, The National Philharmonic Chorale, conducted by Stan Engebretson, continues its popular holiday tradition with Handel’s Messiah. “There is always something new to discover in this majestic work,” says Engebretson. Also back by popular demand is “A Festive Evening with the Washington Symphonic Brass” on Dec. 18. Showcasing the rich sound of the viola on Jan. 5 and 6, 2013, “Mozart and the Voice of the Viola” features the National Philharmonic with a double sec-

Piotr Gajewski

tion of violas and two outstanding soloists: violist Victoria Chiang and violinist Stefan Jackiw. In addition to Telemann’s Concerto for Viola and Mendelssohn’s String Symphony No. 9, the program includes one of Mozart’s most beloved works, the Sinfonia Concertante. Pianist Brian Ganz’s Chopin Project takes center stage on Jan. 19, 2013 for his third recital in his quest to perform all of the composer’s work over the next decade. “I am especially looking forward to performing Chopin’s 24 Preludes, which I believe is his greatest work,” says Ganz. “The preludes are all exquisitely crafted. Chopin was a great miniaturist, a master of musical gems.” On March 2, “The American Virtuoso Violin” program offers modern works by American composers Leonard Bernstein, Russell Peck, Steven Gerber and Andreas Makris. “I am particularly excited to be performing the world

14 applause at Strathmore • september/october 2012

premiere of Steven Gerber’s Two Lyric Pieces,” Gajewski says. Eminent violinist Elena Urioste returns as soloist for the program. “Playing these pieces amid the beauty and great acoustics at Strathmore will make for a very special evening,” Urioste says. Graves, the renowned mezzo-soprano, and the National Philharmonic will showcase the power and beauty of Brahms during “The Melodies of Brahms” on May 4 and 5. The concert will feature Brahms’ Alto Rhapsody, Schicksalslied and Symphony No. 4. Concertgoers will find much to cheer at Wagner’s 200th anniversary celebration on June 1. “We will be performing well-known and loved excerpts from each of Wagner’s 10 most performed operas,” says Gajewski. “Wagner aficionados as well as those wanting an initiation to Wagner’s work will find this a very satisfying musical experience.” The season finale program on June 8 and 9 offers Carl Orff’s Carmina Burana. “The work is a celebration of spring and summer, new love and the circle of life,” says Engebretson. Also on the program is 20th century Polish composer Witold Lutosławski’s inventive Three Poems by Henri Michaux. “Lutosławski was a visionary,” says Engebretson. “Composers are still building on his innovations today.” 

ganz photo by michael ventura, graves photot by devon cass gold, stoltzman photo by john pearson, Jackiw photo by lisa-marie mazzucco, shaham photo by christian steiner

From Messiah to Carmina Burana, The National Philharmonic promises a 2012-2013 season full of bravura performances By Pamela Toutant

strathmore

versatile

w i tt y an d

Think you’ve heard Tchaikovsky? Otis Redding? Nirvana? Not the way the Ukulele Orchestra of Great Britain can transform their songs By Roger Catlin

t began, George Hinchliffe says, as a lark. Eight musicians played a tiny, stringed, toy-like instrument together in a pub, all while taking on a grandiose name: the Ukulele Orchestra of Great Britain. “It started out as a bit of fun,” says Hinchliffe, a founding member. “Not as a joke, but as a bit of fun.” Twenty-seven years later, after a number of albums and videos and tour stops from the Sydney Opera House to Carnegie Hall, the Ukulele Orchestra of Great Britain is still going strong. The ensemble will bring the humble instrument to the Music Center at Strathmore on Oct. 20. The musicians, who all have backgrounds on other instruments, have arranged songs from the classical canon to the pop charts on an instrument mostly associated with Hawaii. Through it all, the ukulele has found itself an adept instrument in translat-

ing all manner of song. “It’s a fully chromatic instrument, like a guitar or a piano,” Hinchliffe says. “So it’s all there—with any piece of music you can ‘have a go’ at it as a player.” There are, of course, limitations. “There’s not a lot of sustain,” he says. “It’s more like a lute or a banjo compared to a church organ or oboe. But trying to find a way to make the music sound effective while recognizing the limitations of the instrument is one of the challenges we like.” Some pieces are more difficult than others, such as the arpeggio and glissandi of the harp on “The Dance of the Sugar Plum Fairy” from The Nutcracker. “You’d think the harp is not so far

Strathmore presents Ukulele Orchestra of Great Britain Saturday, Oct. 20, 2 P.M.

from the ukulele,” he says. “But it took us a while to figure how to do that.” On the other hand, some pop or rock songs adapt themselves well; “Born to Be Wild” and the Sex Pistols’ “Anarchy in the UK” have been part of the repertoire since the start. There’s an honesty to the ukulele, Hinchliffe says. “The idea is, if you’ve got a record that’s a hit, it might have a lot of production and synthesizers on it, you play it with a ukulele to see whether it holds water or not.” The endearing ukulele is known as an easy instrument for beginners, so regardless of their skill level audience members are invited to bring their own ukes to the Oct. 20 performance and join the musicians on “Ode to Joy.” Instructional videos and downloadable music are available at www.strathmore.org. “If it gets people into music, it’s excellent,” Hinchliffe says. “We should have probably gone into manufacturing the darn things rather than playing them.” 

applause at Strathmore • september/october 2012 15

Baltimore Symphony ORchestra

five on the fifth

onducting Beethoven’s Symphony No. 5 in C Minor is a little like leading a tour of the Eiffel Tower: How does one re-introduce a magnificently structured but deeply familiar 19th-century masterpiece? Baltimore Symphony Orchestra Music Director Marin Alsop takes up

the challenge on Nov. 9 with a performance designed to give audiences a fresh look at the Fifth. With a work so well known, Alsop asks, “How does one give a compelling interpretation of the piece that doesn’t sound hackneyed?” Alsop’s solution—not so possible with La Tour Eiffel—is to take the work apart and enlist the audience’s help in putting it back together for a stirring, eye-opening performance. In the process, listeners will learn things they may

not have known about the work. For example: 1. The pauses between bars in the Allegro movement are not in Beethoven’s original notations. Those portentous silences are as iconic as the four-note da-da-da-DUM, but later conductors introduced them for acoustical or technical reasons, Alsop says. “Beethoven was always detailed and specific,” she says. “One could argue for both interpretations, so we’ll do it both ways and let the audience pick.” 2. The four-beat, two-note opening theme is so memorable because it’s so simple. How did it become the most famous piece of classical music ever? “I’ll show how Beethoven takes a very small cell of material,” Alsop says, “and builds it out into an absolute masterpiece.” 3. Beethoven’s Fifth Symphony was actually his sixth. The theme was simple but took four years to build into a symphony. In the meantime, Beethoven worked on several other

Baltimore Symphony Orchestra presents Off the Cuff: Beethoven’s Fifth Friday, Nov. 9, 8:15 P.M.

16 applause at Strathmore • september/october 2012

pieces, including Fidelio, the Violin Concerto, Mass in C and Piano Concerto No. 4. The Fifth Symphony premiered on Dec. 22, 1808 at the Theatre an der Wien in Vienna in a four-hour concert of new works directed by Beethoven himself. The first piece on the program was his recently completed Symphony No. 6; Symphony No. 5 was played after the intermission. The cavernous theater was cold, the orchestra had barely rehearsed, and the half-frozen critics in the audience scarcely took note of the masterpiece. A year later, however, critic E. Hoffman declared the Fifth Symphony “one of the most important works of our time.” 4. The initial motif of the Fifth represents Fate knocking at the door. Europe was ravaged by war, and the composer himself was becoming increasingly deaf and beset by dark, even suicidal moods. Is Beethoven’s Symphony No. 5 his answer to the demands of fate and mortality? Alsop will explore what is known about Beethoven’s life and beliefs. 5. Alsop enjoyed Walter Murphy’s disco rendition, “A Fifth of Beethoven.” “I loved it,” she laughs. “A lot of music snobs didn’t like it so much. But it was cool, it was catchy, and it made classical music accessible.” 

Alsop photo by Grant Leighton

You’ve heard Beethoven’s Fifth, but how well do you really know it? The Baltimore Symphony Orchestra delves into the incredibly popular piece By Kathleen Wheaton

Baltimore Symphony ORchestra

Music as both vocation and passion BSO principal trumpet player Andrew Balio’s nonprofit will help symphonies evolve and become more sustainable By Martha Thomas

ure, Andrew Balio has a bike. And he and his wife Laura enjoy cooking together in the well-appointed kitchen of their Mount Vernon condominium. “When you read about what musicians do outside the symphony,” he says, “it always comes down to, ‘They love cooking or hiking. Or they have a bicycle.’ ” But that’s not what Balio, principal trumpet for the Baltimore Symphony Orchestra, wants to talk about. It is, instead, a passion for the symphony that consumes much of his free time. To that point, Balio recently set up the nonprofit FutureSymphony, an online think tank to bring together “the best and brightest business minds” with a goal “to reinvent symphony orchestras as sustainable businesses with increasing relevance.” Balio came to the BSO from the Israel Philharmonic in 2000, lured in part by a BSO culture that, he says, “encourages musician involvement” and boasts “a history of innovation.” It didn’t take him long to sign on to BSO committees, including marketing, education and audience development. Balio perceived a need to nurture a wider and more passionate audience: “It isn’t enough just to write checks,” he says. “You have to love the music, and pass it on to your children.”

Indeed, Balio helps keep the BSO board “young in thought,” says BSO President and CEO Paul Meecham. “Andy understands the need for orchestras to evolve if we are to stay relevant in the 21st century.” As for the fledgling FutureSymphony, Laura Balio is developing a website that will include interviews with artists and innovators from several fields, links to music education and civic arts programs and, eventually, virtual tours of great concert halls such as the Joseph Mey-

erhoff Symphony Hall in Baltimore— a hall, Balio says, that many musicians “would kill for.” In the meantime, some of Balio’s ideas can be seen at work at the BSO— in areas such as creative programming and educational outreach. When Music Director Marin Alsop arrived a few years after Balio, bringing her own pioneering ideas, it affirmed the trumpeter’s decision to come here. “The BSO has a reputation for innovation,” Balio says. “That is a big plus for me.” 

applause at Strathmore • september/october 2012 17

the National Philharmonic

The Power of Three National Philharmonic conductors Piotr Gajewski, Victoria Gau and Stan Engebretson provide depth to Music Center performances By M.J. McAteer

Piotr Gajewski

Victoria Gau

concert lectures about the history and theory behind the music that is about to be performed. “I am the resident nerd,” she says jokingly. Throughout the year, the three conductors are in constant consult on both artistic and logistic decisions. Then, “come brochure deadline time,” as Engebretson puts it, they sit down together to map out the season. They try to rotate major pieces, bring in new works and celebrate musical milestones, which this season will include the 100th anniversary of the birth of Polish composer Witold Lutosławski and the 200th anniversary of the birth of Richard Wagner. “There is a healthy love and respect for what we [each] bring to the table,” Engebretson says about their meeting. “I am blessed and privileged to plan great music with great musicians.” The Philharmonic will present a record 19 concerts (plus 14 free perfor-

18 applause at Strathmore • september/october 2012

Stan Engebretson

mances for Montgomery County Public Schools’ second- and fifth-graders as part of the Strathmore Student Concerts initiative) during the 2012-2013 season at the Music Center at Strathmore. Gajewski will conduct 10 of the concerts, Engebretson five and Gau two. The other two concerts will be led by guest conductor Mirosław Jacek Błaszczyk. No concert can be missed— doing so would be a financial disaster for the Philharmonic, Gajewski says— so Gau prepares for and attends every concert Gajewski conducts. She also stays ready to step up to the podium for Engebretson. It is a relationship that is as much symbiotic as harmonic. “Some other conductors work in a vacuum,” Gau says, “but we are able to have artistic feedback and institutional redundancies. It’s a very satisfying situation.” 

Gajewski photo by Jay Mallin, Gau photo by michael ventura,

symphony conductor knows that he has an audience watching his back, but he needs someone to stand behind him, too—to share the challenges of making great music and to make sure that the concert goes on even if he can’t. For National Philharmonic Music Director and Conductor Piotr Gajewski that someone is actually two people, Philharmonic Chorale Artistic Director Stan Engebretson and Associate Conductor Victoria Gau. Thanks to the talents of these three conductors, the Philharmonic has an enviable musical range that adds depth and insight to its concerts at the Music Center at Strathmore. Although Gajewski makes all the final decisions about the Philharmonic’s programming and selection of guest artists, Engebretson and Gau act as his pitch-perfect sounding boards. “I bounce things off Stan and Victoria,” Gajewski says. “We have a great working relationship.” “The big creative impulse comes from Piotr,” says Gau, whose background is in opera, piano and viola. She adds that Gajewski’s greatest strength, obviously, is orchestral, and that, equally obvious is Engebretson’s forte for choral music. Gau has a foot in both camps. She also is active in the Philharmonic’s volunteer efforts and in community outreach, which includes preparing and giving the pre-

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Well-Tempered

Pianist Area musicians admire András Schiff’s attention to detail and his upcoming performance of Book II of Bach’s Clavier By M.J. McAteer

Washington Performing Arts Society presents András Schiff Tuesday, Oct. 30, 8 P.M.

20 applause at Strathmore • september/october 2012

play Bach every day. His music is something divine,” András Schiff once told Fidelio magazine. Those who have heard the Hungarian pianist play Bach describe that experience with the same reverence. “Only a handful of musicians per generation are acclaimed for their interpretation of Bach,” says Neale Perl, president and CEO of the Washington Performing Arts Society, which is presenting Schiff’s concert of Bach’s The Well-Tempered Clavier Book II at the Music Center at Strathmore at 8 p.m. on Oct. 30. Schiff’s “inspiration and integrity are so high, that it is no longer a matter of personal preference. He is a musician’s musician.” Perl does not exaggerate. When asked about Schiff’s upcoming performance at Strathmore, three celebrated pianists from this area all expressed admiration bordering on awe for both the musician and the masterwork that he will perform. Brian Ganz, whose rendering of Chopin has been described as “deeply beautiful,” characterizes Schiff as a master of seemingly contradictory skills. “He pays extraordinary attention to detail, but he shows a willingness to transcend detail and take risks. He has microscopic awareness and macroscopic vision.” Yuliya Gorenman, known for her bravura performance of all 32 Beethoven sonatas, says, “He is always interesting, always grabs you.” Gorenman, who is also a professor of music at American University, lauds Schiff for his “finesse and taste.” His technique is “great,” she says, because “great technique is one that you don’t notice.” Rockville’s Alon Goldstein shares his opinion. Schiff’s playing is “always in the service of the music, not in your face,”

Birgitta Kowsky

“

he says. “In an over-the-top world, it is almost like he belongs to a different era.” Goldstein, who will appear with cellist Amit Peled at a WPAS-sponsored concert at the Kennedy Center in March, also noted the ying-yang of Schiff’s artistry. His playing, Goldstein says, is “minimal yet universal.” That intriguing duality makes Schiff well suited to performing Bach, whose works demand extreme precision yet offer a musician a medley of choices about mood and expression. “You can’t remove one note from a Bach fugue,” Schiff has said, yet “you can play a Bach fugue in 10 different tempi, and it will still be good. The beauty of

Schiff recorded both books of The Well-Tempered Clavier more than 20 years ago and recently completed work on new recordings. The music “needs time and space to digest and think about,” he said when asked why he chose to record the same pieces again. Schiff’s performance of Book II at Strathmore will be an epic undertaking. To perform Book II in its entirety will take about two and a half hours during which time Schiff’s focus can never falter. The polyphonic preludes, in particular, are “gigantic” pieces, he says. The performance will be nothing less than “a tour de force of memory and intellectual stamina,” Gorenman

András Schiff’s “inspiration and integrity are so high, that it is no longer a matter of personal preference. He is a musician’s musician.” Neale Perl Bach is the freedom he gives us.” Bach wrote Book I of The Well-Tempered Clavier in 1722 “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” The work also was intended to demonstrate the feasibility of a tuning system that allowed for composition in every key. Book II followed 20 years later, and is usually seen as the more abstract and harmonically challenging work. Each of the books consists of preludes and fugues in all 24 major and minor keys. The “48,” as the two sets of preludes and fugues are often called, have been a touchstone for many of the world’s greatest composers, including Beethoven, Schumann and Mendelssohn. Mozart’s music went to a higher level once he discovered Bach, Schiff said in a recent interview at Lincoln Center.

says. “It’s almost a crazy project. I take my hat off to him.” The Well-Tempered Clavier is considered a seminal achievement, but no one would ever put it in the category of easy listening. It demands concentration from an audience as well as from the performer, and, even then, it can be difficult to grasp the vastness of Bach’s achievement. Book II is an Everest, Goldstein says, before correcting himself for making too small a comparison. “You don’t see one mountain,” he says. “You see the Himalayas.” That metaphor is apt for a concert that will showcase an artist and a composer at the peak of their powers. “It is the highest level of music that exists and the highest level of music making that exists,” Goldstein says. “It is a chance to commune with one of the greatest works of humanity.” 

applause at Strathmore • september/october 2012 21

Saturday, September 22, 2012, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

American Classics and Gil Shaham Marin Alsop, conductor Gil Shaham, violin “The Star Spangled Banner” John Stafford Smith, (1750-1836) (world premiere) arranged by George M. Bogatko Arrangement commissioned by the Baltimore Symphony Orchestra

Symphonic Suite from On the Waterfront

Leonard Bernstein (1918-1990)

Violin Concerto, Op. 14 Samuel Barber Allegro (1910-1981)

Andante

Presto in moto perpetuo

Gil Shaham INTERMISSION

Symphony No. 3 Aaron Copland olto moderato, with simple expression (1900-1990) M

Allegro molto

Andantino quasi allegretto

Molto deliberato - Allegro risoluto

Gil Shaham, violin

Presenting Sponsor: DLA Piper The concert will end at approximately 10 p.m. The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor

Hailed as one of the world’s leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her

2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award. In 2008, she was inducted as a fellow into the American Academy of Arts & Sciences, and in 2009 Musical America named her Conductor of the Year. In November 2010, she was inducted into the American Classical Music Hall of Fame. In February 2011, Alsop was named the music director of the Orquestra Sinfônica do Estado de São Paulo, or the São Paulo Symphony Orchestra, effective for the 2012-13 Season. And in March 2011, Alsop was named to The Guardian’s Top 100 Women list. She was also named an artist-in-residence at the Southbank Centre in London in 2011. A regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra and Los Angeles Philharmonic, Alsop appears frequently as a guest conductor with the most distinguished orchestras around the world. Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.

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

22 applause at Strathmore • SEPTEMBER/OCTOBER 2012

Combining flawless technique with inimitable warmth and generosity of spirit, Gil Shaham is sought after as a concerto, recital and ensemble artist by the world’s leading orchestras, venues and festivals. In the 2010-2011 season, he continued his long-term exploration of “Violin Concertos of the 1930s” with the New York Philharmonic, Philadelphia Orchestra and National Symphony of Washington, D.C.; the symphonies of Chicago, Milwaukee and

aslop photo by dean alexander, shaham photo by Christian Steiner

Saturday, September 22, 2012, 8 p.m.

Toronto; and the Orchestre de Paris, Sinfonieorchester Berlin, Mariinsky Orchestra of St. Petersburg and Tonhalle-Orchester Zürich. Shaham plays the 1699 Countess Polignac Stradivarius. Gil Shaham last appeared with the BSO in April 2010, performing Stravinsky’s Violin Concerto in D, with Marin Alsop conducting.

George M. Bogatko, arranger

George M. Bogatko was born into a family of amateur musicians. His father played his way through law school in vaudeville pits and his mother could “swing” her way through pop tunes using only the tune and chord symbols. After a stint in the army, Bogatko went to Mannes College The New School for Music to study composition. He did not pursue a serious career in composition, instead choosing a more stable career in computer technology, which remains his day job. Along the way, he met Marin Alsop, who persuaded him to write music for her swing band String Fever. As Alsop’s career took off, she would occasionally ask for symphonic compositions and arrangements to add to her encore list. In the meantime, Bogatko ventured into composing and arranging music for player pianos and coin-operated orchestrations and then later took up traditional large format photography. After an almost 10-year hiatus from composing and at Alsop’s insistence, Bogatko resumed composing. This version of “The Star Spangled Banner” is the result.

Program Notes Suite from On the Waterfront

Leonard Bernstein Born Aug. 25, 1918, in Lawrence, Mass.; died Oct. 14, 1990, in New York City

Elia Kazan’s 1954 film On the Waterfront is one of the great classics of American cinema. Shot on location on the

gritty docks and tenements of Hoboken, N.J., it was based on Pulitzer Prizewinning articles in the New York Sun by Malcolm Johnson about the real-life corruption and violence marring New York’s commercial dockyards in the late 1940s. It was nominated for 12 Academy Awards and won eight (for Best Picture, Best Director, Best Actor for Marlon Brando, Best Supporting Actress for Eva Marie Saint in her screen debut, and Best Screenplay). Though he didn’t win the Oscar, Leonard Bernstein was nominated for Best Score, the only film score not based on previous material he ever wrote. Excoriated for recently exposing friends as communists before Sen. Joe McCarthy’s infamous Committee on Un-American Activities, the famed director (he also co-wrote the script) Kazan may have been using this story to justify his actions by depicting the bravery of dockworker Terry Malloy (Brando), who, after three murders, including that of his brother Charlie (Rod Steiger), decides to violate the dockyard code of “Deaf and Dumb” and testify about the criminal activities of union boss John Friendly (Lee J. Cobb). Nevertheless, the film rises above such personal agendas through the uncompromising power of its story and the brilliance of its superb cast of actors. And one of its scenes became an iconic American moment: Terry, the washedup prizefighter who was coerced by his brother to throw a fight that Friendly was betting against, protesting: “You don’t understand! I coulda had class, I coulda been a contender, instead of a bum, which is what I am.” In his The Joy of Music, Bernstein revealed the ordeal he went through in the Columbia Pictures’ dubbing room as he trimmed his elaborately wrought score to meet the director and film editor’s requirements. He had originally rejected offers to write for film because he thought “it is a musically unsatisfactory experience for a composer to write a score whose chief merit ought to be its unobtrusiveness.” Now he found that his favorite music—which underscores a love scene between Terry and

Edie Doyle (Saint), the sister of one of the murdered men who prods him to stand up and reveal the truth—was standing in the way of the audibility of Brando’s grunted “uh-huh,” which Kazan deemed to be the most expressive words in the film! “And what happened to the music? As it mounts to its great climax and the theme goes higher and higher... the all-powerful control dials are turned, and the sound fades out in a slow diminuendo. ... And so the composer sits by, protesting as he can, but ultimately accepting... the inevitable loss of a good part of his score. Everyone tries to comfort him. ‘You can always use it in a suite.’ ” Which is exactly what Bernstein did in 1955, crafting a 20-minute tone poem out of his powerful score, in which the climax of the love scene does not fade away and his music is heard as he originally intended. It was premiered by the Boston Symphony under his baton on Aug. 11, 1955. The Suite opens with a melancholy horn solo; this music, known as Terry’s theme, is played under the opening credits of the film. Pounding timpani and piano introduce savage music marked Presto barbaro. This jazz-flavored, rhythmically intense music is associated with John Friendly and his enforcers, and the threat of violence hanging over the longshoremen. The longest section of the Suite is devoted to the beautiful love music associated with Terry and Edie. The tender flute-and-harp theme is heard when they have a rendezvous on the roof of their tenement building, where Terry keeps a flock of carrier pigeons. This section closes with a return of Terry’s theme of lonely resistance. The loud, fast music that follows was used for Terry’s climactic fight with Friendly. After being beaten nearly to death by Friendly’s enforcers, Terry struggles to his feet, and as his theme grows in volume and magnificence, he marches slowly but triumphantly back to the docks, leading his fellow workers, now freed of Friendly’s brutal domination. Instrumentation: Two flutes, piccolo,

applause at Strathmore • SEPTEMBER/OCTOBER 2012 23

Saturday, September 22, 2012, 8 p.m.

Baltimore Symphony Orchestra

two oboes, two clarinets, bass clarinet, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and percussion, harp, piano, alto saxophone and strings. Violin Concerto, Op. 14

Samuel Barber Born March 9, 1910, in West Chester, Penn.; died Jan. 23, 1981 in New York City

Samuel Barber’s now-celebrated Violin Concerto was his first major commissioned work. Sadly, it also became a cautionary tale of what can go wrong between a commissioner and a composer. In the 1930s, Barber was a fast-rising star of the American musical scene; his Symphony No. 1 and Adagio for Strings had already attracted the attention of such legendary conductors as Toscanini, Ormandy and others. The wealthy Philadelphia businessman Samuel Fels had adopted a Ukrainian violin prodigy, Iso Briselli, and wanted to commission a concerto for him. In 1939, through the good offices of the Curtis Institute, he selected fellow Philadelphian Barber and offered him the then-substantial fee of $1,000. Barber accepted, using some of the money to go a favorite creative spot, the Swiss village of Sils Maria, and compose the work there. When Americans were ordered out of Europe on the eve of World War II, he returned to the U.S. and finished the work in the Poconos in July 1940. But after Barber sent the various movements to Fels and Briselli, the complaints began rolling in. Briselli found the first two movements lacking in the showy writing that would display his virtuosity. Then, conversely, when the high-speed finale arrived, he declared it “unplayable.” (More recently, Briselli told Barber biographer Barbara B. Heyman that he actually objected to the finale because—at four minutes—he thought it too short to balance the work.) But in this confused story of ego-saving and 20/20 hindsight, Barber heard the “unplayable” criticism. To prove it was indeed playable, he hired a Curtis violin student, Herbert Baumel,

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

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Sharon Pineo Myer Delmar Stewart Jeffrey Stewart Mary Woehr Cellos Dariusz Skoraczewski Principal Chang Woo Lee Associate Principal Bo Li Acting Assistant Principal Seth Low Susan Evans Esther Mellon Kristin Ostling Paula Skolnick-Childress 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 Bass Clarinet Edward Palanker E-flat Clarinet Christopher Wolfe Bassoons Fei Xie Principal Julie Green Gregorian Assistant Principal Ellen Connors** Contrabassoon David P. Coombs Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Beth Graham* Assistant Principal Mary C. Bisson Bruce Moore Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Tom Bithell** Trombones Christopher Dudley* Principal, Alex. Brown & Sons Chair Joseph Rodriguez** Acting Principal James Olin Co-Principal John Vance Bass Trombone Randall S. Campora

Tuba David T. Fedderly Principal Timpani Dennis Kain 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 Marilyn Rife Assistant Personnel Manager Christopher Monte 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 Frank Serruto Technical Director Charles Lamar Sound *on leave ** Guest musician

Saturday, September 22, 2012, 8 p.m.

to play the movement, on just two hours’ notice, as fast as he could before a jury of Curtis faculty; Baumel performed it easily, and all agreed that Barber deserved his fee. Fels and Briselli, however, remained dissenters. But at the work’s debut, in February 1941 by the Philadelphia Orchestra with soloist Albert Spaulding, the composer won a spiritual vindication: The work triumphed with the audience, and remains today the most frequently performed American violin concerto. But Briselli actually had a genuine complaint if he was seeking a bravura concerto in which the spotlight would be firmly trained on his virtuosity. For Barber’s beautiful concerto is something quite different: a subtle melding of violin and orchestra, with a chamber music-like sensibility. In keeping with Barber’s life-long interest in vocal music, it focuses on the violin’s expressive singing quality. Both the first and second movements are notable for their lyrical beauty and fine-spun melodies. In the opening movement, the violin enters immediately with a haunting, slightly melancholic melody; this contrasts with a vivacious little theme, with Scotch-snap (shortlong) rhythms, introduced by the solo clarinet and associated chiefly with the woodwinds. The Andante second movement is still more lyrical, with a principal theme of eloquent simplicity presented not by the violinist but (shades of the Brahms Violin Concerto) by solo oboe, an instrument Barber especially loved. When the violinist finally enters, he pushes the music into a more agitated, lamenting mood, but ultimately adopts the oboe’s theme for a serene conclusion. Virtuosity is on display in the brief Presto finale, in which the soloist plays fast triplets for 110 non-stop measures. With its nervous hyperactivity, irregular rhythms and higher ratio of dissonance, this movement seems to belong far more to the 20th century than do its Romantic partners. Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and percussion, piano and strings.

Symphony No. 3

Aaron Copland Born Nov. 14, 1900, in Brooklyn, N.Y.; died Dec. 2, 1990 in North Tarrytown, N.Y.

More than a decade after his death, Aaron Copland remains the most popular of American classical composers. Uncannily, he managed to create music that seems more quintessentially American than that of any of his peers. As he once said, he saw his mission as expressing “the deepest reactions of the American consciousness to the American scene.” His music also reflected his own personality: plain, straightforward, honest and idealistic. Born in Brooklyn, he was a true product of the American melting pot. His parents, Russian Jews, had emigrated separately from Eastern Europe. His mother, Sarah Mittenthal, probably first inspired his fascination with the great American open spaces: She had grown up in Peoria, Ill., and Dallas, Texas. In his early 20s, Copland traveled to France to receive a thorough European grounding in composition from the renowned pedagogue Nadia Boulanger. Upon returning to America, he was initially lured by the modernist international style inspired by Stravinsky. The coming of the Depression, however, ignited Copland’s sense of musical mission. He became part of the group of New Deal artists clustered around the photographer Alfred Stieglitz (including Georgia O’Keefe, Ansel Adams and Hart Crane) who, taking the motto “Affirm America” as their credo, sought to express the American democratic ideal in their art. Copland decided to address his music not to the elite few but to the general music-lover and “to see if I couldn’t say what I had to say in the simplest possible terms.” But at the same time, he determined not to compromise his own fierce integrity or write down to his audiences. In the late 1930s and throughout the 1940s, American composers, such as Roy Harris, Roger Sessions, Charles Ives and William Schuman, became deeply attracted to the symphony, a form currently out of fashion in Europe, except for Shostakovich’s Russia. Copland had

two earlier symphonic works in his catalogue, but neither was a full-scale symphony with a capital “S.” His colleagues began pestering him to take the plunge. Samuel Barber wrote in 1944: “I hope you will knuckle down to a good symphony! We deserve it of you, and your career is all set for it. Forza!” What Barber didn’t know was that Copland was already hard at work on what would become his longest work and scored for the largest orchestral forces he ever used. Early in 1944, his devoted supporter Serge Koussevitzky, music director of the Boston Symphony, had extended a commission for a major orchestral work. Always a slow and painstaking craftsman, Copland barely finished his Symphony No. 3 in time for its premiere on Oct. 18, 1946. Born during World War II, it arrived in time to celebrate the Allied victory, and its bold, affirmative tone ensured its success (it won the New York Critics Circle Award for Best American Orchestral Work of the 1946–47 season). Although Copland vehemently denied there was any program behind this work, he did admit, “After all, it was a wartime piece—or more accurately, an end-of-war piece—intended to reflect the euphoric spirit of the country at the time.” And Copland also attributed its big scope and style to Koussevitzky. “I knew exactly the kind of music he enjoyed conducting and the sentiments he brought to it, and I knew the sound of his orchestra, so I had every reason to do my darndest to write a symphony in the grand manner.” But the first movement—built in the form of an arch—opens with the utmost simplicity and gentleness. Singing in unison, flute, clarinets and violins etch a spare melody of wide-open-spaces intervals. The brass provides tenderly virile commentary as the instruments gradually pile in for a first affirmation. As this fades, violas and woodwinds quietly introduce a second theme: close cousin to the first but more flowing and rhythmically active. This, too, builds to another climax until the trombones present the movement’s third theme. In a rising shape and more assertive spirit, this melody is a harbinger of the Fanfare for the Common Man. The

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Saturday, September 22, 2012, 8 p.m.

whole orchestra salutes it with dancelike music of great rhythmic energy. A marvelous passage of glittering percussion music leads to a stentorian climax of brass and drums: the peak of the arch. Then, a hushed coda, full of magical instrumental effects, leads back to the opening’s spare simplicity. The crash of drums awakens us with a jolt as the second movement Scherzo begins. And the horns leap upward with a call-to-action idea that also looks ahead to the Fanfare. The other brass instruments imitate their cry in a blazing military display. Then, horns and violas extend this idea into a true theme, accompanied by chugging strings and a chortling piccolo. Repeated three times, this theme evokes ever more exuberant bursts of orchestral merriment. The slower trio section offers a total contrast in mood, with a solo oboe singing a melancholy, romantic melody that might have come from one of Copland’s Western ballets. Sparkling piano music leads back to the Scherzo and, near the end, a

surprise, as Copland transforms his tender trio melody into a powerful full-orchestra statement. Movement three opens with yet another extraordinary transformation. As we listen to the violins’s high, ethereal line, we can scarcely believe that it is the trombones’ assertive third theme from the first movement in airy new guise. Intensified by counterpoint from other instruments, it rises to a passionate climax. Now, the solo flute sings a new theme, rocking gently in Copland’s signature nostalgic-Americana style. Passing through a series of variations, this artfully scored music recalls the pioneers of Copland’s Appalachian Spring. Its luminous close leads directly into the finale. From the Symphony No. 3’s genesis, Copland said he had intended to “carry further” the music of “Fanfare for the Common Man,” which, in 1946, was still a little-known piece. After a soft preview, it is blazed forth by brass and percussion,

serving as dynamic preparation for the work’s longest and most dramatic movement. A quick, swirling theme, introduced by oboe, grows out of this and generates a dancing fugato as the other instruments imitate it. Eventually, the Fanfare itself joins in the dance. Belatedly, a second theme, broad and syncopated, sashays in. This music grows in frenzy until stopped dead in its tracks by loud, harshly dissonant chords. Tentatively, the woodwinds resume the dance, which gradually builds to a powerful restatement of the Fanfare. And near the end, we hear again, high in the strings, the simple theme with which the symphony began. Instrumentation: Three flutes, two piccolos, three oboes, English horn, two clarinets, bass clarinet, E-flat clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani and percussion, two harps, piano, celesta and strings. Notes by Janet E. Bedell copyright 2012

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Friday, September 28, 2012, 8 p.m.

friday, SEPTEMBER 28, 2012, 8 p.m.

● Strathmore Presents

Pat McGee Ari Hest opens John Small, bass Patrick McAloon, guitar Michael Ghegan, saxophone John “Red” Redling (New Potato Caboose), vocals, keyboards Nate Brown (Everything), drums, percussion, vocals Eddie Hartness (Eddie From Ohio), percussion, vocals Julie Murphy (Eddie From Ohio), vocals Mike Clem (Eddie From Ohio), guitar, bass, harmonica, vocals Ira Gitlin, banjo with the Bishop Dennis J. O’Connell High School Jazz Band and String Ensemble The Music Center at Strathmore Marriott Concert Stage

Pat McGee

Since his early beginnings on piano and clarinet, Pat McGee has had the desire to take something he found to be truly invigorating and share it. It

is still the most galvanizing element of music for him, the joy of discovery, followed by being the village voice for it all. In his ninth release, No Wrong Way To Make It Right, McGee reaches back to his earliest influences—the people who inspired him to pick up a guitar and stand in front of a microphone. Simpler tunes that focused on melody and tone struck a chord with him—the country and folk sides of Jackson Browne, Eric Clapton and James Taylor. McGee was also in awe of the louder side of rock ‘n’ roll, and he wanted to bring that vigor to his music. These two facets of McGee can be heard on his latest album. McGee, born and raised in northern Virginia to parents who always had a stack of records spinning on the house player, has an appreciation for all musical genres. It was a live

performance of the 1812 Overture at the Wolf Trap National Park for the Performing Arts, where he would later headline six times, that showed him how powerful live music can be. During college, McGee toured mid-Atlantic colleges and clubs as an acoustic act with his brother, Hugh McGee. Later he started his solo work in the bars and clubs around Longwood College in Virginia. In 1996 in Richmond, Va., he founded the Pat McGee Band. Touring relentlessly, the band gained lifelong fans one show at a time, playing more than 4,000 gigs in 48 states Now a proud father of three daughters, McGee lives in Rhode Island and continues to tour. As a side project, he has started Down the Hatch, which packages vacation getaways with concert experiences that feature McGee and other artists. These events take place around the country with the flagship event based in the Outer Banks of North Carolina. McGee is always the host, as well as the featured performer. McGee has made nine albums, sold well over 500,000 records, spent five years signed to Warner Brothers Records, has previous and upcoming USO overseas’ touring under his belt and was requested to perform for President Bill Clinton’s party celebrating the completion of his presidency. He also has shared the stage with Fleetwood Mac, Allman Brothers Band and The Who. His ballad “Come Back Home” was used by the U.S. military to honor the troops lost in combat during March 2008. McGee and the band have a strong connection to the pain of losing someone, having lost drummer Chris Williams to sudden heart failure and also Chris’ brother, Blake Williams, who died in combat in Iraq in 2008. The music McGee has created has not only helped him personally deal with these events, but more importantly comfort others who have experienced similar tragedies. He is currently writing for his 10th album.

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Saturday, September 29, 2012, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Bernstein’s “Kaddish” Marin Alsop, conductor Claire Bloom, narrator Kelley Nassief, soprano The Washington Chorus Maryland State Boychoir

Short Ride in a Fast Machine John Adams (1947-)

Ansel Adams: America Dave Brubeck (1920-) and Chris Brubeck (1952-) INTERMISSION

Symphony No. 3, “Kaddish” Leonard Bernstein Invocation: Adagio (1918-1990)

Kaddish I

Din-Torah

Kaddish II

Scherzo

Kaddish III/Finale

Claire Bloom

Kelley Nassief

The Washington Chorus

Maryland State Boychoir Presenting Sponsor: M&T Bank The concert will end at approximately 9:45 p.m. The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor

For Marin Alsop’s biography, see page 22.

Claire Bloom, narrator

Claire Bloom made her first stage appearance with the Oxford Repertory Company at the age of 16. Her first major role came a year later when she played Ophelia at Stratford-upon-Avon,

opposite the alternating Hamlets of Paul Scofield and Robert Helpmann. Her first London appearance was as Alizon Eliot in John Gielgud’s production of Christopher Fry’s The Lady’s Not for Burning, opposite Richard Burton. Notable stage roles include Juliet, Ophelia, Viola, Miranda and Cordelia at the Old Vic, and, in London’s West

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End she has appeared as Sasha in Ivanov, Nora in A Doll’s House, Rebecca West in Rosmersholm and Mme. Ranyeskvya in The Cherry Orchard. Bloom has appeared as narrator with many leading orchestras, including the New York Philharmonic, the Los Angeles Philharmonic, the BBC Symphony Orchestra, the London Philharmonic Orchestra, the Chicago Symphony Orchestra, the Atlanta Symphony Orchestra, the Netherlands Chamber Orchestra, the Jerusalem Symphony Orchestra and the Brooklyn Philharmonic, for whom she narrated the first U.S. performance of Georg Anton Benda’s Medea. Claire Bloom last appeared with the BSO in November 1996, narrating Mendelssohn’s A Midsummer Night’s Dream, with David Zinman conducting.

Kelley Nassief, soprano

Kelley Nassief’s recent season engagements included Brahms’ Requiem with the New Bedford Symphony Orchestra, Bernstein’s Symphony No. 3 (“Kaddish”) with Fundaçao Orquestra Sinfônica do Estado de Saõ Paulo under Marin Alsop, and Beethoven’s Symphony No. 9 in a return to Pacific Symphony. Other highlights include Bernstein’s Symphony No. 3 with the National Symphony Orchestra, the Beethoven Festival in Warsaw, the Royal Flemish Philharmonic, Orchestre de Paris and the Philadelphia Orchestra; Beethoven’s Symphony No. 9 with the National Symphony Orchestra of Costa Rica and with the Columbus Symphony Orchestra; Vaughan Williams’ A Sea Symphony with Grand Rapids Symphony Orchestra; Ravel’s Shéhérazade, plus selected opera arias, with the Richmond Symphony; Verdi’s Requiem with Louisville,

alsop photo by dean alexander, NASSIEF photo by Lisa Kohler

Saturday, September 29, 2012, 8 p.m.

Grand Rapids and Modesto symphony orchestras; Mozart’s Requiem with the Memphis Symphony Orchestra; and Wagner’s Wesendonck Lieder with Da Camera of Houston. Kelley Nassief is making her BSO debut.

The Washington Chorus

Founded in 1961 as the Oratorio Society of Washington, The Washington Chorus is noted for its critically acclaimed performances and recordings of the entire range of the choral repertoire. A Grammy Award-winner and cultural leader in the Washington area, the chorus, under direction of Music Director Julian Wachner, presents an annual subscription series at The Kennedy Center, the Music Center at Strathmore and other major venues throughout the Washington, D.C. area. The chorus also frequently appears at the invitation of the National Symphony Orchestra and with the Baltimore Symphony Orchestra. The Washington Chorus has been nationally broadcast and internationally televised, performed as part of a motion picture soundtrack, presented numerous premieres, and has performed for presidential inaugurations and to honor world leaders. Recordings include the recently released Christmas with the Washington Chorus; two other holiday recordings, Glorious Splendor and Sing Noel!!; the Berlioz Requiem; Dvořák’s Stabat Mater; Mussorgsky’s Boris Godunov (nominated for a Grammy in 1988); and the Grammy Award-winning Of Rage and Remembrance by John Corigliano with the National Symphony Orchestra under the baton of Leonard Slatkin. The Washington Chorus last appeared with the BSO in June 2011, performing Verdi’s Requiem, with Marin Alsop conducting.

Maryland State Boychoir

Now celebrating its 25th anniversary season, the Maryland State Boychoir serves as the state’s official goodwill ambassadors—a moniker bestowed on the choir by late Gov. William Donald Schaefer. The Boychoir performs more than

60 times a year 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. The choristers have sung at many distinguished venues, including the White House, the National Cathedral, St. Patrick’s Cathedral and Holy Trinity Cathedral in New York City, Kimmel Center for the Performing Arts in Philadelphia and the Joseph Meyerhoff Symphony Hall in Baltimore. Recent Boychoir musical programs have included the Washington D.C. debut of John Rutter’s Mass of the Children, and two performances of Howard Shore’s Fellowship of the Rings Symphony with the Baltimore Symphony Orchestra. The choir’s annual Festival of Nine Lessons and Carols has sold out three performances for the past 11 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 Twelfth Baltimore Boychoir Festival with over 250 participants and singing for the opening ceremony at the PGA Presidents Cup. The Maryland State Boychoir is dedicated to providing talented boys with a musical education in the tradition of the great European choir schools and provides an environment that cultivates the art of choral singing. Boys in the choir are given opportunities to perform professionally and grow socially.

Program Notes Short Ride in a Fast Machine

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

At the midpoint of the 20th century, the 12-tone serial system developed by Arnold Schoenberg held classical music in a strangle hold of atonal complexity that confused and alienated many audience members. As a music student at Harvard University during the 1960s, John Adams dutifully devoted his

classroom work to serialism, but spent his free time listening to The Beatles and other rock groups. It was only after he moved to California in the early ’70s and discovered the Minimalist style of American composers Steve Reich and Philip Glass that he began to see his future path as a composer. Minimalism was a reaction to serialism. It sought to radically reduce musical complexity by returning to clear keys, simple harmonies and the plentiful repetition of melodies, chords and rhythms that was banned in serialism. And it emphasized shimmering instrumental colors and hypnotic, slowly shifting rhythms to produce music that was both contemplative and easy on the ears. Minimalism soon was drawing a big audience, especially among younger listeners, and Adams became its most imaginative practitioner. In such orchestral works as Shaker Loops, Grand Pianola Music and Harmonium, he reintroduced more harmonic and rhythmic complexity into his minimalist brew, along with a dash of Pop-music flavoring. And in 1987 he unveiled his controversial opera Nixon in China, which brought current events at last to the opera stage. Written in 1986, Short Ride is minimalism on amphetamines. Over the brilliant constant pulsing of percussion, strings and woodwinds, brass and drums, Adams takes us on a joyride of propulsive rhythms borrowed from big band jazz. It’s over in just four minutes, but, while it lasts, Short Ride is perhaps the most exhilarating experience in contemporary music. Instrumentation: Two flutes, two piccolos, two oboes, English horn, four clarinets, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion and strings. Ansel Adams: America

Ansel Adams Born Feb. 20, 1902, in San Francisco, Calif.; died April 22, 1984 in Carmel, Calif.

Dave Brubeck Born Dec. 6, 1920, in Concord, Calif.

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Saturday, September 29, 2012, 8 p.m.

Chris Brubeck Born March 19, 1952, in Los Angeles, Calif.

“Photographers are in a sense composers, and the negatives are their scores.” –Ansel Adams A tremendous success at its premiere by the Baltimore Symphony Orchestra in February 2010, Ansel Adams: America is a multimedia collaboration between three remarkable creative artists. One of them was perhaps the greatest photographer America has ever produced: Ansel Adams, whose magnificent blackand-white photographs of the glories of the American West have thrilled viewers around the world for many decades. And setting Adams’ photographs to music is a particularly happy idea, for he was virtually as interested in music as in photography. As a youth, he practiced piano with the intensity he would later devote to his photography and dreamed of becoming a concert pianist. His quotation above reveals the strong connection he felt between the two art forms. Dave Brubeck is renowned for his innovations as a performer and composer in jazz, but also with a strong background in classical music that has led him to compose a number of classical orchestral and chamber works. His son Chris Brubeck is a frequent performing partner and has also established an international reputation in both the jazz and classical field. When the idea for an Ansel Adams piece came up, Chris Brubeck realized it would be a perfect project for both Brubecks, as he explains in the following note: “In 2006, I had lunch with Susan Carson, a dynamic patron of the arts in Northern California. She asked me what I thought about the idea of an orchestra performing original music while Ansel Adams’ photographic images were projected in the concert hall. I instantly thought this was a fabulous concept! … “The merging of music and photography made perfect sense when Ms. Carson explained that Ansel Adams was well on his way to becoming a serious

concert pianist until he was seduced by the beauty of Yosemite and succumbed to the lure of photography. ... “Ansel Adams evolved in the expansive currents of 20th-century America. … Because of his talent, hard work and good fortune, he became a pioneer and icon of an emerging new art form. I couldn’t help but think of my father, who grew up as a cowboy in the foothills of California near Stockton. … Recognizing their similar histories spurred me to ask Dave to become part of this compositional endeavor. “Dave began to write a piano score that was driven in style by Bach and Chopin: immortal music learned and played by Adams as a young man. This music was also part of Dave’s unusual environment: growing up on a ranch where his father was a cowboy and his mother was a classical pianist who often played Bach and Chopin. Dave’s own style (in part inspired by his studies with Darius Milhaud at Mills College after World War II) evolved to be both polytonal and ‘jazzy.’ This heritage has naturally influenced my compositional language as well. Because the architecture of some of Adams’ photographs was so like the complex structure of a fugue, I suggested to my father that he write one as the heart of this new composition. Dave’s enthusiasm and creativity inspired him far beyond the fugue. He devised many wonderful themes and ideas that we expanded and polished together. Once the piano score was complete, my wife, Tish, and I began to select additional images to be shown throughout the developing score. … Jeff Suggs, an award-winning visual production designer, met with us and also added his opinions and expertise regarding transitions between the images. “When we had a good sense of where we were heading with our concept, both visually and musically, we involved Maestro Peter Jaffe [music director of the Stockton Symphony]. We wanted his input on tempos, orchestration and harmonic spelling. … “The beauty of Ansel Adams’ photography inspired Dave and me to create this music. We hope you’ll enjoy his

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breathtaking photographs and the way our new composition surrounds these images.” Instrumentation: Three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano and strings. Symphony No. 3, “Kaddish”

Leonard Bernstein Born Aug. 25, 1918, in Lawrence, Mass.; died Oct. 14, 1990, in New York City

Though Leonard Bernstein wrote three works he called symphonies, they are as eclectic and non-conformist in conception as was their multifaceted creator. His Symphony No. 1, “Jeremiah,”— heard here a few seasons back—makes extensive use of Hebrew texts sung by a mezzo-soprano soloist and chorus. Symphony No. 2, “The Age of Anxiety,” has no text, but instead follows a storyline based closely on W. H. Auden’s poem of the same name. Moreover, it features a pianist whose virtuosic role rivals that of a concerto soloist. But the most unconventional of them all is Symphony No. 3, “Kaddish,” for it not only contains a soprano soloist, an adult mixed chorus and a boys’ choir, but as its centerpiece, a challenging speaker’s role, written by Bernstein, that intimately voices his own struggles with God and faith in a troubled time. The son of a Talmudic scholar and grandson of a rabbi, Bernstein often used his Jewish heritage as inspiration for his music. Though laid out in four movements, Symphony No. 3 is primarily formed from three contrasting settings of the Kaddish prayer, sung in Aramaic and Hebrew: a prayer intoned at the close of the synagogue service and also recited by the chief mourner— traditionally the oldest son of the deceased—at the Jewish burial service. Interestingly, this prayer, a paean of praise to God, whose title means “Sanctification,” never uses the word death, although “life” is said three times. The settings of the Kaddish are interwoven with the speaker’s words.

Saturday, September 29, 2012, 8 p.m.

A response to a commission by the Boston Symphony and the Koussevitzky Foundation for that orchestra’s 75th anniversary season in 1955-56, “Kaddish” did not actually begin until 1961, after Bernstein had become music director of the New York Philharmonic. As he was putting the finishing touches on the score on Nov. 22, 1963, he learned with horror of the assassination of his close friend John F. Kennedy and decided to dedicate the work to his memory. Soon after, “Kaddish” received its world premiere by the Israeli Philharmonic Orchestra, led by Bernstein in Tel Aviv on Dec. 9, 1963; the Bostonians played its American premiere on Jan. 31, 1964. Though the Israeli public and critics received it with enthusiasm, it has been a controversial work in America, primarily because of the speaker’s part and its harsh, sometimes insulting words to God, which some have deemed blasphemous. But, as will be discussed shortly, such a combative tone is fully in keeping with the Jewish tradition of debating with God. Though the speaker’s words reflect Bernstein’s own voice, he originally chose to write the part for a woman: his wife, the gifted Chilean-American actress Felicia Montealegre. Jack Gottlieb, who worked closely with the composer for much of his career, explained why: “The woman represented in the Symphony that aspect of humankind which knows God through intuition and can come closest to Divinity, a concept at odds with the male principal of organized rationality.” Later when Bernstein revised the work in 1977, he came to feel this idea was too limiting and revised the text so that it could be spoken by a narrator of either sex. But Marin Alsop has chosen the original 1963 text for Claire Bloom. The speaker addresses God with all the familiarity and rebelliousness of a child confronting her father. “Your covenant! Your bargain with Man!” she cries. “Tin God! Your bargain is tin! It crumples in my hand! And where is faith now—Yours or mine?” Many listeners and critics have

flinched at such chutzpah, but Bernstein believed he was working within established Jewish tradition and had even submitted his text to Jewish scholars for vetting. Gottlieb: “Such ‘blasphemy’ has a Biblical precedent in the story of Job and also has roots in the folk traditions, as in the legend of Rabbi Levi Yitzok of Berditchev. Bernstein strongly felt the peculiar Jewishness of this ‘I-Thou’ relationship in the whole mythic concept of the Jew’s love of God. From Moses to the Hasidic sect, there is a deep personal intimacy that allows things to be said to God that are almost inconceivable in another religion.” Two personal anxieties of Bernstein’s drove the creation of “Kaddish”: the threat of nuclear annihilation and his fear that traditional tonal music would be swallowed up by the non-tonal 12tone system devised by Arnold Schoenberg and at the height of its influence during the 1960s. The Cuban Missile Crisis of 1962 had dramatically illustrated how close the U.S. and the U.S.S.R. had come to mutual destruction. We hear this cloud of fear immediately as the speaker begins the work: “I want to say Kaddish, my own Kaddish ... there may be no one to say it after me.” And later in the second movement’s Din-Torah section: “I am exiled by Man... and now he runs free— free to play with his new-found fire, avid for death, voluptuous, total and ultimate death.” While in the late 1950s and ’60s nearly every composer—even his beloved friend and mentor Aaron Copland—seemed to be embracing 12-tone serial music, Bernstein resisted. In “Kaddish,” he consciously adopted the tone rows and unfettered dissonance of 12-tone music, but only to express the agony of the speaker locked in her crisis of faith, especially in the first Kaddish setting and in the Din-Torah. Bernstein: “One of the main points of the piece is that the agony expressed with the 12-tone music has to give way— this is part of the form of the piece—to tonality... so that what triumphs in the end, the affirmation of faith, is tonal.”

Listening to the Music Jack Gottlieb wrote the following brief guide to the music of “Kaddish” for Deutsche Grammophon’s complete recording of the Bernstein symphonies. “The Symphony opens with an Invocation that introduces two of the main motives of the entire work, as well as one of the important themes. The chorus .. switches abruptly to a fierce Allegro: Kaddish 1. A tone-row and a subsidiary, declamatory theme are the new components. “The second movement begins with a Din-Torah (“Trial by God’s Law”), in which the speaker hurls accusations at God Himself. At the height of the torment, a new tone-row is presented and developed at great length. A grotesque, jazzy episode (with anguished choral Amens) leads to an even more desperate outcry that explodes into a chaotic eight-part choral cadenza. “Kaddish 2 (part 2 of the second movement) is a tender lullaby for soprano solo offering comfort to God for His disappointment in His creatures. “The Scherzo, which ushers in the third movement, is the crux of the Symphony. In it, every musical idea is subjected to various kinds of manipulation, creating a background texture for a dream sequence in which the speaker changes places with God and coerces Him... to renew His faith in Man. It is at this point that Kaddish 3 begins, trumpeted by the boys’ choir fortissimo. “As God and Man both awake from the dream, the finale begins with the shock of reality. This last confrontation is resolved in the Speaker’s final meditation, where a new, more mature relationship with God is established. This renewal of faith is celebrated in a jubilant fugue for all the vocal forces... with thematic allusions from the entire work punctuating the concluding Amens.” Instrumentation: Four flutes, alto flute, piccolo, two oboes, English horn, two clarinets, bass clarinet, E-flat clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta, alto saxophone and strings. Notes by Janet E. Bedell copyright 2012

applause at Strathmore • SEPTEMBER/OCTOBER 2012 31

Wednesday, October 3, 2012, 8 p.m.

wednesday, OCTOBER 3, 2012, 8 p.m.

● Strathmore Presents

Ballet Folklórico de México Amalia Hernández, Fundadora/Founder Norma López Hernández, Directora Artística/Artistic Director Viviana Basanta Hernández, Directora Artística/Artistic Director Salvador López López, Director General /General Director

to reflect the beauty of the universe in motion, from the pre-Colombian civilizations to the Hispanic influences of the Viceroyal era to the popular strength of the Revolutionary years. The company achieved international success during its first tours and has maintained a solid reputation through its 50-year touring history. Ballet Folklórico’s productions serve as a portrait of Mexico’s folklore for audiences in cities around the world. Amalia Hernández and Ballet Folklórico de México have received more than 400 awards in recognition of their artistic merits.

The Mayas Tixtla Plataform Revolution Charreada Tlacotalpan Festivity INTERMISSION Matachines The Danzon and the Jarana Deer Dance Jalisco

The Music Center at Strathmore Marriott Concert Stage

Ballet Folklórico de México

formances on a weekly television program, sponsored by the Mexican government. In 1959 it began being permanently presented at the Palace of Fine Arts, the foremost stage for Art Mexico City. The dedication, precision and artistry of Ballet Folklórico earned national and international recognition for the music, dance and costume of Mexican folklore.

Ballet Folklórico de México was founded in 1952 by Amalia Hernández, also director and choreographer. The ensemble artistic direction is led by Norma López Hernández. The troupe started with per-

Amalia Hernandez

In 1952, dancer and choreographer Amalia Hernández founded the Ballet Folklórico de México as part of a quest to rescue the dancing traditions of Mexico. Her search became a basic need

32 applause at Strathmore • SEPTEMBER/OCTOBER 2012

Program Notes The Mayas: This dance tells the story of a prince who leaves his loved one when he is bewitched by the Hunting Goddess. It combines three thematic elements: the myth of the Hunting Goddess Xtabay, who likes to hunt and seduce men and carry them to the sacred forest; the legend of the three prince brothers, one of which mysteriously vanishes; and the religious beliefs of the Mayas. The piece begins with the ceremonial dances of the princess and her court, and the prince with the princess. The Goddess erupts and casts her spell. In the following scene, the Maidens of Nic Te—virgins who guard the Sacred Well—counsel the bereaved princess and offer the help of a sorceress who possesses magical powers to turn the water of the well into a love potion. But when the princess offers the potion to the prince, Xtabay creates a whirpool that makes him refuse the drink. Alone, at the edge of the forest, the prince contemplates the goddeess. Possessed, he goes into the forest where the “Ceibas”—priestesses of Xtabay—surround him and slowly make him lose his mind. Revolution: Modern Mexico began with the Revolution 1910, also known as the Mexican Revolution. The

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Mary Lou Shields,

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Wednesday, October 3, 2012, 8 p.m.

ballet is dedicated to the Soldaderas, the women who supported their men and even bore arms with them in Mexico’s fight for liberty. Contrasted with the footsoldier men and women is a group of young aristocrats dancing European polkas and flirting. A group of revolutionaries brandishes weapons and breaks up the party. Now it is the peasants who dance in the aristocratic drawing room. Charreada: This performance depicts the charreada, a competitive event similar to a rodeo. The sport evolved from traditions brought from Spain in the 16th century. The performance features mariachi music, with The Rope Dance and the Country Love Dance. Tlacotalpan Festivity: Jan. 31 marks the celebration of the Candelaria Virgin in the town of Tlacotalpan. Stages are built in the main square, where musicians and dancers of fandangoes

are presented with mojigangas, huge figures representing characters alive and legends of the village. Matachines: The Matachines dance is danced in North Mexico City during religious celebrations. It comes from the custom of the pre-Hispanic people to dance to their gods, though the dance was influenced by Spaniards who brought the dance forms of the Middle Ages. This is the way the dance of the Matachines was created and it remains intact to this day. The Danzon and the Jarana: The Danzon is one of the traditional urban dances. The Danzon is the accumulation of the cultures of different countries in Europe, Africa and the Antilles. Its origins in Mexico are in the state of Yucatan. In the Yucatan, ancient Mayan traditions have combined with the music of 17th and 18th century Spanish

dances, resulting in the Jarana. These dances have preserved the courtly elegance of early Spanish dance, blending certain exotic elements with restrained overtones. Deer Dance: The Yaqui people are the only aboriginal tribe of Mexico that conserves its original autonomy. Free from any racial mingling and modern cultures, the Yaquis continue hunting with bows and arrows. The Deer Dance forms a part of the rite that precedes the hunt. Jalisco: Jalisco’s folklore captures the soul of Mexico in its sensual music, refined dances and dazzling costumes. The performance opens with a Mariachi parade playing at the start of a fiesta. During the fiesta, the songs and dances, “El Tranchete” (“The Snake”), “La Negra” and “El Jarabe Tapatío” (the famous “Mexican Hat Dance”) are performed.

American Dance Institute | Fall 2012 Performance Series Ballet ADI

Dan Hurlin

(ADI National Incubator)

September 29 & 30

“…a small flexible entity that provides the Washington area with new works and exciting performances.” —George Jackson, Dance View Times

October 20 & 21

Hurlin’s Work Chosen as BEST DANCE Performance of 2009. -The Washington Post

Brian Brooks Moving Company November 17 & 18

“visually arresting” -The New York Times

For Tickets: WWW.AMERICANDANCE.ORG or 866.811.4111 34 applause at Strathmore • SEPTEMBER/OCTOBER 2012

Thursday, October 4, 2012, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Beethoven’s Mighty “Eroica” Markus Stenz, conductor Kolja Blacher, violin Les Élémens: Chaos Jean-Féry Rebel (1666-1747) Violin Concerto in D Minor, WoO 23 Robert Schumann In kräftigem, (1810-1856) nicht zu schnellem Tempo

Kolja Blacher, violin

Langsam

Lebhaft, doch nicht schnell Kolja Blacher INTERMISSION

Symphony No. 3 in E-flat Major, Op. 55, “Eroica”

Ludwig van Beethoven (1770-1827)

Allegro con brio

Marcia funebre: Adagio assai

Scherzo: Allegro vivace

Finale: Allegro molto

Stenz photo by Catrin Moritz, Blacher photo by Priska Ketterer.

The concert will end at approximately 9:50 p.m. The Music Center at Strathmore Marriott Concert Stage

Markus Stenz, conductor A student of the School of Music in Cologne under Volker Wangenheim and at Tanglewood with Leonard Bernstein and Seiji Ozawa, Markus Stenz has held the positions of artistic director of the Montepulciano Festival (1989-1995) and principal conductor of

He made his debut as an opera conductor at La Fenice in Venice in a production of Hans Werner Henze’s Elegy for Young Lovers. He has since appeared at major opera houses in Milan, London, Berlin and Munich, and international festivals in Glyndebourne, Edinburgh, Bregenz and Salzburg. Stenz conducts many of the world’s leading orchestras, including the Royal Concertgebouw Orchestra, Munich Philharmonic, Gewandhaus Orchestra Leipzig, Berlin Philharmonic, Tonhalle Orchestra Zürich, Vienna Symphony and NHK Symphony Orchestra Tokyo. In the U.S., he has conducted the Chicago Symphony Orchestra, Los Angeles Philharmonic and the Boston Symphony Orchestra. Markus Stenz is making his BSO debut.

the London Sinfonietta (1994-1998). As artistic director and chief conductor of the Melbourne Symphony Orchestra (1998-2004), Stenz broadened his repertoire and established his career as an international conductor. Stenz is the general music director of the City of Cologne and GürzenichKapellmeister, as well as principal guest conductor of the Hallé Orchestra. He assumes the position of chief conductor of the Netherlands Radio Philharmonic Orchestra in the 2012-2013 season.

Kolja Blacher, born in Berlin, received his first violin lesson at age 4. He later went to New York City to study at The Juilliard School of Music with Dorothy DeLay, and then with Sándor Végh in Salzburg. As a soloist, Blacher has performed with the Berlin Philharmonic, Dresden Philharmonic, Munich Philharmonic Orchestra, NDR Symphony Orchestra, Gewandhausorchester Leipzig, Yomiuri Nippon Symphony Orchestra Tokyo, KBS Symphony Orchestra Seoul, London Philharmonic Orchestra, San Antonio Symphony and the Helsinki Philharmonic Orchestra. Besides his work as a soloist, he has also collaborated with many musicians, such as Kirill Gerstein and Clemens Hagen (with whom he plays in a piano trio), Vassily Lobanov, Natalia Gutmann, Wolfram Christ, Alois Posch and Peter Sadlo. More recently, play-direct concerts have captured Blacher’s interest. Leading the orchestra from the desk of the concertmaster, he has worked with

applause at Strathmore • SEPTEMBER/OCTOBER 2012 35

Thursday, October 4, 2012, 8 p.m.

the Melbourne Symphony Orchestra, Mahler Chamber Orchestra, Hong Kong Philharmonic Orchestra, Stuttgart Chamber Orchestra and Festival Strings Lucerne. Blacher has also recorded highly acclaimed CDs, the latest one with works by Schnittke and Prokofiev. His violin is the Tritton Stradivari made in 1730. It is on generous loan from Kimiko Powers. Kolja Blacher is making his BSO debut.

Program Notes “Chaos” from The Elements

Jean-Féry Rebel Born April 18, 1666 in Paris, France; died Jan. 2, 1747 in Paris

Is there a piece of music in the classical repertoire that opens more shockingly than does Jean-Féry Rebel’s “Chaos,” the prologue to his choreographic symphony The Elements? Right away we are assaulted by all the notes of the D-minor scale sounding simultaneously in a violent crunch of dissonance and volume. However, Rebel, one of the leading musicians of the court of Louis XIV and Louis XV, was not setting out to create pure shock value here. Instead, he was expressing the medieval view, still current in the early 18th century, that the world was not created out of nothing, but from a state of chaos in which all the four elements of earth, air, water and fire were in disorderly contention with each other. And, therefore, the creation of order out of chaos must be musically expressed by the creation of harmony out of discord. The son of a tenor at the court of Louis XIV, Rebel’s gifts as a violin prodigy were recognized when he was only 8 by the great French Baroque composer Jean-Baptiste Lully, who took the youngster on as a protégé. During his long career, Rebel became the leader of the king’s famous 24 Violins, as well as his official chamber music composer. He also played an important role in the orchestra of the Académie Royale and at

the court opera. With his popular “choreographed symphonies,” he was the first to create works for dancing outside the traditional ballets. Rebel was already past 70 and retired when the Prince Carignan coaxed him out of retirement to create the last and greatest of these, The Elements, in 1737. Rebel wrote a preface to “Chaos”— the opening movement of 11 in this work—which provides a guide to what we hear. “The introduction to this Symphony was natural; it was Chaos itself, this confusion which reigned between the Elements before the instant when, subject to invariable laws, they took their prescribed place in the order of nature. I dared to combine the confusion of the Elements with harmonic confusion. I tried to make audible all the sounds mingled together, or rather all the notes of the octave together in one chord.” Next, we are introduced to the four elements. Rebel used “the most commonly known devices” to represent them. “The bass represents the Earth, and the flutes, by lines that move up and down, imitate the murmur of running Water; Air is depicted by longheld notes followed by trills on the small flutes [piccolos]; finally the violins, by means of lively and brilliant music, represent the activity of Fire.” Rebel continued: “The piece is in seven sections, each beginning with a marking of ‘Chaos,’ which show the efforts made by the Elements to shake each other off. In the seventh Chaos, these efforts diminish as total order approaches.” When the separation of the elements has been achieved, the movement closes in a regal and consonant Dmajor chord. Instrumentation: Two piccolos, bassoon, harpsichord and strings. Violin Concerto in D Minor

Robert Schumann Born June 8, 1810 in Zwickau, Germany; died July 29, 1856 in Endenich, near Bonn, Germany

From its birth in 1853, Schumann’s only Violin Concerto has been a controversial work. In fact, it had to wait

36 applause at Strathmore • SEPTEMBER/OCTOBER 2012

until 1937 to receive its first public performance, and it is only in recent years that it has been fully embraced by violin virtuosos. The reason lies in the traumatic events that occurred in Schumann’s life only a few months after its composition and the deep scars they left on three famous musicians who loved the composer and sought to protect his posthumous reputation. Throughout his too-short life, Schumann suffered from tormenting episodes of mental illness. His manic highs fueled periods of almost superhuman creativity, while his dark depressions paralyzed him. The year 1853 was his last of relative stability, and he composed prodigiously throughout it, inspired partly by two young musical lions who entered his life that year: the 22-year-old violinist Joseph Joachim and Joachim’s friend, the 20-year-old Johannes Brahms. When Joachim played the Beethoven Violin Concerto under Schumann’s baton in May, the composer was so impressed, that in September he created two works simultaneously for him: the Fantasie in C Major for Violin and Piano in just six days, and the large-scale Violin Concerto in an even more astonishing 13 days. On Sept. 30, while Schumann was putting the finishing touches on the Concerto, Brahms suddenly showed up on his doorstep, having been urged by Joachim to pay his respects. His brief call turned into a visit lasting over a month as Schumann and wife Clara found themselves overwhelmed by Joachim’s creative genius, his shy charm and his blonde, blue-eyed good looks. It was the last happy episode of Schumann’s life. Early in 1854, Schumann began to slide into psychosis, tortured night and day by the voices of angels and demons. On Feb. 27, he attempted suicide by jumping off a bridge into the Rhine River, and he spent the remaining two years of his life in an asylum outside Bonn. Upon hearing the news, Brahms rushed to Clara’s side and became her closest friend for the rest of her life. Not himself a violinist, Schumann had hoped Joachim would offer him expert assistance in editing the Concerto’s violin part to make it more idiomatic for the

Thursday, October 4, 2012, 8 p.m.

instrument. But Joachim hesitated to touch the work of his dead friend. Perhaps associating it with her husband’s dramatic decline, Clara took a dislike to the work and urged that it never be published. Many years later, she, Joachim and Brahms jointly decided to banish it from the complete edition of Schumann’s works, edited by Brahms. Joachim kept the score, and after his death in 1907, it entered the collection of the Prussian State Library in Berlin. In the 1930s, the Concerto’s history became even stranger. Joachim had a grand-niece, Jelly d’Arányi, living in London, who was herself a remarkable violin soloist. A spiritualist, she suddenly announced she had been visited in seances by the ghost of Joachim and perhaps of Schumann himself urging her to find and perform an “unknown” concerto by the Romantic master. The resulting publicity prized the score out of the Prussian library and brought about its first performance on Nov. 26, 1937, by violinist Georg Kulenkampff and the Berlin Philharmonic. Today, performers and scholars recognize it as a masterpiece by a composer still in full command of his mental and musical powers. Like many of Schumann’s works, it embodies sharp contrasts, in this case between two very grand outer movements and a middle movement of confessional intimacy. Recalling an operatic overture by Handel, movement one wields the dramatic gestures of the high Baroque: big melodic intervals featuring plunges of an octave, prominent dotted rhythms and swift upward-sweeping scales. Even the soloist’s entrance with bold multistopped chords suggests the opening of Bach’s mighty Chaconne in D Minor for Solo Violin. But the agitated accompaniment tells us that this is really music of the 19th century, and a gently caressing second theme, introduced briefly by the orchestra and later expanded by the soloist, has a sweet poignance that is pure Schumann. Since this opening exposition music is so dramatic and extroverted, the middle development section provides a moment for quiet reflection built mostly around the flowing second

theme. Listen here for some lovely duets between the violin and solo woodwinds. The brighter and louder instruments—high woodwinds, trumpet and timpani—are banished for the very introverted and personal slow movement in B-flat major. The cello section is divided in two with half the players playing a gently syncopated rocking theme that performs many roles in this movement. First it functions as a countertheme to the violin’s smoother, simpler melody; later it becomes part of that melody and also fades to an accompanimental figure. This is music of the greatest subtlety and intimacy, revealing Schumann’s own sorrow and yearning for inner peace. Eventually, it grows more animated and propels us directly into the finale. Here personal suffering is abruptly pushed aside for a grandly ceremonial polonaise in D major, the stately Polish processional dance Schumann’s contemporary Chopin glorified at the piano. Its splendid melodies are infectious, and even a brief return in the cellos of the melancholy rocking theme from movement two cannot dampen its festive mood. This brilliant, virtuosic dance constitutes a marvelous swan song for its tormented creator’s career. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Symphony No. 3 in E-flat Major, “Eroica”

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

Although the responses to Beethoven’s music are as varied as the individuals who listen to it, virtually everyone seems to agree that it often embodies an ethical or spiritual quest—the drama, in Scott Burnam’s words, “of a self struggling to create and fulfill its own destiny.” And this epic quest is most forcefully expressed in the works Beethoven wrote during the first decade of the 19th century: what we now call his Heroic Period. Historically, this was also an era of

heroism and aspiration. The American and French revolutions had recently acted out humankind’s desire for freedom and self-determination, and thrust forward leaders such as Washington and Bonaparte. The contemporary German dramas of Goethe and Schiller celebrated historical freedom fighters like Egmont and Wallenstein and mythical ones like William Tell. Beethoven translated this aspiring spirit into music. Living in Vienna under the autocratic Hapsburg regime, he acted out his dream of individual liberty in his daily life. His career revolved around two heroic quests: his struggle against encroaching deafness and his creative battle to forge a new musical language within a conservative and often hostile environment. And this musical language was itself heroic; with its audacious harmonic procedures, epic expanded forms, virile themes, assaulting rhythms and pronounced military character. Beethoven launched his Heroic Period with his Symphony No. 3, a work he subtitled “ ‘Sinfonia eroica,’ composed to celebrate the memory of a great man.” The question of exactly who that “great man” was, has provided fertile grounds for commentators to till ever since. The chief candidate, of course, is Napoleon. Beethoven himself told his publisher that “the subject is Bonaparte,” but he also reportedly tore off the work’s title page to expunge Napoleon’s name upon hearing in 1804 that the Frenchman had crowned himself emperor. Others have suggested the “great man” was the noble Trojan prince Hector, Homer’s hero in the Iliad, or—because of Beethoven’s use of a theme from his Creatures of Prometheus ballet score in the finale—the mythical Prometheus. Many believe the hero to be Beethoven himself. In any case, the “Eroica” was itself a heroic act: shocking its first audiences and setting a new symphonic template for future composers to emulate. A contemporary critic spoke for many when he described it as “a very long drawn-out, daring and wild fantasy… very often it seems to lose itself in anarchy.” Even more challenging was the “Eroica’s” harmonic daring and overall tone of aggression. It did not seek to please and amuse its listeners but to challenge and provoke them.

applause at Strathmore • SEPTEMBER/OCTOBER 2012 37

Thursday, October 4, 2012, 8 p.m.

We hear the challenge in the two loud E-flat chords that open the first movement. More than introductory gestures, they are the germinal motive of the symphony. From them, Beethoven builds the repeated sforzando chords, with their arresting dislocation of the beat, which we hear a few moments later. Just before the end of the exposition, he adds teeth-grinding dissonance to this mix, and in the development section, this concoction explodes in crisis. The movement’s principal theme is a simple swinging between the notes of an E-flat major chord that quickly stumbles on a dissonant C-sharp. So intense is Beethoven’s forward propulsion that his themes never have time to blossom into melody. In fact, the most compelling theme waits until the development, when oboes and cellos introduce it as part of the recovery from the hammering dissonant chords. As the development trails off into an eerie passage of trembling violins, the horns anticipate the principal theme and push the

orchestra into the recapitulation. After an outsized coda, Beethoven wraps up his heroic journey with the opening hammer blows. The second movement funeral march in C minor is in rondo form. Over imitation drum rolls in the strings, the famous threnody unfolds its majestic course. It is succeeded by an episode in C major that injects rays of sunshine and hope, with fanfares proclaiming the greatness of the fallen hero. Then, the dirge melody returns and swiftly becomes an imposing fugue: counterpoint intensifying emotion. In the movement’s closing measures, the march theme disintegrates into sobbing fragments. The third movement scherzo provides relief after the weight and drama of the opening movements. Yet, it, too, retains intensity in the midst of lightheartedness. Beethoven reintroduces a gentler variant of the off-the-downbeat hammer blows from the first movement; eventually they briefly throw the threebeat meter into two beats. The trio

section features virtuoso writing for the three horns. After struggle, the finale brings us joy in the form of sublime musical play. It is an imposing set of variations on a theme Beethoven had used three times before: in an early set of Contredances, in the Creatures of Prometheus, and for the piano variations now known as the “Eroica” Variations. Actually, these are double variations because Beethoven first isolates the bass line of his theme as a witty little tune in its own right, only later giving us the theme itself in the woodwinds. Elaborate fugal passages and a grandly martial episode culminate in a sublime group of variations in a slower tempo that proclaims the hero’s immortality. The climax is capped by the symphony’s opening E-flat hammer blows, now triumphant rather than tragic. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani and strings. Notes by Janet E. Bedell copyright 2012

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

Maryland | Washington, DC | Virginia www.eaglebankcorp.com | 301.986.1800 38 applause at Strathmore • SEPTEMBER/OCTOBER 2012

Friday, October 5, 2012, 8 p.m. and Saturday, October 6, 2012, 8 p.m.

Friday, October 5, 2012, 8 p.m. Saturday, October 6, 2012, 8 p.m.

● Strathmore Presents

Patti LuPone: Matters of the Heart Chris Fenwick, Musical Director with The Four Play String Quartet Conceived and directed by Scott Wittman Musical arrangements by Dick Gallagher The Music Center at Strathmore Marriott Concert Stage

john wasserman

Patti LuPone

Patti LuPone just premiered her newest one-woman show Far Away Places to critical acclaim as the inaugural presentation in New York’s newest club, 54 Below. She will return to Broadway this fall opposite Debra Winger in the new David Mamet play The Anarchist, which will mark a reunion with the playwright/director with whom she’s enjoyed a long association. The author of the New York Times bestseller, Patti LuPone A Memoir, she most recently appeared on Broadway opposite her Evita co-star Mandy Patinkin in An Evening with Patti LuPone and Mandy Patinkin. Before she created the role of Lucia in the musical Women on the Verge of a Nervous Breakdown, for which she was

nominated for Tony, Drama Desk and Outer Critics Circle awards. Winner of the Tony, Drama Desk and Outer Critics Circle awards for Best Actress in a Musical and the Drama League Award for Outstanding Performance of the Season for her turn as Rose in the most recent Broadway production of Gypsy, LuPone’s other recent stage credits include her debut with the New York City Ballet as guest soloist in its new production of The Seven Deadly Sins and the role of Joanne in the New York Philharmonic’s production of Company. She also made her debut with the Los Angeles Opera in Weill-Brecht’s Mahagonny, the world premiere of Jake Heggie’s opera To Hell and Back with San Francisco’s Baroque Philharmonia Orchestra, as Mrs. Lovett in John Doyle’s production of Sweeney Todd (Tony, Drama Desk, Outer Critics Circle nominations; Drama League Award for Outstanding Contribution to Musical Theatre) and performed the title role in Marc Blitzstein’s Regina. Since 2000, LuPone has appeared regularly in the Ravinia Festival’s

Sondheim series, starring as Mrs. Lovett in Sweeney Todd, Desiree in A Little Night Music, Fosca in Passion, Cora Hooper in Anyone Can Whistle, Madame Rose in Gypsy and in two different roles in Sunday in the Park with George. A graduate of the first class of the Drama Division of New York’s Juilliard School and a founding member of John Houseman’s The Acting Company, her subsequent New York credits include Dario Fo’s Accidental Death of An Anarchist, David Mamet’s The Water Engine, Edmond and The Woods and Israel Horovitz’s Stage Directions and performances in the musicals Pal Joey for City Center Encores!, Anything Goes, The Cradle Will Rock, Oliver!, Evita (Tony and Drama Desk Awards, Best Actress in a Musical), Working and The Robber Bridegroom. In London, she won the Olivier Award for her performances as Fantine in the original production of Les Misérables and in the Acting Company production of The Cradle Will Rock. She also created the role of Norma Desmond in Sunset Boulevard and recreated her Broadway performance of Maria Callas in Master Class. Film credits include Union Square, Parker, City by the Sea, Heist, State and Main, Summer of Sam, Driving Miss Daisy and Witness. TV credits includes Glee, 30 Rock, Ugly Betty, Will & Grace, the Emmy Award-winning PBS broadcasts of Passion and Sweeney Todd, PBS Great Performances’ Candide, Oz , the TNT film Monday Night Mayhem, Frasier (1998 Emmy nomination); Law & Order, An Evening with Patti LuPone (PBS) and ABC’s Life Goes On. Recordings include Patti LuPone at Les Mouches, the 2008 Broadway cast recording of Gypsy, The Lady With the Torch, Sweeney Todd (both the 2006 Broadway revival cast recording and 2000 live performance recording on the N.Y. Philharmonic’s Special Editions Label), Matters of the Heart, Pal Joey, Heatwave with John Mauceri and the Hollywood Bowl Orchestra, Sunset Boulevard and Patti LuPone Live.

applause at Strathmore • SEPTEMBER/OCTOBER 2012 39

Thursday, October 11, 2012, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

The Golden Age Of Black And White Jack Everly, conductor Chapter 6 Karen Murphy Kirsten Scott

The 1950s Overture Various / arr. Everly

Four by Six: Hits of the Decade Various / arr. Grizzard & Everly

At Home with Mrs. Murphy Arr. Barker How Did He Look / Cry Me a River Various / arr. Barton

“I Love Lucy” Daniel / arr. Everly

Unchained Melody North / arr. Barker

Girl Singer Medley Various / arr. Barker

Mambo Italiano Various / arr. Barker INTERMISSION

Rock Around the Pops Various / arr. Barker Jump, Jive and Wail Prima / arr. Engelhardt Game Show! Barker

The Golden Age of Black and White Various / arr. Everly

Songs from Moulin Rouge / Various / arr. Faith Theme from A Summer Place

The Unforgettable Medley Various / arr. Barker

Elvis Medley Various / arr. Barker

The concert will end at approximately 10:10 p.m. The Music Center at Strathmore Marriott Concert Stage

40 applause at Strathmore • SEPTEMBER/OCTOBER 2012

Jack Everly, conductor Jack Everly is the principal pops conductor of the Baltimore and Indianapolis symphony orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and the music director of the National Memorial Day Concert and A Capitol Fourth on PBS. He has been on stage with the Los Angeles Philharmonic at the Hollywood Bowl amd The New York Pops at Carnegie Hall, and appears regularly with The Cleveland Orchestra at Blossom Music Center. His frequent guest conducting engagements includes the orchestras of Pittsburgh, Fort Worth, Edmonton, Oklahoma City and Toronto. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, he has teamed with Marvin Hamlisch in Broadway shows that Hamlisch scored including, The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Everly conducted the songs for Disney’s animated film The Hunchback of Notre Dame, and led the Czech Philharmonic on the CDs In the Presence, featuring Daniel Rodriguez and Sandi Patty’s 2011 Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Everly created the Symphonic Pops Consortium and serves as music director. The consortium, based in Indianapolis, produces new theatrical pops programs, and in the past 12 years more than 235 performances of SPC programs have taken place across the U.S. and Canada.

everly photo by Michael Tammaro

Thursday, October 11, 2012, 8 p.m.

When not on the podium or arranging, Everly indulges in his love for films, Häagen-Dazs, and a pooch named Max.

Chapter 6

Chapter 6 is a professional a cappella ensemble from Illinois. Comprised of six vocalists and one arranger, Chapter 6 is the only vocal ensemble to win both The International Competition of Collegiate A Cappella (2001) and the National Harmony Sweepstakes (2004). Chapter 6 has toured the United States, Canada and Hong Kong and performed in a wide variety of venues. The ensemble’s show features lighthearted and an energetic blend of pop/ jazz harmonies. Its repertoire spans from Gershwin to Stevie Wonder, as well as original songs ranging from the comical “Lost in Canada” to the personal “God’s Love.” In addition, clever medleys, including The Wizard of Oz, entertain music lovers of all ages. The group’s signature, six-minute version of the classic MGM film earned it a Contemporary A Cappella Recording Award (2005). Emerging from a college course, Chapter 6 became a premier a cappella group at Millikin University in Illinois. The ensemble won its first competition in 2000. Chapter 6 has received numerous awards for its technique, performance and original arrangements, most recently having been awarded the A Cappella Community Award for “Favorite Jazz Group” (2007). Additional honors include appearing with the National Symphony Orchestra at the Kennedy Center and on season seven of American Idol in conjunction with bandmate Luke Menard’s run on the program.

The ensemble has recorded several albums, two collegiate recordings and the remaining being professional recordings. In April 2012, Chapter 6 released its latest CD, Color by Number. Other recordings include A-cappella 101 (1999), Chapter 6: Live (2001), ChristmasTime (2002), Swing Shift (2004) and With the Windows Down (2008). A live DVD, Chapter 6 In Concert, was released in 2005. In 2007, Chapter 6 arranged and recorded jingles for XMG Corp.’s “Winning Colors Multi-Cleaner.” In April 2011, after 10 years of heavy touring, the band announced the beginning of limited engagements for select clients.

Karen Murphy

Karen Murphy’s Broadway credits include A Little Night Music, Margaret in 9 to 5, All Shook Up, 42nd Street, Titanic, King David and A Christmas Carol. OffBroadway credits include My Vaudeville Man (2009 Drama Desk nomination for Lead Actress), Showtune, Forbidden Broadway, Zombie Prom, Hysterical Blindness, L’Amour and The Merrier! Murphy has also appeared in Urinetown, A Funny Thing Happened on the Way to the Forum, My Fair Lady, Showboat, Damn Yankees and Side by Side by Sondheim. She has toured in Mary Poppins, White Christmas, The Wizard of Oz and Les Misérables. An accomplished cabaret artist, Murphy performs the one-woman show Torchgoddess. The show’s been featured in The Nifty Fifties, a pops orchestra concert program. She has performed with the Pittsburgh, Seattle, Cincinnati, Toronto, Rochester and Indianapolis pops orchestras. Murphy’s recordings include Torchgoddess, My Vaudeville Man, Forbidden Broadway Vol. 2 and I Won’t Dance with Steve Ross. Murphy studied at the University of

Massachusetts and the Boston Conservatory of Music and has studied opera with Merrill S. Shea. For more on Murphy, go to www.torchgoddess.com.

Kirsten Scott

Kirsten Scott is thrilled to perform with the Baltimore Symphony Orchestra. She recently completed a run as Young Phyllis in the Tony-nominated revival of Stephen Sondheim’s Follies at the Ahmanson Theater in Los Angeles. She had created the role at the Kennedy Center in Washington, D.C., and on Broadway. Scott’s theater credits include Follies and Hairspray (both on Broadway); Follies (the Kennedy Center), Limelight: The Story of Charlie Chaplin (La Jolla Playhouse); Minsky’s (Ahmanson Theater), Curtains (Pittsburgh Civic Light Opera); Grease (Sacramento Music Circus); and Thoroughly Modern Millie, A Chorus Line and Beauty and the Beast (West Virginia Public Theatre). Scott has also appeared in OffBroadway productions of The Marvelous Wonderettes and Gemini (NY Music Theatre Festival). She also has appeared in Death of a Salesman and Annie Get Your Gun, both at the West Virginia Public Theatre. Scott has sung with the Cincinnati Pops under the direction of the late Erich Kunzel. She also has been a soloist with the Toronto Symphony Orchestra and the Southwest Florida Symphony, as well as symphonies in Philadelphia and North Carolina. Scott and her husband, Matthew Scott, perform together across the country and most recently debuted their new show at the Signature Theatre in Arlington, Va. She was a frequent guest soloist with the late maestro Erich Kunzel. She has a bachelor’s of fine arts degree from the Carnegie Mellon University School of Drama.

applause at Strathmore • SEPTEMBER/OCTOBER 2012 41

Saturday, October 13, 2012, 8 p.m. and Sunday, October 14, 2012, 3 p.m.

Saturday, OCTOBER 13, 2012, 8 P.M. SUNDAY, OCTOBER 14, 2012, 3 P.M.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Beethoven: The Power of Three Piotr Gajewski, conductor Orli Shaham, piano Leonore Overture No. 3, Op. 72b Ludwig van Beethoven (1770-1827) Piano Concerto No. 3 in C Minor, Op. 37 Allegro con brio

Largo

Rondo: Allegro

Orli Shaham, piano

INTERMISSION

Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”)

Allegro con brio

Marcia funebre. Adagio assai

Scherzo. Allegro vivace

Finale. Allegro molto Weekend Concerts Program Sponsor: Ameriprise Financial Sunday Concert Presenting Sponsor: Ingleside at King Farm All Kids, All Free, All the Time is sponsored by The Gazette The Music Center at Strathmore Marriott Concert Stage

Piotr Gajewski, conductor

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

sitivity are impeccable.” In addition to his appearances with The National Philharmonic, Gajewski is in much demand as a guest conductor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liverpool Philharmonic Orchestra in England, the Karlovy Vary Symphony Orchestra in the Czech Republic, the Okanagan Symphony Orchestra in Canada and numerous orchestras in the U.S.

42 applause at Strathmore • SEPTEMBER/OCTOBER 2012

A consummate musician recognized for her grace and vitality, Orli Shaham has established an impressive international reputation as one of today’s most gifted pianists. Shaham has performed with most major orchestras in the U.S., as well as with the BBC Symphony Orchestra, Filarmonica della Scala, Israel Philharmonic Orchestra, Stockholm Philharmonic Orchestra and the Sydney Symphony Orchestra, among others. She is a frequent guest at numerous summer festivals, from Mostly Mozart to Verbier, and has given recitals at Carnegie Hall, The Kennedy Center, Amsterdam’s Concertgebouw and many more around the world. Shaham’s international performance schedule in 2011-2012 included the world premiere of a piano concerto written for her by Steven Mackey, with the St. Louis Symphony, conducted by David Robertson. Shaham recently released three new recordings: a CD of Hebrew melodies (Canary Classics), recorded with her brother, violinist Gil Shaham; a recording of the

gajewski photo by michael ventura, shaham photo by Christian Steiner

Gajewski attended Carleton College and the College-Conservatory of Music at the University of Cincinnati, where he earned a B.M. and M.M. 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.

Saturday, October 13, 2012, 8 p.m. and Sunday, October 14, 2012, 3 p.m.

Brahms Horn Trio and Schubert’s lied “Auf dem Strom” (Albany), featuring Richard King; and Saint-Saëns’ The Carnival of the Animals with pianist Jon Kimura Parker and the San Diego Symphony (San Diego Symphony). Also in 2012, Shaham began a new role as host of the public radio series America’s Music Festivals, a two-hour weekly program broadcast on more than 100 stations. Shaham’s highly acclaimed classical concert series for young children, Baby Got Bach, continues in New York City and around the country. The program designed for preschoolers, provides hands-on activities with musical instruments and concepts, and concert performances that promote good listening skills. Driven by a passion to bring classical music to new audiences, Shaham maintains an active parallel career as a respected broadcaster, music writer and lecturer. She has taught music literature at Columbia University, and contributed articles to Piano Today, Symphony and Playbill magazines. Shaham has served as artist-in-residence on National Public Radio’s Performance Today. In addition to her musical education, Shaham holds a degree in history from Columbia University. Shaham divides her time between New York and St. Louis with her husband, conductor David Robertson; college-age stepsons, Peter and Jonathan; and preschool twins, Nathan and Alex.

Program Notes Leonore Overture No. 3, Op. 72b

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

Beethoven considered writing operas on several subjects, but he actually wrote only one, Fidelio. In Beethoven’s opera, the dual themes are political freedom and marital love, exemplified in a simple story to which his music gives great power. The opera

failed at its first performance in 1805, and again in a revision in 1806. Critics contemporary with Beethoven suggested that the powerful Leonore Overture No. 3 overshadowed the opera’s first act, and consequently contributed to the failure of the 1806 Fidelio. Beethoven replaced the overture in 1814 with the terse “Fidelio” Overture and changed the opera’s title from Leonore to Fidelio. The three Leonore Overtures, now separate from the opera, joined the symphonic concert repertory. Beethoven organized the musical elements of these overtures into somewhat dissimilar musical structures, with varying emphases. The most popular is “Leonore” Overture No. 3, a masterpiece comparable to his symphonies. No. 3 was published as a separate work in 1828, and probably later Romantics derived the idea from it as a free-standing descriptive concert overture that eventually became the symphonic poem. No. 3 has a slow introduction foreshadowing the lament in Act II in which Florestan sings of his imprisonment; it also includes the slow music of Florestan’s dungeon aria, expressive of his feelings of love for his wife, Leonore. The overture’s third theme is freedom, which the trumpet call represents when it announces the arrival of the minister who will liberate Florestan. Piano Concerto No. 3 in C Minor, Op. 37

Ludwig van Beethoven Beethoven’s first three piano concerti are amplifications and, to a degree, modernizations of Mozart’s piano concerti. The last two concerti are entirely different, constructed with great freedom and originality. They look far ahead into the 19th century, not back to the 18th, yet his last one was completed in 1809, before Beethoven turned 40. Beethoven completed his Piano Concerto No. 3 in manuscript in 1800 when he was 30 years old, using material that he had been gathering in his sketchbooks for several years. He did not make final revisions

and write out the solo part until the first performance on April 3, 1803, and the concerto was not published until 1804. The concerto seems to stand on the brink because much of Mozart and the classical tradition are still embodied in it, but it also shines forth with much of the individuality of the mature Beethoven. Thus, it is one of the works that marks the end of the first period and the beginning of the second of the three creative periods into which Beethoven’s work is usually divided. In the middle period generally, which is evident in this concerto, too, the writing is bolder than it had been earlier, and thus this concerto can be distinguished from the first two concerti. The handling of the interrelationship of piano and orchestra begins to explore new paths. Another innovation is the use of the timpani. Until Beethoven used them as they are in the first movement here, as participants in the exposition of a theme, they had never been given the opportunity to take part in the thematic statement. Before, the timpani had only been used to beat time and to emphasize the home key and its dominant, to which they had traditionally been tuned. At a concert given in Vienna on April 5, l803, this concerto, the Symphony No. 2 and the oratorio Christ on the Mount of Olives all had their first performances. In the rush of preparation, Beethoven spent the whole night before the first rehearsal writing down on paper all the music that was already complete in his mind. He did not bother to note all the details of the piano part since he was to play it himself. At that time, it was traditional for the pianist to play with music in front of him. Beethoven asked a musician friend, Ritter von Seyfried, to turn pages for him at the concert, but many were blank or had only a few hastily scribbled unreadable notes on them; nevertheless, Beethoven nodded his head periodically as a signal and was greatly amused by his friend’s anxiety about when to make the almost unnecessary page turns. In the first dramatic movement of

applause at Strathmore • SEPTEMBER/OCTOBER 2012 43

Saturday, October 13, 2012, 8 p.m. and Sunday, October 14, 2012, 3 p.m.

the concerto, Allegro con brio, the traditional classical long and full orchestral exposition of the themes, comes before the soloist announces his presence with a series of powerful rushing scales. Some years later, Beethoven wrote out a solo cadenza for this movement, but experts doubt whether it can be compared to what Beethoven improvised when he was himself the soloist. It was in all likelihood written for the emperor’s youngest son, Archduke Rudolf, who was Beethoven’s gifted pupil and generous and faithful friend, but not as equally talented as a pianist. After the cadenza, the themes do not get repeated again, but the brilliant closing coda includes unexpected harmonic innovations. In the slow movement, Largo, a solemn theme in a remote key is richly developed in a dialogue for piano and orchestra. The movement is distinctive for its beautiful and sensuous thematic material and for its expressive second cadenza at the conclusion. The finale is a vigorous rondo: Allegro, in which the main theme recurs in alternation with contrasting episodes. At one point, Beethoven reminds us of the slow movement by wrenching the main theme back into its distant key, and in the final episode, he turns to a sprightly new rhythm and the bright key of C Major. The harmonic changes in this movement foreshadow the style of the later Beethoven. Another feature that is very characteristic of Beethoven in this movement, which he was to repeat in many finales, is the combination of the sonata form with the rondo form. Another cadenza comes near the end of the movement, and then the conclusion of the concerto comes swiftly, but Beethoven takes the listener there with a new meter and a new tempo. The work is dedicated to Prince Louis Ferdinand of Prussia, an amateur musician, whom Beethoven met at the house of Prince Franz Joseph von Lobkowitz. The score requires two flutes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

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

44 applause at Strathmore • SEPTEMBER/OCTOBER 2012

Oboes Mark Hill, Principal Kathy Ceasar-Spall Fatma Daglar English Horn Ron Erler Clarinets Cheryl Hill, Principal Carolyn Alvarez-Agria Suzanne Gekker Bass Clarinet Carolyn Alvarez-Agria Bassoons Erich Hecksher, Principal Benjamin Greanya Sandra Sisk Ying-Ting Chiu Contrabassoon Nicholas Cohen French Horns Michael Hall, Principal Mark Wakefield Justin Drew Mark Hughes Ken Bell Trumpets Chris Gekker, Principal Robert Birch Carl Rowe John Abbraciamento Trombones David Sciannella, Principal Jim Armstrong Jeffrey Cortazzo Tuba William Clark Timpani & Percussion Tom Maloy, Principal Aubrey Adams Curt Duer Robert Jenkins Bill Richards Harp Rebecca Smith Elizabeth Blakeslee Keyboard William Neil Jeffery Watson Theodore Guerrant Sopranos Nancy Dryden Baker Marietta R. Balaan Kelli Bankard Mary Bentley* Rosalind Breslow Dara Canzano Rebecca Carlson Carol Chesley Anne P. Claysmith Nancy A. Coleman** Victoria Corona Tracy Davidson Eileen S. DeMarco Alejandra Durán-Böhme Lisa Edgley Amy Ellsworth Shirley J. Fan Sarah B. Forman Charlotte M.L. Freeman Caitlin A. Garry Laura Governale Debbie Henderson Julie Hudson Robyn Kleiner Jessica Holden Kloda Kaelyn Lowmaster

Sharon Majchrzak-Hong Marianna J. Martindale Anaelise Martinez Kathryn McKinley Sara W. Moses Katherine NelsonTracey* Mary Beth Nolan Gloria Nutzhorn Juliana S. O’Neill Emily Perlman** Lynette Posorske Stephanie Price Maggie Rheinstein Carlotta Richard Lisa Romano Theresa Roys Aida L. Sánchez Katherine Schnorrenberg Kara Schoo Michelle Strucke Carolyn J. Sullivan Melissa Valentine Ellen van Valkenburgh Susanne Villemarette Louise M. Wager Amy Wenner Emily Wildrick Lynne Woods

Tenors J.I. Canizares Colin Church Spencer Clark Gregory Daniel Paul J. DeMarco Ruth W. Faison* Greg Gross Carlos A. Herrán Michael Hirata Dominick Izzo Curt Jordan Michael Lacher Tyler A. Loertscher Ryan Long Jane Lyle David Malloy Michael McClellan Chantal McHale Eleanor McIntire Wayne Meyer* Tom Nessinger Steve Nguyen Anita O’Leary Joe Richter Drew Riggs Jason Saffell Robert T. Saffell Dennis Vander Tuig Taylor Witt

Altos Helen R. Altman Sybil Amitay Carol Bruno Erlinda C. Dancer Sandra L. Daughton Jenelle M. Dennis Corinne Erasmus Mary Fellman Shannon Finnegan Elissa Frankle Francesca Frey-Kim Maria A. Friedman Julia C. Friend Jeanette Ghatan Sarah Gilchrist Lois J. Goodstein Jacque Grenning Stacey A. Henning Jean Hochron Debbi Iwig Sara M. Josey* Marilyn Katz Casey Keeler Irene M. Kirkpatrick Martha J. Krieger** Melissa J. Lieberman* Amanda LiverpoolCummins Julie S. MacCartee Nansy Mathews Caitlin McLaughlin Jeanne Morin Susan E. Murray Daryl Newhouse Martha Newman Patricia Pillsbury Patricia Pitts Elizabeth Riggs Beryl M. Rothman Lisa Rovin Mary Jane Ruhl Jan Schiavone Deborah F. Silberman Elizabeth Solem Lori J. Sommerfield Connie Soves Carol A. Stern Bonnie S. Temple Renée Tietjen Virginia Van Brunt Christine Vocke Sarah Jane Wagoner

Basses Russell Bowers Albert Bradford Ronald Cappelletti Bruce Carhart Pete Chang Dale S. Collinson Stephen Cook Clark V. Cooper Bopper Deyton J. William Gadzuk Robert Gerard Mike Hilton Chun-Hsien Huang William W. Josey** Allan Kirkpatrick Jack Legler Larry Maloney Ian Matthews Alan E. Mayers Dugald McConnell David J. McGoff Kent Mikkelsen* John Milberg** Oliver Moles Alan Munter Leif Neve Devin Osborne Tom Pappas Anthony Radich Harry Ransom, Jr. Edward Rejuney* Frank Roys Kevin Schellhase Carey W. Smith Charles Sturrock Alun Thomas Donald A. Trayer Richard Wanerman Al Wigmore Theodore Guerrant, Accompanist, Theodore M. Guerrant Chair * section leader ** asst. section leader

Saturday, October 13, 2012, 8 p.m. and Sunday, October 14, 2012, 3 p.m.

Symphony No. 3, in E-flat Major, Op. 55 (“Eroica”)

Ludwig van Beethoven Beethoven mostly wrote the “Eroica” Symphony in 1803, but its history goes back to 1798, when a minister of France’s revolutionary government arrived in Vienna. The news this minister brought of a young general named Napoleon Bonaparte, whose democratic ideals matched his military genius, fired Beethoven’s imagination. For five years, he thought of ways in which music could reflect the new republican Europe that might follow the Revolution in France. Then, between May 1803 and sometime early in 1804, he composed his great new symphony. By this time, Napoleon had become the leader of the French government. Beethoven wrote Napoleon’s name at the head of the music, but it was not to remain there long. In May 1804, Napoleon had himself named emperor of France. When

the news reached Vienna, Beethoven was enraged. “So he is just like all the rest, after all,” the angry composer shouted. “He will stamp out human rights and become a greater tyrant than the others,” and he ripped up the first page of his score. He had a new copy made, with the heading, “Grand Symphony, entitled Bonaparte” but then he erased the last two words. Sometime later he decided on the title Sinfonia Eroica, which appeared (in Italian) on the cover of the first edition in 1806 as “Heroic Symphony, Composed in Memory of a Great Man.” Napoleon still had 15 more years on earth, but for Beethoven his greatness was past. In 1809, when Vienna was occupied by Napoleon, Beethoven led a performance of the “Eroica” as an act of defiance. Napoleon himself was out of the city on the day of the concert, and there seems to have been no reaction from the authorities. Beethoven’s heroic Symphony No. 3 is the work with which he outgrew

the 18th century and finally abandoned the limitations of form and style that had dominated music from the time of Haydn and Mozart. He told one of his pupils when he was writing his symphony, “I am unsatisfied with my work up to now. From here on, I take a new course.” It is a completely new kind of symphony, of and for the 19th century, a huge work, double the length of his Symphony No. 1, written only three years before. Its size was so tremendous that some early critics thought it could never become popular. This great symphony, first performed in public on April 7, 1805, in Vienna, puzzled many early listeners. One critic called it a “wild Fantasy.” Beethoven’s friends said that the public simply was not yet ready for his advanced musical thought. Others found it strange and violent, and another critic wrote, “If Beethoven continues on his present path, his music could reach the point where one would derive no pleasure from it.” Beethoven himself was unmoved

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Saturday, October 13, 2012, 8 p.m. and Sunday, October 14, 2012, 3 p.m.

by all the complaints. He made no changes in his work and is reported to have replied to complaints about its length by saying, “If I write an hourlong symphony, it will be short.” The nearest he came to admitting the possibility of anything problematic was a note in the first edition saying, “Since this symphony lasts longer than usual, it should be played nearer the beginning than the end of the concert, for if heard later, the audience will be tired from listening to other works, and the symphony will not make its proper effect.” The first movement of the symphony, Allegro con brio, opens with two smashing chords, after which all the formal elements, except the size, are familiar. The whole movement embodies tension as the theme is developed, but seems to search perennially for a resolution. The peak of the development explodes with bold harmonic dissonance and syncopated rhythms that can still surprise our

modern ears. This innovative gesture greatly upset the music critics of Beethoven’s day and those for many years after. The second movement is a solemn Funeral March, Adagio assai, with a contrasting central section. This music of heroic grief may originally have been intended to honor Napoleon’s soldiers who died in battle. When he heard of Napoleon’s death in 1821, Beethoven said that he had already written the appropriate music, referring to this movement. The third movement contrasts strongly with the movement before it. Full of life and humor, it is a long, brilliant scherzo, Allegro vivace, with a contrasting central Trio section that features the orchestra’s three horns. One of the most distinguishing features of this movement is the creative rhythm Beethoven employs. The great finale, Allegro molto, is a theme-and-variations movement that seems to personify the creative

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fun AsburyMethodistVillage.org 201 RUSSELL AVENUE, GAITHERSBURG, MARYLAND 20877 46 applause at Strathmore • SEPTEMBER/OCTOBER 2012

vitality of the human spirit. The theme is the tune of a light ballroom dance Beethoven had written sometime around 1801. He also used it as a subject for variations in the allegorical ballet he wrote that year, The Creatures of Prometheus, and, in 1802, it reappeared in his Fifteen Variations and a Fugue for Piano, Op. 35. The variations in the Symphony No. 3 are the most original and the most profound. After a rushing introduction, plucked strings articulate the theme. Later this turns out to be only the harmonic foundation of the main theme itself, which is not revealed until the woodwinds play it in the third variation. The last variations are slow, and then, as the symphony draws to a close, there is a sudden change to a very fast tempo, presto, for a brilliant ending. The score calls for an orchestra of two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani and strings. Copyright Susan Halpern, 2012

Morning yoga, an afternoon movie, quality time with the grandkids, or an engaging event created by one of our cultural partners. Whatever your definition of fun – you’ll find it at Asbury Methodist Village. Residents find that their calendars fill up fast with so many wonderful things to do. When you’re having fun, the smiles come easy.

Call 301-960-3830 to learn about the Strathmore Society at Asbury, with special programming for Asbury residents and guests.

Friday, October 19, 2012, 8 p.m.

Friday, October 19, 2012, 8 P.M.

● Strathmore Presents

A State of the Union Conversation: An Evening with Frank Rich & Fran Lebowitz The Music Center at Strathmore Marriott Concert Stage

rich photo by Danny kim

Frank Rich

Frank Rich joined New York magazine in June 2011 as writer-at-large, writing monthly on politics and culture, and editing a special monthly section anchored by his essay. He is also a commentator on nymag.com, engaging in regular dialogues on the news of the week. Rich joined the magazine following a distinguished career at The New York Times, where his Sunday Op-Ed column helped inaugurate the expanded opinion pages that the paper introduced in the Sunday Week in Review section in April 2005. Rich started as a Times Op-Ed columnist in January 1994. From 1999 to 2003, he was also a senior writer for The New York Times Magazine, a dual title that was a first for The Times. Before writing his column, Rich served as The Times’ chief drama critic beginning in 1980, the year he joined the paper. Among other honors, Rich received the George Polk Award for commentary in 2005. In 2011 he received the Goldsmith Career Award

for Excellence in Journalism from Harvard University. He has written about politics and culture for many publications. His latest book, The Greatest Story Ever Sold: The Decline and Fall of Truth in Bush’s America, was published by Penguin Press in 2006 and as a Penguin paperback in 2007. His childhood memoir, Ghost Light, was published in 2000 by Random House and as a Random House Trade Paperback in 2001. A collection of Rich’s drama reviews, Hot Seat: Theater Criticism for The New York Times, 1980-1993, was published by Random House in October 1998. His book The Theatre Art of Boris Aronson, co-authored with Lisa Aronson, was published by Knopf in 1987. Rich earned a bachelor’s degree in American history and literature, graduating magna cum laude from Harvard College in 1971 and serving as editorial chairman of The Harvard Crimson. Rich has two sons. He lives in Manhattan with his wife, the author and novelist Alex Witchel, who is a staff writer for The New York Times Magazine.

Fran Lebowitz

Purveyor of urban cool, witty chronicler of the “me decade” and the

cultural satirist whom many call the heir to Dorothy Parker, Fran Lebowitz remains one of the foremost advocates of the Extreme Statement. She offers insights on timely issues such as gender, race, gay rights and the media as well as her own pet peeves—including celebrity culture, tourists and strollers. In a recent interview in The New York Observer, Lebowitz held forth on New York City Mayor Michael Bloomberg: “We don’t have time for Bloomberg...there are certain things that are in the public sphere and certain things that are in the private sphere...What people eat? It’s their own business. Bedbugs he should take care of. That’s a public health issue. Did you ever hear anyone say, ‘Do you like New York?’ ‘No, too salty.’ ” Lebowitz on multiculturalism: “It’s pathetic. Of course the world is diverse. And the differences always express themselves. It’s much more important that you emphasize similarities…there is practically nobody willing to identify themselves as American anymore because everybody is too busy identifying themselves with the area of their lives in which they feel the most victimized.” That is Fran Lebowitz off the cuff. Her writing—pointed, taut and economical—is equally forthright, irascible and unapologetically opinionated. Lebowitz’s first two classic books of essays, Metropolitan Life and Social Studies, have been collected in the Fran Lebowitz Reader. She is also the author of the children’s book Mr. Chas and Lisa Sue Meet the Pandas. She recently broke a 10-year writer’s block and is back at work on her novel, Exterior Signs of Wealth. A documentary film about Fran Lebowitz, Public Speaking, directed by Martin Scorsese, premiered on HBO in November 2010.

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Saturday, October 20, 2012, 2 P.M.

● Strathmore Presents

The Ukulele Orchestra of Great Britain David Suich Peter Brooke Turner Hester Goodman George Hinchliffe Kitty Lux Richie Williams Will Grove-White Jonty Bankes The Music Center at Strathmore Marriott Concert Stage

The Ukulele Orchestra of Great Britain

The Ukulele Orchestra of Great Britain is a touring musical group which has been delighting audiences, raising the roof, selling out performances and receiving standing ovations since 1985; a group of all-singing, all-strumming ukulele players that has been active for 27 years, united in its belief that all genres of music are available for reinterpretation as long as they are played on the ukulele. It is owned and directed by founders and performers George Hinchliffe and Kitty Lux. Current members also include founding performers David Suich and Richie Williams, as well as Will Grove-White, Hester Goodman, Jonty Bankes and Peter Brooke Turner.

The orchestra is celebrated for its rapport with audiences and eliciting a joyous feel-good reaction. The concert’s format sounds simple—eight performers, eight instruments, eight voices; no gimmicks, no stage set, props or scenery, no fireworks, no special effects, no light show, no dancers, no laptops, no samples. And yet, the orchestra tears the house down with catchy and emotive performances of toe tapping tunes, and witty banter that blurs the line between serious concert and comedy, leading the UK Independent to call them “the best musical entertainment in the country.” Since the first sold-out concert in 1985 “The Ukes” or the “UOGB,” as fans know the orchestra, have released many CDs, albums and DVDs, appeared on TV and radio in many countries and toured during approximately 9,000 days and nights of ukulele action. The Ukulele Orchestra started off as “a bit of fun.” The first gig, intended as a one-off, was an instant sell out and led to national radio, TV, album recordings and international tours. Ukulele Orchestra music has been used in films, TV, advertisements, plays and commercials

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and online video clips have been watched many millions of times. Collaborators with the Ukulele Orchestra have included Madness, The Kaiser Chiefs, The Ministry of Sound and Yusuf Islam (Cat Stevens). This, the current version of the Ukulele Orchestra’s “original” show, brings the audience on a genre-crashing ride through popular music—a funny, virtuosic, twanging, awesome, foot-stomping obituary of rock and roll and melodious light entertainment in a collision of post-punk performance and iconic oldies. It is a rhythmic, joyous, thoughtprovoking journey through songs that you’ve heard, songs you’ve forgotten, songs you’ve never heard and songs you perhaps wish you hadn’t encountered, all transformed into a lively, headlong stream of transcendent sounds, musical delight and warm personality featuring only the “bonsai guitar” and a menagerie of voices. Zooming from Tchaikovsky to Nirvana via Otis Redding, to current anthems via 1960s beat instrumentals and dueling banjo style picking, taking in film themes and Spaghetti Western soundtracks, everyone has a good time with the Ukulele Orchestra. The orchestra, sitting in chamber group format, uses the limitations of the instrument to create a musical freedom as it reveals unsuspected musical insights. Both the beauty and the vacuity of popular and highbrow music are highlighted, the pompous and the trivial, the moving and the amusing. Sometimes a foolish song can touch an audience more than high art; sometimes music that takes itself too seriously is revealed to be hilarious. With eight performers and thus sixteen hands, eight voices and with four strings on each instrument, up to thirty-two instrumental notes and eight vocal notes can be sounded simultaneously—capable of creating intricate melodies and complex chords. The orchestra has inspired thousands of people to take up the ukulele and to reconnect with music from a funoriented perspective. In addition, many teachers and professional musicians have communicated with the orchestra, grateful for signposts in how to re-frame their approach to music. Educators have held the Ukulele Orchestra up as an example

john wasserman

Saturday, October 20, 2012 2 p.m.

of how to play music, retaining a playful spirit even while making music as full-time “work.” The Ukulele Orchestra of Great Britain collaborated with the British Film Institute National Archive to find a host of unusual and little-seen short films from the early days of silent film. The Orchestra has added special music written by George and Hester, as well as a few re-arranged classic pieces of music, and produced a delightfully eclectic evening of music, film, comedy and pathos. This has been performed all over the world to acclaim from film festivals and audiences. Ukulelescope was debuted at Slapstick 09 in Bristol as part of the re-opening season at the Bristol Old Vic Theatre. It was an instant sell-out and was described by the BFI as “a triumph.” The Ukulele Orchestra of Great Britain has produced a ukulele opera, Dreamspiel, which had its debut in Lon-

don, with lyrics by playwright Michelle Carter. This is based on dream diaries from 1930s Germany. The songs and dream images are reminiscent of Beckett, Orwell and Gunter Grass before Endgame, 1984 or The Tin Drum were ever written and are variously painful, farcical, satirical and theatrical. David Suich (the long haired one), is a founding member of the ukes, has compered at the Glastonbury Festival. You might find him singing “Silver Machine” (Hawkwind) with the ukes. Peter Brooke Turner is possibly the tallest ukulele player in the world, has been a Eurovision Song Contest finalist and sings “Smells like Teen Spirit” (Nirvana) with the ukes. Hester Goodman was a member of the Hairy Marys, an “all female Irish-dance comedy theatre company,” and can be heard singing “Teenage Dirtbag” with the ukes.

SPECIAL ADVERTISEMENT

George Hinchliffe, founder and director, has played the ukulele since he was 8 years old and has written a ukulele opera, Dreamspiel. Kitty Lux is a founder and director of the Ukulele Orchestra. Her previous bands include Sheeny and the Goys and Really. Richie Williams, a founding member, has played guitar with many Motown artists and soul reviews. Will Grove-White has made awardwinning movies and TV productions. He had to obtain permission from his head teacher in order to play his first gig with the Ukulele Orchestra. Jonty Bankes has played bass for many major rock and blues musicians and is a talented whistler. U.S. Tour Management: ARTS MANAGEMENT GROUP, INC., 37 W. 26th St., New York, NY 10010

Physician PROFILE

Dr. Aimee Seidman Dr. Marcia Goldmark Rockville Concierge Doctors 15020 Shady Grove Road, #300, Rockville, MD 20850 301-545-1811 | www.rockvilleconciergedocs.com

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Saturday, October 20, 2012, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Tchaikovsky’s Fourth Symphony Juanjo Mena, conductor Benedetto Lupo, piano

Slavonic Dances, Op. 72 Antonín Dvořák No. 1 in B Major: Molto vivace (1841-1904)

No. 2 in E Minor: Allegretto grazioso

No. 3 in F Major: Allegro

Piano Concerto No. 3 Béla Bartók Allegretto (1881-1945) Adagio religioso Poco più mosso - Tempo I

Allegro vivace

Benedetto Lupo

INTERMISSION

Symphony No. 4 in F Minor, Op. 36 Piotr Ilyich Tchaikovsky Andante sostenuto (1840-1893)

Andantino in modo di canzona

Scherzo: Pizzicato ostinato

Finale: Allegro con fuoco

Presenting Sponsor: M&T Bank The concert will end at approximately 10 p.m. The Music Center at Strathmore Marriott Concert Stage

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Juanjo Mena, conductor Chief conductor of the BBC Philharmonic in Manchester and principal guest conductor of the Bergen Philharmonic in Norway, Juanjo Mena is one of Spain’s most distinguished international conductors. Following his North American debut with the Baltimore Symphony Orchestra in 2004, Mena has been re-engaged every year since then by the orchestra. Other appearances include the symphonies of Boston, Chicago, Philadelphia, Pittsburgh, Los Angeles Cincinnati, Colorado, Houston, Indianapolis and Atlanta. Worldwide, Mena has appeared with the Dresden Philharmonic, Munich Radio Orchestra, Norwegian Radio Orchestra, Orchestra Filarmonica della Scala, Orquesta Nacional de España, Orchestre National de France, Orchestre National de Lyon and the Oslo Philharmonic, among many others. Festival appearances include the BBC Proms, Grant Park (Chicago), Hollywood Bowl (Los Angeles), La Folle Journée (Nantes) and White Nights Festival (St. Petersburg). Also active in opera, Mena has led productions of Billy Budd, Eugene Onegin, Le Nozze di Figaro, Der Fliegende Holländer, Salome, Elektra, Ariadne auf Naxos, Bluebeard’s Castle and Erwartung. Born in Vitoria-Gasteiz, Mena began his musical training at the Vitoria-Gasteiz Conservatory (Basque Country). He studied composition and orchestration with Carmelo Bernaola and conducting with Enrique Garcia-Asensio at the Royal Higher Conservatory of Music in Madrid, where he received the Prize of Honor. Awarded a Guridi-Bernaolo Scholarship, he pursued further conducting studies in Munich with Sergiu Celibidache. In 2002, Mena was awarded the Ojo Critico Prize by Radio Nacional de España in recognition of his career and dedication to contemporary music. Juanjo Mena last appeared with the BSO in February 2011, conducting Rachmaninoff’s Piano Concerto No. 2,

Sussie Ahlburg BBC Philharmonic

Saturday, October 20, 2012, 8 p.m.

featuring pianist Yuja Wang, and Bruckner’s Symphony No. 6.

Benedetto Lupo, piano

Benedetto Lupo has been described by critics as an “exceptionally fine pianist ... who has a remarkably fine touch and beautiful tone control” (The Oregonian). Praised for his “keen musical intelligence and probing intellect” (Miami Herald), and for combining “meticulous technique with romantic sensitivity” (Birmingham News), he has gained worldwide recognition. After winning the bronze medal in the 1989 Van Cliburn International Piano Competition, he made acclaimed debuts with several major American orchestras, as well as chamber appearances with the Tokyo String Quartet. His New York City recital debut at Alice Tully Hall followed in 1992, the same year he won the Terence Judd International Award, which in turn led to his debut at London’s Wigmore Hall. Since then, he has performed with many orchestras such as the Philadelphia Orchestra, London Philharmonic, Gewandhaus Orchestra, Montreal Symphony, Liege Philharmonic, and at the Mostly Mozart and Tanglewood festivals. In the 2012-2013 season, two debuts in America are notable: he performs Bartok’s 3rd Concerto with the Baltimore Symphony, before playing Chopin’s E-minor Concerto with I Musici de Montréal. He also returns to the Huntsville Symphony with the Schumann Concerto. Overseas he partners with the Orchestra della Svizzera Italiana and Alain Lombard conducting, the Liege Philharmonic on occasion of its Rachmaninoff Festival, the Göttingen Symphonie Orchester and Real Orquesta Sinfonia in Sevilla. In his native country he is soloist with the Santa Cecilia Symphony in Rome and Verdi Orchestra in Milan, and tours with the Orchestra Sinfonica Abruzzese.

Benedetto Lupo teaches at the Nino Rota Conservatory in Italy, gives master classes around the world, and has served on the jury of both the Cleveland International Competition and the Gina Bachauer Competition in Salt Lake City, from which he previously won second and third prize, respectively. Benedetto Lupo is making his BSO debut.

Program Notes Selections from the Slavonic Dances, Op. 72

Antonin Dvořák

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

Dvořák’s first set of Slavonic Dances, Op. 46, was the music that launched his fame beyond the borders of his native Bohemia. Behind their success is a heartwarming story of one great musical master taking time to help another. By the mid-1870s, Brahms was securely established as one of Europe’s leading composers and was serving on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire. Since the present-day Czech Republic was then a dependency of Austria, Dvořák was one of the candidates. Deeply impressed by his music, Brahms went to his own publisher, the prestigious Simrock of Berlin, and urged the firm to take on the young Czech. And he used his considerable clout to secure performances of Dvořák’s music. Thus began another illustrious career and a devoted friendship between the two men that lasted until Brahms’ death. Simrock had recently reaped substantial profits from Brahms’ Hungarian Dances for piano four-hands. In 1878, the firm asked Dvořák to create a similar set, based on his own native dance traditions; the Czech responded with the eight Slavonic Dances of Op.46, arranging them for orchestra as well as piano duet. They were such a success that Simrock asked for more. But with his career

now in full swing, Dvořák wished to devote his efforts to more ambitious works, and he put Simrock off. “To do the same thing twice is devilishly difficult,” he explained. But when he finally composed his second set of Slavonic Dances, Op. 72, in the summer of 1886, he did not attempt to “do the same thing twice.” By then he had written such masterpieces as the Seventh Symphony and Scherzo capriccioso, and his style had grown much more refined. The Op. 46 Dances followed closely the conventions of traditional Czech peasant dances and were orchestrated in bright primary colors. By contrast, the Dances of Op. 72 are highly sophisticated concert dances, whose peasant origins are disguised by imaginative scoring and advanced chromatic harmonies. Today the robust dances of Op. 46 are more often performed, but the Op. 72 dances, with their greater emotional subtlety, deserve discovery. Juanjo Mena has chosen three of them to open this program. No. 1 in B major is a boisterous Molto vivace dance in two beats with a contrasting, very lyrical central dance in a slower tempo. No. 2 in E minor is is a romantic swaying waltz whose gentle melancholy reveals the affinity between Dvořák and Brahms. One of the most beautiful of the Slavonic Dances, it features gorgeous writing for the strings. It also exploits the technique of rubato or expressive slowing down and speeding up of the tempo. No. 3 in F major is in the style of a skocná or spring dance, which makes use of leaping or hopping steps. We hear those leaps in the emphatic two-chord cadence that opens the main melody. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion and strings. Piano Concerto No. 3

Béla Bartók Born March 25, 1881 in Nagyszentmiklós, Hungary (now Romania); died Sept. 26, 1945 in New York City

When his friend and pupil Tibor Serly visited the mortally ill Béla Bartók (he

applause at Strathmore • SEPTEMBER/OCTOBER 2012 51

Saturday, October 20, 2012, 8 p.m.

was suffering from leukemia) for the last time on Sept. 21, 1945, he found him in bed surrounded by sheets of music manuscript. The composer was trying desperately to finish his Third Piano Concerto, a birthday gift for his wife, pianist Ditta Pásztory-Bartók. On the bed table under bottles of medicine was another partically completed score: a viola concerto commissioned by William Primrose. The next day, Bartók was admitted to New York’s West Side Hospital, and four days later, he died. The orchestral scoring for the Piano Concerto’s last 17 measures still remained to be done, and Serly completed it in time for the work’s posthumous premiere on Feb. 8, 1946. To his attending physicians Bartók had said wryly: “I am only sorry that I have to leave with my baggage full.” Ironically, Bartók died just as the five dark years he’d spent in America in selfimposed exile from Nazi-dominated Hungary had begun to brighten. From 1940 to 1942, depressed by the war and homesickness, he had eked out a living as an ethnomusicologist at Columbia University. But with a commission from the Boston Symphony for what became his celebrated Concerto for Orchestra, his fortunes changed. Other commissions followed, especially after the Concerto’s sensational premiere late in 1944. However, Bartók’s love gift for Ditta took precedence. The composer hoped she could use it as a vehicle for concert performances to earn her living after his death. The composer’s first two piano concertos had been written for himself to play, and they were overtly virtuosic and modernist in character. But the Third Concerto is very different: intimate in tone and chamber music-like in its blending of soloist and orchestra. NeoClassical in its allegiance to forms used by Mozart and Beethoven in their concertos, it is Romantic in expression—warmly communicative, and full of feeling. First movement: It opens with the piano’s presentation of an exotic Hungarian-flavored theme: a blend of lyricism and sharply etched rhythms over the soft flutter of strings. Within a classically shaped sonata form, Bartók shows a quicksilver delicacy in blending

orchestral and pianistic colors as well as a marvelous sense of fantasy. Listen for the peasant-bagpipe effect as the woodwind section begins the development section. The movement closes with an intimate, whimsical conversation between solo winds and the piano. For the remarkable second movement marked Adagio religioso, Bartók modeled his music on that of another composer battling illness: Beethoven’s sublime slow movement, entitled “Sacred Hymn of Thanksgiving from a Convalescent to the Deity,” in his late String Quartet in A Minor, Op. 132. In dialogue with contapuntally flowing strings, the pianist unfolds a noble chordal hymn that echoes the shape of Beethoven’s chorale. At the midpoint comes music unique to Bartók: the chirping, buzzing music inspired by birdsong that he called “night music.” Here he evokes American birds rather than European ones, their songs notated on a trip to Asheville, N.C., in 1944. The hymn then returns in the woodwinds, with the piano weaving loving commentary around it. In the finale, there’s a little of the sound of urban America, too: hints of jazz and dissonant Manhattan car horns. This movement is a brilliant rondo, modeled on Mozart and Beethoven’s preferred concerto finale form. Between returns of the rhythmically punchy rondo theme, Bartók shows his love of the Baroque masters with intricate fugal episodes. At the concerto’s last bar, which he did not live to complete, he inscribed for the first time the Hungarian word “Vége”: “The End.” Instrumentation: Two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. .

Symphony No. 4 in F Minor, Op. 36

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

Tchaikovsky’s Fourth Symphony is a tale of two women. Both entered the

52 applause at Strathmore • SEPTEMBER/OCTOBER 2012

composer’s life in 1877, the year he created this tempestuous, fate-filled work. One of them nurtured his creative career with bountiful gifts of friendship, understanding and money; the other, in a quixotic marriage, nearly destroyed it. The composer’s bright angel was Nadezhda von Meck, recently widowed and heiress to a substantial financial empire. An intelligent, highly complex woman, she loved music passionately and that passion became focused on Tchaikovsky. Early in 1877, she began writing long, heartfelt letters to him: “I regard the musician-human as the supreme creation of nature. … In you the musician and the human being are united so beautifully, so harmoniously, that one can give oneself up entirely to the charm of the sounds of your music, because in these sounds there is noble, unfeigned meaning.” From such effusions grew one of the strangest and most fruitful relationships in music. Mme von Meck and Tchaikovsky found they were soul mates, yet they determined to conduct their relationship exclusively through letters and never to meet. For 14 years they poured out their innermost feelings to each other. She gave him a generous annual stipend that freed him from financial worries. He stayed at her estate when she was away. Years later when they accidentally encountered each other on a street in Florence, they raced past each other in embarrassment. For a man of homosexual inclination who nevertheless yearned for closeness with a woman, it was an ideal situation. Less ideal was Tchaikovsky’s relationship with his dark angel, Antonina Milyukova, whom the composer— hoping to create a “respectable” home life for himself—foolishly agreed to marry in July 1877. The relationship was a disaster from the beginning and drove the composer to a nervous breakdown. He fled his new bride almost immediately and for years traveled throughout Europe to avoid her. The Fourth Symphony was conceived during this turmoil—drafted before the marriage and orchestrated in the aftermath—and the continual appearances of a malign “Fate” fanfare, the turbulence of its first movement, and the almost hysterical rejoicing of its finale reflect it.

Saturday, October 20, 2012, 8 p.m.

Dedicating the symphony to her, Tchaikovsky turned to his “best friend,” Mme von Meck, for solace. He kept her continuously apprised of the progress of “our symphony.” When she begged him for a “program” explaining what the music “meant,” he at first demurred but finally obliged with the following movement descriptions, which are so expressive they seem more helpful than discussions of sonata forms and thematic development. Movement 1: “The introduction [the loud fanfare theme] is the seed of the whole symphony, without a doubt its main idea. This is Fatum, the fateful force that prevents our urge for happiness from achieving its end … hangs over our heads like the sword of Damocles, and constantly, unceasingly, poisons our soul. … “Discontent and despair grow stronger, become more scathing. Would it not be better to turn one’s back upon reality and plunge into dreams? [the solo clarinet’s wistful theme] … WiderCircleBethesdaHalfPg_Ad.epsPage “O joy! At least one sweet and tender

dream has appeared. Some beatific, luminous human image flies by, beckoning us on: [the sweeping, waltz-like music] … [Return of Fate fanfare] “No! They were only dreams, and Fatum awakes us. … So life itself is the incessant alternation of painful reality and evanescent dreams of happiness …” Movement 2: “The second part of the symphony expresses a different aspect of human anguish. It is the melancholy feeling that appears in the evening, when you are sitting alone. … Memories swarm around you. You feel sad about what was and is no more. … It is sad and somehow sweet to sink into the past.” Movement 3: “The third part … is made up of the capricious arabesques … that pass through the mind when one has drunk a little wine and feels the first phase of intoxication. The soul is neither merry nor sad. One does not think of anything; one leaves free rein to the imagination, and, for some reason, it be1 7/29/12 7:03:56 PM gins to draw strange designs. … These

are the disconnected pictures that pass though the head when one goes to sleep. They have nothing in common with reality; they are bizarre, strange, incoherent.” Finale: “If you do not find cause for joy in yourself, look to others. Go to the people … They make merry and surrender wholeheartedly to joyful feelings. Picture a popular festival. Scarcely have you forgotten yourself and become interested in the spectacle of other people’s joy, when the tireless Fatum appears again and reminds you of his existence. … Do not say that everything is sad in the world. There exist simple but deep joys. … Life can still be lived. “This, my dear friend, is all I can tell you about the symphony. Of course, it is unclear and incomplete, but this is in the nature of instrumental music. … As Heine said: ‘Where words end, music begins.’ ” Instrumentation: Two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion and strings. Notes by Janet E. Bedell copyright 2012

A WIDER CIRCLE PRESENTS

CMY

October 13, 2012 GRAND HYATT WASHINGTON • 1000 H STREET NW 6:30

• DINNER & SILENT AUCTION

TICKETS $125 (tickets can be purchased at awidercircle.org) For more information, sponsorship opportunities or auction donations contact: annethompson@awidercircle.org or call Anne at 301.608.3504 applause at Strathmore • SEPTEMBER/OCTOBER 2012 53

Tuesday, October 23, 2012, 8 p.m.

Tuesday, October 23, 2012, 8 P.M.

● Strathmore Presents

A Night With David Sedaris

It’s a

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

David Sedaris

50th edition.

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

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

bethesdamagazine.com

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today. David Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim and When You Are Engulfed in Flames, each of which became a bestseller. Seven million cop-

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ies of his books are in print and they have been translated into 25 languages. He was the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’ pieces appear regularly in The New Yorker and have twice been included in “The Best American Essays.” His collection of fables entitled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer) was published in September 2010 and immediately hit The New York Times Bestseller Fiction List. His next book is entitled Let’s Explore Diabetes with Owls and will be published late spring 2013. He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written a half dozen plays that have been produced at La Mama, Lincoln Center and The Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe— which received an Obie Award—Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service. David Sedaris’ original radio pieces can often be heard on This American Life, distributed nationally by Public Radio International and produced by WBEZ. Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His most recent live album is David Sedaris: Live for Your Listening Pleasure (November 2009).

Anne Fishbein

The Music Center at Strathmore Marriott Concert Stage

Saturday, October 27, 2012, 8 p.m.

with such orchestras as Het Concertgebouworkest Amsterdam, City of Birmingham Symphony Orchestra, BBC Philharmonic Orchestra Manchester, Indianapolis Symphony Orchestra, Baltimore Symphony Orchestra, Sveriges Radios Symfoniorkester Stockholm, Orchestre de l’Opéra national de Paris, Deutsches Symphonie-Orchester (DSO) Berlin at the Berlin Philharmonie, Radio-Sinfonie Orchester Berlin, NDR Symphony Orchestra Hamburg and the Bavarian Radio Symphony Orchestra Munich. At age 21, Meister had his debut at the Hamburg Opera, followed by the Bavarian State Opera in Munich, the New National Theatre Tokyo, the San Francisco Opera, the Deutsche Oper Berlin, the Theater an der Wien, Royal Opera House Copenhagen and Semperoper Dresden. Upcoming performances include his debuts at the Opera House in Zurich (Salome), the Vienna State Opera (Die Zauberflöte) and the Royal Opera House Covent Garden. He also will complete the “Ring” cycle at the Latvian National Opera Riga and return to the Baltimore Symphony Orchestra and the DSO Berlin. Meister studied piano and conducting at the Hannover University with Konrad Meister, Martin Brauß and Eiji Oue, and at the Salzburg Mozarteum with Dennis Russell Davies and Karl Kamper. Cornelius Meister last appeared with the BSO in April 2011, conducting Smetana’s Overture to The Bartered Bride, arranged by Gustav Mahler, Bruch’s Violin Concerto No. 2, featuring concertmaster Jonathan Carney, and Brahms’ Symphony No. 2.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Mozart & Brahms Cornelius Meister, conductor Jonathan Carney, violin Dariusz Skoraczewski, cello Double Concerto for Violin and Cello in A Minor, Op. 102

Johannes Brahms (1833-1897)

Allegro

Andante

Vivace non troppo

Jonathan Carney

Dariusz Skoraczewski

INTERMISSION

Symphony No. 35 in D Major, Wolfgang Amadeus Mozart K. 385, “Haffner” (1756-1791) Allegro con spirito

Andante Menuetto Presto

Meister photo by Rosa Frank, Carney photo by Grant Leighton

Till Eulenspiegel’s Merry Pranks, Richard Strauss Op. 28 (1864-1949) The concert will end at approximately 9:45 p.m. The Music Center at Strathmore Marriott Concert Stage

Jonathan Carney, violin

Cornelius Meister, conductor Cornelius Meister, born in Hannover, Germany in 1980, was appointed chief conductor and artistic director of the Vienna Radio Symphony

Orchestra in 2010. Each season he directs the orchestra in concert series in Vienna’s prestigious Musikverein and Konzerthaus and on tour throughout Europe and Japan. Last season, Meister completed seven years as music director of the City of Heidelberg. Meister has been guest conductor

Baltimore Symphony Orchestra Concertmaster Jonathan Carney begins his 11th season with the Baltimore Symphony Orchestra after 12 seasons in the same position with London’s Royal Philharmonic Orchestra.

applause at Strathmore • SEPTEMBER/OCTOBER 2012 55

Born in New Jersey, Carney hails from a musical family with all six members having graduated from The Juilliard School in New York. After completing his studies, he was awarded a Leverhulme Fellowship to continue his studies at the Royal College of Music in London. After enjoying critically acclaimed international tours as both concertmaster and soloist with numerous ensembles, Carney was invited to become concertmaster of the Royal Philharmonic Orchestra in 1991. He was also appointed concertmaster of the Bournemouth Symphony Orchestra in 1994 and the Basque National Orchestra in 1996. Carney has performed with many of the world’s great conductors including Maestri Haitink, Abbado, Solti, Tennstadt, Maazel, Gergiev, Previn Gatti, Muti, Sawallisch, Menuhin and Kurt Sandeling. Recent solo performances have included concertos by Kurt Weill, Bruch’s first and second concerti as well as The Scottish Fantasy, Korngold, Khatchaturian, Sibelius, Nielsen, Rodrigo, both Brahms concerti and Vaughan Williams’ The Lark Ascending. He has made a number of recordings, including concertos by Mozart, Vivaldi and Nielsen, sonatas by Brahms, Beethoven and Franck, and a disc of virtuoso works by Sarasate and Kreisler with his mother Gloria Carney as pianist. New releases include Beethoven’s Archduke and Ghost trios, the cello quintet of Schubert and a Dvořák disc with the Terzetto and four Romantic pieces for violin. Carney is an avid music educator. He serves on the board of and as artistin-residence for the Baltimore School for the Arts, one of the country’s premier arts high schools. He is also the artistic director of the Maryland Classic Youth Orchestra at Strathmore. Carney’s violin is a 1687 Stradivarius, the Mercur-Avery on which he uses “Vision” strings by Thomastik-Infeld. Carney’s string sponsor is Connolly & Co., exclusive U.S. importer of Thomastik-Infeld strings. Jonathan Carney last appeared with

the BSO in April 2012, performing Kachaturian’s Violin Concerto, with Lionel Bringuier conducting.

Dariusz Skoraczewski, cello

Principal cellist Dariusz Skoraczewski has delighted audiences of many concert halls in America and Europe with his great artistic and technical command of the instrument. As a soloist he performed with numerous orchestras in the U.S., including the Montgomery Symphony, Alexandria Symphony, Arlington Philharmonic, Lancaster Symphony and the Baltimore Symphony Orchestra. As a chamber musician, Skoraczewski has appeared in many chamber music concert series including the Candlelight Series, Music at the Great Hall in Baltimore and the Barge Music Festival in New York City. Skoraczewski began his musical education at age 6 and spent his school years in Warsaw, Poland. He completed his higher education as a scholarship recipient at the Peabody Conservatory of Music in Baltimore. The soloist’s repertoire includes compositions from early Baroque to the present. His debut CD Cello Populus is a collection of solo pieces from the 20th and 21st centuries. Dariusz Skoraczewski last appeared with the BSO in September 2011, performing the last movement of Dvořák’s Cello Concerto, with Marin Alsop conducting.

Program Notes Concerto for Violin and Cello in A Minor

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

Though he was a lifelong bachelor and a bit of a loner, Johannes Brahms always placed great importance on his

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friendships. One of his most important was with the great Hungarian-born violinist Joseph Joachim. The two had become close friends as young men back in 1853 when they had begun giving concerts together. In 1878, Brahms created his magnificent Violin Concerto to show off Joachim’s artistry and had even accepted his recommended changes in some of the solo writing. But in 1884 the friendship crashed in flames. A pathologically jealous man, Joachim had instigated divorce proceedings against his wife, Amalie, accusing her of infidelity with Brahms’ publisher, Fritz Simrock. Fond of Amalie and convinced (quite rightly, it seems) of her innocence, Brahms wrote her a candid and sympathetic letter in which he affirmed his total faith in her and said he had long been aware of Joachim’s unreliable emotional nature. In her defense, Amalie then produced this letter in court, and it was the pivotal document causing the judge to rule against Joachim. Enraged, the violinist broke off all relations with Brahms for three and a half years. Brahms tried over and over to restore relations, but without success. Finally in the summer of 1887, he hit upon a possible solution. The cellist Robert Hausmann—Joachim’s partner in a long-established string quartet—had been begging Brahms to write him a Cello Concerto. The composer decided instead to write a Double Concerto for Hausmann’s cello and Joachim’s violin—a concerto combination never tried before. In a letter to Joachim, Brahms told him about the new work and how much it meant to him, and asked him to simply reply by postcard with the words “I decline” if he was not interested. But Joachim did not decline. Instead, a reading of the concerto by Joachim, Hausmann and Brahms was arranged at the home of another longtime friend, Clara Schumann. As everyone had hoped, Joachim was quickly caught up in the new work, and the rift was gradually healed. The composer reportedly exclaimed: “Now I know what it is that’s been missing in my life for the past few

Skoraczewski photo by Christian Colberg.

Saturday, October 27, 2012, 8 p.m.

years—it’s been the sound of Joachim’s violin!” And on Oct. 18, 1887, the three friends (with Brahms on the podium) premiered the work in Cologne. In its very musical substance the Double Concerto is an ode to friendship. Brahms filled it with nostalgic messages to Joachim. The violinist’s entrance music recalls a theme in a Viotti violin concerto the two had played together years before. The slow movement is in the key of D major—the key of Brahms’ Violin Concerto. And the finale is in gypsy-rondo style, recalling both the Violin Concerto’s finale and the two musicians’ mutual love of Hungarian gypsy music. The opening of the sonata-form first movement is most unusual. The orchestra loudly states the first four measures of the principal theme—with its characteristically Brahmsian conflict of two-beat dotted rhythms against threebeat triplets. But immediately the cello interrupts, attacking a forceful recitative. The woodwinds then try to start the movement’s second theme. But now the violin leaps into action. Both soloists join in a double cadenza, trading back and forth rapid arpeggios, just as good friends sometimes finish each other’s conversational ideas. Finally, the orchestra is allowed back in to present the brawny principal theme in all its muscular drama. Its character suggests the storminess of Joachim and Brahms’ friendship even in the best of times. And the orchestra shouts out the sighing second theme, whose lyrical character only the soloists will reveal. In the slow movement, the soloists present a wonderfully mellow and nostalgic theme in unison: a perfect musical portrait of the pleasures of long companionship. In the middle section, woodwinds sing a pensive melody to which the soloists add a beautiful rippling theme of their own. All of Brahms’ regret for a lost amity colors the closing moments of this sublime movement. The rondo finale is rich in melody. The cello opens with the impishly playful refrain theme; the orchestra then brings out its gypsy fire. A second theme, warm and noble in double

stops for the cello, forms the first episode. And a dramatic third theme— proclaimed by both soloists and featuring the mixture of dotted rhythms and triplets that was so important in the first movement—dominates the big central episode. The concerto’s brilliant conclusion is in the joyful A major of friendship restored. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. Symphony No. 35 in D Major, K. 385, “Haffner”

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

In July 1782, Mozart was experiencing one of the most frenzied periods of his typically frenetic life. On July 16 he had just premiered his comic opera The Abduction from the Seraglio, the first major triumph of his Viennese career. Preparations were also underway for his early August wedding to Constanze Weber, a marriage for which he had unsuccessfully sought his father’s approval for many months; Leopold Mozart had responded to this news by refusing to answer Wolfgang’s letters. When he finally did write his son, it was only to further complicate his life. Back in Salzburg, the Mozart family had been assisted by the wealthy merchant family, the Haffners. In 1776, Mozart had written the “Haffner” Serenade with violin solo for a Haffner daughter’s wedding. Now in August 1782, the son, Sigmund, was to be raised to the nobility, and the Haffners again wanted a serenade from their favorite composer. Although he was already “up to my eyeballs” with work and personal pressures, Mozart could hardly refuse this family that had done so much for him. But he protested futilely: “By Sunday week I have to arrange my opera for wind instruments, otherwise someone will beat me to it and secure the profits instead of me. And now you ask me to write a new symphony too! How on earth am I to do so? … Well, I must just

spend the night over it, for that is the only way; and to you, dearest father, I sacrifice it. … I shall work as fast as possible, and, as far as haste permits, I shall write something good.” Mozart indeed managed to “write something good” —and get married, too. However, it is not surprising that, when in December he asked his father to return the score so he could refashion it for his Viennese Lenten concert, his memory of the work was a blur. “Most heartfelt thanks for the music you have sent me. … My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.” The “Haffner” Symphony produced a splendid effect on the audience and the Emperor Joseph himself when Mozart premiered it in Vienna on March 23, 1783. The composer made a few changes: removing an opening march and an additional minuet to bring his serenade to four-movement symphonic form. Briefer than most of his later symphonies, it is a model of concision and high energy. The first movement (which Mozart instructed should be played “with great fire”) is built out of one skyrocketing theme heard at the beginning. The power of this theme, the rushing scale passages and aggressively accented trills in the violins, and the brilliance of trumpets and timpani all contribute to the sense of unstoppable momentum. The lightly scored second movement is all grace and elegance—music written to please 18th-century partygoers. It is succeeded by a minuet created from bold masculine proposals and languishing feminine responses—perhaps a musical dialogue representing Mozart the groom and his bride-to-be. A rustic woodwind-colored trio section adds charm. Mozart asked that the finale be played “as fast as possible.” Breathing the comicopera atmosphere of The Abduction, the mischievous principal theme, which returns over and over like a rondo refrain, is related to an aria sung in that opera by Osmin, the harem overseer. Macho drum rolls suggest a composer feeling his virility on the wedding eve. Instrumentation: Two flutes, two

applause at Strathmore • SEPTEMBER/OCTOBER 2012 57

Saturday, October 27, 2012, 8 p.m.

oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Till Eulenspiegel’s Merry Pranks, Op. 28

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

After the high seriousness of his tone poems Don Juan and Death and Transfiguration, Richard Strauss felt the need to lighten up. In 1894-95, another legendary anti-hero seized his imagination: the peasant rogue Till Eulenspiegel. The real Till lived in 14th-century Brunswick, Germany and died in his bed, some say of the Black Fever. Many stories sprang up about him in the following centuries, and Strauss had read the Belgian Charles de Coster’s 1865 version as well as seen a recent opera on the subject. Strauss also considered writing a Till opera, but the recent failure of his opera

Guntram suggested the orchestral tonepoem genre might be a better fit. Till Eulenspiegel’s Merry Pranks, After the Old Rogue’s Tale, Set in Rondo Form for Large Orchestra—to give the composer’s unwieldy full title—premiered in Cologne on Nov. 5, 1895 and has been celebrated ever since for its exuberant character delineation and orchestral wizardry. Till is a true folk hero: a crafty, quickwitted peasant who delights in making fools of the rich, learned and powerful. Strauss gave his career a new ending: death on the gallows. But that was not because he loved the character less, he simply loved a dramatic ending more. After a “once-upon-a-time” string opening, Till’s major theme is introduced: a mocking (and devilishly hard to play) horn theme, repeated by other woodwind instruments. Till’s own instrument, the small, squeaky-toned clarinet in D, soon enters with the shorthand version of his theme: a quick down-and-up flip. Till rides pell-mell

through the marketplace on a (presumably stolen) horse, masquerades as a priest with an unctuously pious viola tune, has a little love scene (solo violin), and other adventures; the music graphically portrays his narrow escapes and cackling laughter. But at the height of his deviltry, with his themes running riot in the orchestra, the law closes in. With an ominous drum roll and heavy blasts of horns and trombones, his judges pronounce the death sentence, while the Till clarinet squeaks his defense. Till’s body soars upward on the gallows. But Strauss provides a happy epilogue: a reprise of the once-upon-a-time opening music and a last laugh from Till’s irrepressible spirit. Instrumentation: Three flutes, piccolo, three oboes, English horn, two clarinets, bass clarinet, E-flat clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings. Notes by Janet E. Bedell copyright 2012

SE VENTH ANNUAL

llen’s Run E 5k

B-CC High School Community Scholarship Fund

r a c e / 3 k wa l k

Sunday, October 7, 2012 at 9am

DC’s Only Independent Nonprofit Film Center Visit us at

www.TheAvalon.org 5612 Connecticut Avenue Northwest Washington

Candy Cane City, Rock Creek Park Plus, activities for kids, all followed by a celebratory brunch Ellen’s Run is held annually to remember and honor Ellen Vala Schneider of Chevy Chase whose involvement in our community touched and inspired so many. Proceeds from the race will benefit the BethesdaChevy Chase High School Community Scholarship Fund and the Mental Health Association of Montgomery County, through the Ellen Vala Schneider Fund of the Community Foundation for Montgomery County.

To register and make a donation, go to www.ellensrunonline.org. For additional information, contact Pam Feinstein at 301-332-7859 or feinstep@gmail.com

E D U C AT E 58 applause at Strathmore • SEPTEMBER/OCTOBER 2012

• V O LU N T E E R

•

S E R V E

Sunday, October 28, 2012, 3 p.m.

Sunday, October 28, 2012, 3 P.M.

● Strathmore Presents

Billy Collins & Mary Oliver The Music Center at Strathmore Marriott Concert Stage

collins photo by Steven Kovich, Oliver photo by Rob Howard

Billy Collins

Billy Collins is an American phenomenon. No poet since Robert Frost has managed to combine high critical acclaim with such broad popular appeal. Collins’ work has appeared in The New Yorker, The Paris Review and The American Scholar, is a Guggenheim fellow and a New York Public Library “Literary Lion.” His last three collections of poems have broken sales records for poetry. Collins has published nine collections of poetry: Questions About Angels;The Art of Drowning; Picnic, Lightning; Taking Off Emily Dickinson’s Clothes; Sailing Alone Around the Room: New & Selected Poems; Nine Horses; The Trouble With Poetry and Other Poems; Ballistics; and, most recently, Horoscopes for the Dead. A collection of his haiku, titled She Was Just Seventeen, was published by Modern Haiku Press in fall 2006. He also edited two anthologies of contemporary poetry: Poetry 180: A Turning Back to Poetry and 180 More: Extraordinary Poems for Everyday, was the guest editor of The Best American Poetry 2006 and edited Bright Wings: An Illustrated Anthology of Poems about Birds, with paintings by David Allen Sibley.

Included among the honors Collins has received are fellowships from the New York Foundation for the Arts, the National Endowment for the Arts and the Guggenheim Foundation. He has also been awarded the Oscar Blumenthal Prize, the Bess Hokin Prize, the Frederick Bock Prize and the Levinson Prize—all awarded by Poetry magazine. In October 2004, Collins was selected as the inaugural recipient of the Poetry Foundation’s Mark Twain Award for Humor in Poetry. In June 2001, Collins was appointed United States Poet Laureate from 2001 to 2003. In January 2004, he was named New York State Poet Laureate from 2004 to 2006. Billy Collins is a distinguished professor of English at Lehman College of the City University of New York, as well as a senior distinguished fellow of the Winter Park Institute at Rollins College in Florida.

Mary Oliver

Mary Oliver’s poetry, with her lyrical connection to the natural world, has firmly established her in the highest realm of American poets. Oliver was born in Ohio in 1935. As a young writer, strongly influenced by the work of the poet Edna St.

Vincent Millay, she wrote to the late poet’s sister and was invited to visit. For the next several years, Steepletop, St. Vincent Millay’s country house in upstate New York, became her second home. Subsequently Oliver moved to New York City, then visited England for one year. In 1964, she returned to the United States. Oliver is the author of many books of poetry, including No Voyage and other Poems (1965), The River Styx, Ohio, and Other Poems (1972), Twelve Moons (1978), American Primitive (1983), Dream Work (1986), House of Light (1990), New and Selected Poems, Volume One (1992), White Pine (1994), West Wind: Poems and Prose Poems (1997), The Leaf and the Cloud (2000), What Do We Know (2002), Owls and Other Fantasies: Poems and Essays (2003), Why I Wake Early (2004), Blue Iris: Poems and Essays (2004), New and Selected Poems, Volume Two (2005), Thirst (2006), Red Bird (2008), The Truro Bear and Other Adventures (2008), Evidence (2009) and Swan (2010). Her chapbooks and special editions include The Night Traveler (1978), Sleeping in the Forest (1979), Provincetown (1987), Wild Geese (UK Edition); and her prose books include A Poetry Handbook (1994), Blue Pastures (1995), Rules for the Dance: A Handbook for Writing and Reading Metrical Verse (1998), Winter Hours: Prose, Prose Poems, and Poems (1999) and Long Life: Essays and Other Writings (2004). She was the guest editor for The Best American Essays 2009 (November 2009). Oliver has been awarded the Pulitzer Prize (for American Primitive), the National Book Award for Poetry (for New and Selected Poems, Volume One), the Lannan Foundation Literary Award, the New England Booksellers Association Award for Literary Excellence and the Poetry Society of America’s Shelley Memorial Award, among others. She has also received a Guggenheim Fellowship. Oliver lives in Provincetown, Mass., and Hobe Sound, Fla.

applause at Strathmore • SEPTEMBER/OCTOBER 2012 59

Tuesday, October 30, 2012, 8 p.m.

● Washington Performing Arts Society Celebrity Series presents

András Schiff, piano The Well-Tempered Clavier, Book II Johann Sebastian Bach (1685-1750) This performance is made possible through the generous support of Betsy and Robert Feinberg.

The Music Center at Strathmore Marriott Concert Stage

András Schiff, piano András Schiff is world renowned and critically acclaimed as a pianist, conductor, pedagogue and lecturer. Born in Budapest, Hungary, in 1953, Schiff started piano lessons at age 5 with Elisabeth Vadász. One of the most prominent proponents of the keyboard works of J.S. Bach, Schiff has long proclaimed that Bach stands at the core of his music making. In October 2012, April 2013 and October 2013, Schiff will embark on The Bach Project in North America, comprising six Bach recitals and an orchestral week of Bach, Schumann and Mendelssohn with Schiff at the piano and on the podium. His recording of The Well-Tempered Clavier for ECM, to be released in September 2012, is expected to be one of the pre-eminent performances of the work.

Schiff has established a prolific discography, and since 1997 has been an exclusive artist for ECM New Series and its producer, Manfred Eicher. Recordings for ECM include the complete Beethoven Sonatas on eight discs, Janáček, two solo discs of Schumann and his second recordings of the Bach Partitas and Goldberg Variations. He is recording Beethoven’s Diabelli Variations for release in 2013. Schiff has worked with most of the major international orchestras and conductors, but now performs mainly as conductor and soloist. In 1999 he created the Cappella Andrea Barca, which consists of international soloists, chamber musicians and friends. He also works every year with the Philharmonia Orchestra London and the Chamber Orchestra of Europe. Schiff has been awarded numerous international prizes and his relationship with publisher G. Henle continues with a joint edition of Mozart’s Piano Concertos and both volumes of The WellTempered Clavier. In spring 2011, Schiff attracted

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attention because of his opposition to the latest Hungarian media law, and in view of the ensuing attacks on him from some Hungarian Nationalists, has made the decision not to perform or return to his home country.

Program Notes The Well-Tempered Clavier, Book II BWV 870-893

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

In 1722 Bach completed a set of pieces for keyboard that has become one of the most popular works ever composed, even though it was not published until half a century after his death. Bach’s own description of this music suggests that some of his intention was didactic: “Preludes and Fugues through all the tones and semitones … for the use and profit of young musicians anxious to learn as well as for the amusement of those already skilled in this art.” But Bach had larger purposes in writing this music. He wanted, first, to demonstrate the possibilities of an instrument tuned to equal temperament. Equal temperament eliminated pitch distinctions between such notes as E-flat and D-sharp. The untempered scale, called just intonation, distinguished between these notes, and while such distinctions might be accurate, a keyboard instrument based on the untempered scale became nearly unmanageable, particularly in keys with more than three sharps or flats. It also severely curtailed a composer’s ability to modulate into other keys in the course of a work. By eliminating the differences between such notes as E-flat and D-sharp (differences very difficult for the ear to detect), the “well-tempered” instrument could play easily in all 24 keys. And, further, Bach wanted to explore the musical possibilities of two quite different kinds of music: the free

Nadia F. Romanini

Tuesday, October 30, 2012, 8 p.m.

prelude—the extension of a single idea somewhat in the manner of a fantasia—and the disciplined fugue, that most complex of contrapuntal forms. Working in part from preludes he had composed earlier for his son Wilhelm Friedemann’s instruction, Bach compiled a collection he called The WellTempered Clavier, a set of 24 preludes and fugues in the major and minor of each of the 12 tones of the scale. The Well-Tempered Clavier—full of wonderful, ingenious and expressive music—has moved and haunted composers ever since. One of those haunted was Bach himself: 20 years later he wrote a second set of 24 preludes and fugues. The “48,” as the two books of The Well-Tempered Clavier are sometimes called, have been a part of every pianist’s repertory since then, from the humblest amateur to the greatest virtuoso. Though this music was not published until 1801, the wide circulation of manuscript copies throughout Europe in the second half of the 18th century suggests that the beginnings of the Bach revival predate Mendelssohn’s 1829 performance of the St. Matthew Passion by many years. The young Beethoven, who had learned the “48” as a boy in Bonn in the 1780s, dazzled audiences with these preludes and fugues during his earliest years in Vienna, and pianist-composers of very different character have felt the pull of Bach’s achievement in the years since. Their number has included composers so diverse as Chopin, Debussy, Rachmaninoff, Hindemith, and—surprisingly—Shostakovich, who in 1951 composed his own set of 24 Preludes and Fugues for piano. What, exactly, was the instrument for which Bach composed The WellTempered Clavier? The debate over what he meant by “clavier” continues to this day. Was it the clavichord, the small-toned keyboard instrument on which Wilhelm Friedemann might have begun his studies? Was it the more powerful harpsichord? Or was it the organ? (That may seem an odd choice, but those who argue in its favor

point out that this music requires some sustained sounds that might work best on that instrument). The overwhelming majority of performances and recordings today are on the piano, an instrument that did not exist when Bach wrote this music, but which—in its flexibility, strength and dynamic resources—seems best-suited of these four different instruments to get at what Bach composed into this music. Someone once aptly remarked that Bach sounds good played on anything, and it may well be that it did not matter to Bach which keyboard instrument played this music, as long as it was a keyboard tuned to equal temperament. The form of this music was oldfashioned even before Bach wrote The Well-Tempered Clavier, and in fact earlier composers had already explored the possibilities of writing preludes and fugues in all the keys. The prelude, somewhat akin to the fantasia, allows a composer to work out an idea in whatever manner he chooses. The preludes of The Well-Tempered Clavier take a variety of forms: they may be two- or three-part inventions, they may be song-like (arioso) movements, some even show prefigurations of sonata form. There need not be a musical connection between a prelude and the fugue that follows; that is, the fugue will not incorporate a theme or pattern of intervals established in the prelude. However, Bach took care specifically to compose preludes that prepare an audience for the fugue that follows, and the relation between the preparatory prelude and its concluding fugue is one of the most subtle (and satisfying) aspects ofThe Well-Tempered Clavier. It is unknown why Bach, having so triumphantly demonstrated the possibilities of the well-tempered keyboard in 1722, should have come back and done it all again 20 years later. What is clear is that in the 1730s Bach found himself increasingly interested in keyboard music, an interest that was expressed in several ways. One of these was the preparation of earlier keyboard

works for publication as part of his Clavier-Übung (“Clavier Exercise”), and another was his beginning to compose again for the keyboard after a decade that had been devoted largely to liturgical and then orchestral music. Between 1738 and 1742—or at roughly the time he was beginning work on The Art of the Fugue and the Goldberg Variations—Bach assembled a second collection of 24 “Preludes and Fugues through all the tones and semitones.” As he did the first time, Bach assembled this collection in part from works he had already written (some as early as the 1720s), which involved transposing some of these from their original keys to suit his tonal scheme here. Curiously, Bach never referred to this second book as The Well-Tempered Clavier and the familiar title The Well-Tempered Clavier, Book II was a later—though entirely appropriate—christening by someone else. There are musical differences between Book I and Book II: a composer at 57 is not the same as he was at 37, and scholars have noted a number of differences in Bach’s approach to composing the second book. One of these comes in the preludes: in Book I, only one prelude is in binary form, but in Book II 11 of the 24 are in binary form. The structure of the fugues is more consistent in Book II, where 13 of the fugues are in three parts, 11 in four. Book II is also a much longer work: a performance of Book II lasts a full half hour longer than Book I. Nearly 300 years after it was written (and long after the issue of equal vs. just tuning has turned into a historical footnote),The Well-Tempered Clavier continues to exist in many ways for us today. At one level, it is part of our everyday approach to music. These preludes and fugues are a staple of student recitals and are played just for pleasure by amateur pianists, which is exactly as it should be. Bach wrote this music, in part, precisely for these purposes. At the same time The Well-Tempered Clavier exists on another plane altogether; in the midst of all his didactic purposes and theoretical demonstrations, Bach

applause at Strathmore • SEPTEMBER/OCTOBER 2012 61

Tuesday, October 30, 2012, 8 p.m.

manages (as always!) to write music that transports us into a realm of its own. Hermann Keller prefaces his study of The Well-Tempered Clavier by quoting Goethe’s reaction on first hearing this music, and that stunned response still may serve as the best possible introduction to Bach’s achievement here: “it was as though eternal harmony conversed with itself, as it might have come to pass in the bosom of God, shortly before the creation of the world. So moved was I by it in my inmost consciousness that it seemed to me I neither possessed nor needed ears, least of all eyes, nor any other senses.” At the first instant of No. 1 in C Major Bach establishes the home key with a powerful octave pedal, but this prelude flows quickly through a range of different keys. This is one of those wonderful Bach pieces that seems—effortlessly!—to spin off worlds of the most varied and shaded expression, almost by the measure. The spirited fugue in three voices drives to a crisp conclusion. Both the prelude and the fugue conclude with a resounding C-major chord. The prelude of No. 2 in C Minor seems to be in two voices of its own, as the melodic line flows precisely between the pianist’s hands; this prelude is in binary form. The fugue, in four voices, takes its character from the smooth and even fugue subject. The structure of the prelude of No. 3 in C-sharp Major is surprising: the main body is in common time, but Bach closes the prelude out with a fast section in 3/8. The main subject of the fugue will remind many listeners of the famous Invention in F Major; Bach treats this subject in inversion during the course of the three-voice fugue. The impressive prelude of No. 4 in C-sharp Minor is unusually long, and it takes on an expressive grandeur as it proceeds. The three-voice fugue, full of motion and drive, makes piquant contrast. The binary-form prelude of No. 5 in D Major, in 12/8, contrasts triplet and duplet pulses; it tumbles along an endless supply of energy, alternating cascades of runs with noble chordal

interludes. By contrast, the fugue—in four voices—is stately music, built on a two-measure subject. In No. 6 in D Minor, the prelude once again offers an unchanging flow of sixteenths. That steady pulse continues throughout. The brief (27-measure) fugue is in three voices. Its subject, built on triplets and a chromatic fall, goes through a short development full of syncopations. The prelude of No. 7 in E-flat Major, in a flowing 9/8 meter, is oddly reminiscent of Jesu, Joy of Man’s Desiring, while the fugue in four voices features a long subject and clean counterpoint as it makes its way to the noble close. In the binary-form prelude of No. 8 in D-sharp Minor the two hands have imitative lines, somewhat in the manner of Bach’s Two-Part Inventions. The somber fugue in four voices is at a measured tempo. Bach introduces a countersubject almost immediately, and the counterpoint grows complex as the fugue moves to its calm concluding chord. No. 9 in E Major opens with a binary-form prelude that alternates syncopations and wide leaps; the second half is longer and more elaborate than the first. Bach telescopes entrances in the noble four-voice fugue as it drives to a resounding cadence. The brisk 3/8 prelude of No. 10 in E Minor, in binary form, features much imitative writing for the two hands. The three-voice fugue is based on a very long subject of unusual rhythmic variety—it incorporates triplets, duplets and dotted figures. This is brilliant music, and it challenges a performer to keep all the voices clear amid this rhythmic complexity. The prelude of No. 11 in F Major moves smoothly on its broad 3/2 meter, with the many voices passing easily between the pianist’s two hands. The fugue, in the unusual meter 6/16, skips ahead briskly, gathering energy as it proceeds so that finally it drives to an ebullient—and quite good-natured—close. Both the prelude and fugue of No. 12 in F Minor are relatively brief. The stately and expressive prelude is built

62 applause at Strathmore • SEPTEMBER/OCTOBER 2012

on the interval of a falling fourth with which it begins. While not fast, the music is interesting rhythmically because of Bach’s continuous alternation of triplets, quadruplets, syncopations and turns. The noble fugue, at a somewhat faster tempo, is in three voices. The bright, energetic prelude of No. 13 in F-sharp Major dashes along textures made of both dotted rhythms and running sixteenths; above all this, the melodic line leaps easily between the pianist’s hands. The three-voice fugue is based on a subject that also moves between the right and left hand; along the way, its progress is enlivened by trills and mordants. The prelude of No. 14 in F-sharp Minor is solemn, serious music, and Bach varies its rhythmic pulse by constantly switching between triplets, steady sixteenths and syncopations. The fugue, in three voices, preserves the solemnity and the rhythmic complexity of the prelude, developing a sharp level of tension as its proceeds. The prelude of No. 15 in G Major, in binary form, drives steadily forward along its 3/4 meter, while the fugue— in 3/8—is extremely concise (and brief); Bach rounds it off with a series of runs built on 32nd-notes. No. 16 in G Minor opens with a Largo prelude whose dotted rhythms have reminded some of a French overture, others of the music of Handel. Along the way, the music ranges through a variety of keys before concluding with the faintest hint of G major. Bach follows this with an implacable fugue in four voices, built on hammered repeated notes and a countertheme introduced almost immediately. The fugue builds to a climax on grand chords set off by rests that do little to impede the pulse of this powerful music. No. 17 in A-flat Major opens with a varied prelude: the right hand has a chordal melody while below it the left has a sharp-edged dotted rhythm. Bach takes this sprightly, cascading music through a variety of keys. The fugue is in four voices, but Bach delays the fourth statement somewhat,

Tuesday, October 30, 2012, 8 p.m.

introducing a descending countersubject along the way. The voicing is quite complex as the fugue drives to an energetic close. The lengthy No. 18 in G-sharp Minor is impressive for many reasons. In the binary-form prelude, which rides along a constant pulse of sixteenths, Bach takes care to indicate sharp dynamic contrasts: the running figure in the fourth measure—which should be played piano—is answered two measures later by a forte response. The result is a surprisingly dramatic piece. In the wistful fugue that follows, the opening subject flows quietly along a 6/8 meter, but Bach soon introduces a second subject, develops that, and finally combines his two fugues. This is complex, and very expressive, music. Shortest of all the preludes and fugues in Book II, No. 19 in A Major opens with a prelude that dances gracefully along its 12/8 meter, its carefree mood sustained throughout. The fugue is quite active, and quite brief: Bach

works out this three-voice fugue in only 29 measures. The binary-form prelude of No. 20 in A Minor may nominally be in that key, but it is so full of chromatic tension that a sense of a stable tonal home is obscured. Its fugue–in three voices– is built on a granitic subject, and Bach gradually weaves a rhythmic filigree around its concise development. The prelude of No. 21 in B-flat Major flows easily along its 12/16 meter, and Bach makes nice contrast between triple and dotted rhythms here. This prelude, in binary form, is so long that it makes its fugue seem almost small-scaled by comparison. That agreeable fugue, in three voices, develops some textural complexity as it proceeds. The piano pedagogue Ernest Hutcheson has called No. 22 in Bflat Minor “One of the greatest preludes and fugues.” Surprisingly, the prelude is itself fugal in construction. The four-voice fugue that follows has been

BETHESDA ROW

admired for several centuries. It gets off to a severe start, as the left hand lays out the stark subject—the staccato marks at the beginning of this fugue are Bach’s own. His development is full of thematic and harmonic tension, and along the way he treats the subject in inversion. The prelude of No. 23 in B Major feels like a perpetual-motion movement—the pulse of steady sixteenths is present throughout. Its four-voice fugue is full of hard edges as initially stated, but Bach works a lovely countertheme into the development. The prelude of No. 24 in B Minor offers some graceful counterpoint as the two hands have quite distinctive and energetic parts—this prelude has been compared to Bach’s Two-Part Inventions. In the final fugue, Bach does not storm the heavens but is content to bring Book II to its close with a spirited three-voice fugue that dances happily along its 3/8 meter. Program notes by Eric Bromberger

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applause at Strathmore • SEPTEMBER/OCTOBER 2012 63

Strathmore Hall Foundation, Inc. Board of Directors EXECUTIVE COMMITTEE Nancy E. Hardwick Chair William G. “Bill” Robertson * Vice Chair Jerome W. Breslow, Esq. Secretary and Parliamentarian Dale S. Rosenthal * Treasurer Solomon Graham At-Large Dickie S. Carter At-Large

BOARD OF DIRECTORS Joseph F. Beach, ex officio Robert G. Brewer, Jr., Esq. Hope B. Eastman, Esq. Starr G. Ezra Hon. Nancy Floreen, ex officio

Thomas H. Graham Paul L. Hatchett Dianne Kay Delia K. “Dede” Lang Carolyn P. Leonard Hon. Laurence Levitan James F. Mannarino J. Alberto Martinez, MD Caroline Huang McLaughlin Thomas A. Natelli Kenneth O’Brien DeRionne P. Pollard Donna Rattley Washington Gabriel Romero, AIA Wendy J. Susswein, ex officio Carol A. Trawick Regina Brady “Ginny” Vasan James S. Whang *Committee Chairs

Donors Strathmore thanks the individuals and organizations who have made contributions between July 1, 2011 and June 30, 2012. 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 Post-Newsweek Media, Inc. (includes in-kind) Carol Trawick $100,000+ Booz Allen Hamilton $50,000+ Delia and Marvin Lang Lockheed Martin Corporation $25,000+ Alban Inspections, Inc. Asbury Methodist Village GEICO Yanqiu He and Kenneth O’Brien Jordan Kitt’s Music Carolyn and Jeffrey Leonard The Morris and Gwendolyn Cafritz Foundation Mid-Atlantic Arts Foundation National Endowment for the Arts PEPCO Emily Wei Rales and Mitchell Rales Symphony Park LLC $15,000+ Capital One, N.A. Jonita and Richard S. Carter Kiplinger Foundation MARPAT Foundation Natelli Communities LP Restaurant Associates

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

64 Applause at Strathmore • september/october 2012

After party with Big Ray and the Kool Kats following Strathmore’s 2012 Gala Wishin’ & Hopin’ with Dionne Warwick.

Bridget and Joseph Judge Dianne Kay Lerch, Early & Brewer, Chartered Sharon and David Lockwood Constance Lohse and Robert Brewer J. Alberto Martinez Katherine and William Parsons Susan and Brian Penfield Della and William Robertson Carol Salzman and Michael Mann Theresa and George Schu John Sherman, in memory of Deane Sherman Ann and Jim Simpson Jane and Richard Stoker UBS Financial Services, Inc. Meredith Weiser and Michael Rosenbaum Ellen and Bernard Young Paul and Peggy Young, NOVA Research Co. Washington Post. Co. $2,500+ Anonymous Louise Appell Artsite, Inc. BB&T Bank Barbara Benson Vicki Britt and Robert Selzer Frances and Leonard Burka Peter Yale Chen Jane Cohen Alison Cole and Jan Peterson Margaret and James Conley Carin and Bruce Cooper CORT Carolyn Degroot Hope Eastman Vivan Escobar-Stack and Robert Stack Michelle Feagin Carolyn Goldman and Sydney Polakoff Lana Halpern Laura Henderson Cheryl and Richard Hoffman A. Eileen Horan Igersheim Family Foundation Alexine and Aaron (deceased) Jackson Johnson’s Landscaping Service, Inc. (in-kind) Peter S. Kimmel, in memory of Martin S. Kimmel Teri Hanna Knowles and John M. Knowles Judie and Harry Linowes Jill and Jim Lipton Loiederman Soltesz Associates, Inc. M&T Bank Janet L. Mahaney Delores Maloney Marsh USA Inc. Caroline and John Patrick McLaughlin Patricia and Roscoe Moore Susan Nordeen

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

Community and board members packed the campus during Strathmore’s 2012 Gala Wishin’ and Hopin’ with Dionne Warwick. Attendees included (left) Rebecca Sheir of WAMU’s Metro Connection with guest; (center) Strathmore Board Member Suzanne Brennan Firstenberg and Doug Firstenberg, founding principal of Stonebridge; and (right) Catherine Curran O’Malley, Maryland Gov. Martin O’Malley, Strathmore CEO Eliot Pfanstiehl, Karmen Bailey Walker and Maryland Lt. Gov. Anthony Brown.

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

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

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

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

DEVELOPMENT Bianca Beckham Director of Institutional Giving Bill Carey Director of Donor and Community Relations Lauren Campbell Development & Education Manager Julie Hamre Development Associate

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

EDUCATION Betty Scott Education Coordinator

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

Janet L. Mahaney Carol and Alan Mowbray Barbara and David Ronis Henry Schalizki Phyllis and Ken Schwartz Annie Simonian Totah and Sami Totah Maryellen Trautman and Darrell Lemke Carol Trawick Peter Vance Treibley Myra Turoff and Kenneth Weiner Julie Zignego

Phoebe Anderson Dana Operations Assistant Allen C. Clark Manager of Information Services Kristin Lobiondo Rentals Manager Christopher S. Inman Manager of Security Chadwick Sands Ticket Office Manager Will Johnson Assistant Ticket Office Manager Christopher A. Dunn IT Technician Johnathon Fuentes Operations Specialist Brandon Gowan Operations Specialist Jon Foster Production Stage Manager William Kassman Lead Stage Technician Lyle Jaeger Lead Lighting Technician Caldwell Gray Lead Audio Technician

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

MARKETING AND COMMUNICATIONS Jennifer A. Buzzell VP, Marketing and Communications Jerry Hasard Director of Marketing Jenn German Marketing Manager Julia Allal Group Sales and Outreach Manager Michael Fila Manager of Media Relations

STRATHMORE TEA ROOM Mary Mendoza Godbout Tea Room Manager

Applause at Strathmore • september/october 2012 65

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

Jimmy Berg A.G.W. Biddle, III Robert L. Bogomolny Barbara M. Bozzuto * Constance R. Caplan Robert B. Coutts Susan Dorsey, Ph.D.^ Governing Members Chair George A. Drastal* Alan S. Edelman* Susan G. Esserman* Michael G. Hansen Beth J. Kaplan Murray M. Kappelman, M.D. Stephen M. Lans Sandra Levi Gerstung Ava Lias-Booker, Esq. Susan M. Liss, Esq.* Howard Majev, Esq. Liddy Manson Hilary B. Miller David Oros Marge Penhallegon^, President, Baltimore Symphony Associates Michael P. Pinto Margery Pozefsky Scott Rifkin, M.D. Ann L. Rosenberg

Bruce E. Rosenblum* Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr. Solomon H. Snyder, M.D. * Andrew A. Stern William R. Wagner

LIFE DIRECTORS

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

DIRECTORS EMERITI Barry D. Berman, Esq. Richard Hug M. Sigmund Shapiro

CHAIRMAN LAUREATE Michael G. Bronfein Calman J. Zamoiski, Jr.

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST

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

SUPPORTERS OF THE BALTIMORE SYMPHONY ORCHESTRA 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 May 1, 2011-June 28, 2012.

LEADERSHIP CIRCLE

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

CHAIRMAN’S CIRCLE PARTNERS

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

($25,000 and above) M&T Bank PNC Lori Laitman and Bruce Rosenblum

CORPORATE PARTNERS

MAESTRA’S CIRCLE

Governing Members Gold

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

($2,500-$9,999) Georgetown Paper Stock of Rockville, Inc S. Kann Sons Company Foundation ($5,000-$9,999) The Charles Delmar Foundation Mr. and Mrs. Joel Helke Mr David Leckrone and Marlene Berlin Mr. and Mrs. William Rogers Mike and Janet Rowan Ms. Deborah Wise/Edith and Herbert Lehman Foundation, Inc.

GOVERNING MEMBERS SILVER

66 Applause at Strathmore • september/october 2012

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

SYMPHONY SOCIETY

($1,000-$2,499) Anonymous (4) Mr. and Mrs. Anthony Abell Mrs. Rachel Abraham Mr. William J. Baer and Ms. Nancy H. Hendry Ms. Elaine Belman David and Sherry Berz Mr. Lawrence Blank Hon. & Mrs. Anthony Borwick Dr. Nancy Bridges Gordon F. Brown Frank and Karen Campbell Catoctin Breeze Vineyard Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Herbert Cohen Jane E. Cohen Mr. and Mrs. Arthur C. Cox Joan de Pontet Delaplaine Foundation Jackson and Jean H. Diehl Marcia Diehl and Julie Kurland Dimick Foundation Ms. Marietta Ethier Sharon and Jerry Farber Mr. and Mrs. Charles Fax Kenneth and Diane Feinberg Dr. Edward Finn Mr. and Mrs. Anthony Fitzpatrick Mr. and Mrs. Arthur P. Floor Mr. and Mrs. Roberto B. Friedman Carol & William Fuentevilla Mary and Bill Gibb Peter Gil Dr. and Mrs. Sanford Glazer Alan and Joanne Goldberg Drs. Joseph Gootenberg & Susan Leibenhaut Dr. and Mrs. Sheldon Gottlieb Mark & Lynne Groban Mr. & Mrs. Norman M. Gurevich Ms. Lana Halpern Ms. Gloria Shaw Hamilton Mr. & Mrs. John Hanson Sara and James A. Harris, Jr. Mr. Fred Hart and Ms. Elizabeth Knight Mr. and Mrs. Eugene Herman Ellen & Herb Herscowitz David A. & Barbara L. Heywood Mr. Aaron Hoag Betty W. Jensen Dr. Henry Kahwaty Ms. Carolyn Kaplan Mr. and Mrs. Charles Kelber Virginia and Dale Kiesewetter Dr. and Mrs. Peter C. Luchsinger Michael & Judy Mael Ms. Janet L. Mahaney Mr. and Mrs. Anne Menotti Bebe McMeekin Dr. & Mrs. Stanley R. Milstein Ms. Zareen T. Mirza Edwin H. Moot

Delmon Curtis Morrison Dr. & Mrs. Donald Mullikin Douglas and Barbara Norland Ms. Patricia Normile Jerry and Marie Perlet Mr. and Mrs. Peter Philipps Herb and Rita Posner Ms. Margaret K. Quigg Dr. and Mrs. Gerald Rogell Dr. and Mrs. Arthur Sagoskin Peggy and David Salazar Estelle D. Schwalb Anne Weiss & Joseph E. Schwartz Mr. and Mrs. Daniel Shykind Bernard and Rita Segerman Ms. Phyllis Seidelson Mr. Donald M. Simonds Marshall and Deborah Sluyter Don Spero & Nancy Chasen Mr. and Mrs. Richard D. Spero Jennifer Kosh Stern and William H. Turner Ms. Mary K. Sturtevant Margot & Phil Sunshine Mr. and Mrs. Richard Swerdlow Venable Foundation, Inc. David Wellman & Marjorie Coombs Wellman Joan M. Wilkins Ms. Ann Willis Sylvia and Peter Winik Mr. and Mrs. David K. Wise Robert and Jean Wirth Marc and Amy Wish Eileen and Lee Woods H. Alan Young & Sharon Bob Young, Ph.D. Robert & Antonette Zeiss

BRITTEN LEVEL MEMBERS

($500-$999) Anonymous (2) Dr. and Mrs. Marshall Ackerman Ms. Barbara K. Atrostic Thomas and Mary Aylward Donald Baker Phebe W. Bauer Leonard and Gabriela Bebchick Mr. Donald Berlin Ms. Cynthia L. Bowman-Gholston Ms. Judith A. Braham Mr. Richard H. Broun & Ms. Karen E. Daly Mr. & Mrs. Leonard Burka Ms. Lynn Butler Bradley Christmas and Tara Flynn Barbara & John Clary Mr. Harvey A. Cohen and Mr. Michael R. Tardif Mr. & Mrs. Jim Cooper Mr. Harvey Gold Ms. Alisa Goldstein Frank & Susan Grefsheim Ms. Haesoon Hahn Keith and Linda Hartman Dr. Liana Harvath Mr. Jeff D. Harvell & Mr. Ken Montgomery Mr. Lloyd Haugh Mrs. Patricia Hoefler Ms. Daryl Kaufman Dr. Birgit Kovacs Ms. Delia Lang Ms. Pat Larrabee and Ms. Lauren Markley Mr. Darrell H. Lemke & Ms. Maryellen Trautman Mr. Richard Ley Harry and Carolyn Lincoln Drs. David and Sharon Lockwood W. David Mann David and Kay McGoff Merle and Thelma Meyer Ms. Ellen Miles Mr. William Morgan Eugene and Dorothy Mulligan Mr. and Ms. Donald Regnell Mr. Richard D. Reichard Mr. James Risser Ms. Trini Rodriquez and Mr. Eric Toumayan Mr. & Mrs. Barry Rogstad Harold Rosen Ms. Ellen Rye Dr. & Mrs. Jerome Sandler Mr. and Mrs. William Schaefer Mr. Allen Shaw Ms. Terry Shuch and Mr. Neal Meiselman Ms. Sonja Soleng Mr. and Mrs. Charles Steinecke III Mr. Peter Thomson Ms. Ann Tognetti John A. and Julia W. Tossell

Governing Member Howard Martin shares a laugh with guest artist Nadja Salerno-Sonnenberg.

Mr. & Mrs. Richard Tullos Dr. and Ms. George Urban Linda and Irving Weinberg Mr. and Mrs. Richard Westin Robert and Jean Wirth Ms. MaryAnn Zamula

BRAHMS LEVEL MEMBERS

($250-$499) Anonymous (6) Ms. Kathryn Abell Rhoda and Herman Alderman Sharon Allender and John Trezise Mr. and Mrs. Charles C. Alston Ms. Marie Anderson Mr. Bill Apter Pearl and Maurice Axelrad Ms. Katie Bagley and Mr. John K. Glenn III Drs. Richard and Patricia Baker Mr. Robert Barash Mr. and Mrs. John W. Barrett Phebe W. Bauer Mr. & Mrs. John W. Beckwith Melvin Bell Alan H. Bergstein and Carol A. Joffe Mr. Neal Bien Mr. and Mrs. Jeffrey Binckes Nancy and Don Bliss Mr. & Mrs. John Blodgett Ms. Carol Bray Mr. Ashby Bryson Mr. & Mrs. Ronald Brotman Mr. & Mrs. Leonard Burka Dr. William Dickinson Burrows Mr. and Mrs. Serefino Cambareri Ms. Miranda Chiu Mr. Steven Coe Mr. James Cole Ms. June Colilla Mr. Andrew Colquitt Ms. Marion Connell Mr. and Mrs. Herbert Cooper Ms. Louise Crane Dr. and Mrs. Brian Crowley Ms. Margaret Cusack Dr. & Mrs. James R. David Mr. John C. Driscoll Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Mr. and Mrs. Robert Fauver Mr. Michael Finkelstein Dr. & Mrs. David Firestone Ms. Dottie Fitzgerald Estelle Diane Franklin Mr. & Mrs. Marvin Freedenberg Mr. & Mrs. Michael Scott Friedman Lucian & Lynn M. Furrow Dr. Joel and Rhoda Ganz Roberta Geier Irwin Gerduk Mr. and Mrs. Stephen Giddings Ms. Maran Gluckstein Frank & Susan Grefsheim Rev. Therisia Hall Brian and Mary Ann Harris Mr. Lloyd Haugh Mrs. Jean N. Hayes Ms. Marilyn Henderson and

Virginia Sloan, Andy Marks and Marcia Greenberg at the June BSO’s Women’s Leadership Forum Reception

Mr. Paul Henderson Joel and Linda Hertz Mr. & Mrs. William L. Hickman Mr. Myron L. Hoffmann Mr. Frank Hopkins Mr. John Howes Mr. & Mrs. Paul Hyman Ms. Susan Irwin Dr. Richard H. Israel Dr. and Mrs. Herbert Joseph Mr. Peter Kaplan Dr. & Mrs. Robert W. Karp Lawrence & Jean Katz Mr. & Mrs. Christopher Keller Mr. & Mrs. James Kempf Mr. & Mrs. Anthony Kern Dr. Richard D. Guerin and Dr. Linda Kohn Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Dr. Arlin J. Krueger Mr. and Mrs. Eugene Lambert Mr. and Mrs. Francis Leahy Ms. Marie Lerch and Mr. Jeff Kolb Mr. and Mrs. Craig Levy Alan and Judith Lewis Lois and Walter Liggett Ms. Julie E. Limric Harry and Carolyn Lincoln Dr. Richard E. and Susan Papp Lippman Mr. Gene Lodge Lucinda Low and Daniel Magraw Mr. and Mrs. William MacBain Thomas and Elizabeth Maestri Mr. James Magno Mr. David Marcos Mr. and Mrs. Charles H. Matterson Mr. Mark Mattucci Ms. Susan McGee Ms. Anna McGowan Dr. Richard Melanson and Ms. Mary Matthews Mr. and Mrs. Michael Merchlinsky Mr. Steve Metalitz Mrs. Rita Meyers Mr. & Mrs. Walter Miller Ms. Marlene C. Mitchell Ms. Caren Novick Mr. & Mrs. Robert Obenreder Amanda & Robert Ogren Mrs. Judy Oliver Mrs. Patricia Olson Mr. Jerome Ostrov Mrs. Jane Papish Mr. Kevin Parker Ms. Frances L. Pflieger Dr. Jeffrey Phillips Thomas Plotz and Catherine Klion Marie Pogozelski and Richard Belle Ms. Carol Poland Andrew and Melissa Polott Mr. and Mrs. Edward Portner Ms. Laura Ramirez-Ramos Dr. and Mrs. Bernard Reich Mr. Thomas Reichmann Dr. Joan Rittenhouse & Mr. Jack Rittenhouse Ms. Leeann Rock & Mr. Brian Anderson

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.

BSO’s Women’s Leadership Forum Co-Chair and BSO Board Member Susan Esserman with Music Director Marin Alsop and violinist Nadja Salerno-Sonnenberg at the June WLF reception

Mr. & Mrs. Robert Sandler David and Louise Schmeltzer Mr. J. Kenneth Schwartz Mr. and Mrs. David Scott Mr. Paul Seidman Anatole Senkevitch, Jr. Ms. Debra Shapiro Donna and Steven Shriver Mr. & Mrs. Larry Shulman Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith Richard Sniffin Gloria and David Solomon Ms. Rochelle Stanfield and Mr. Edward Grossman Timothy Stranges and Rosanna Coffey Mr. and Mrs. Duane Straub Mr. Alan Thomas

Mr. John Townsley Ms. Jane Trinite Ms. Marie Van Wyk Mr. Mallory Walker Dr. and Mrs. Jack Weil Mr. and Mrs. Robert Wein Ms. Roslyn Weinstein Mr. David M. Wilson Ms. Carol Wolfe Dr. Charlotte Word Dr. & Mrs. Richard N. Wright Mr. Daniel Zaharevitz Ms. MaryAnn Zamula

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

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

Applause at Strathmore • september/october 2012 67

The Italian Cultural Society, Inc. INDIVIDUALS Maestro Circle Robert & Margaret Hazen Mrs. Margaret Makris Dr. Kenneth P. Moritsugu, Emily Moritsugu & Ms. Lisa R. Kory includes match by Johnson & Johnson Paul A. & Peggy L. Young NOVA Research Company

National Philharmonic Board of directors Board of Directors

Board Officers

Robert Beizer Ruth Berman Rabbi Leonard Cahan Paul Dudek Ruth Faison Dr. Bill Gadzuk Ken Hurwitz William Lascelle Greg Lawson Joan Levenson Kent Mikkelsen Dr. Wayne Meyer Dr. Roscoe M. Moore, Jr. Dr. Kenneth Moritsugu *Robin C. Perito JaLynn Prince Dr. Charles Toner *Mark C. Williams

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

Board of Advisors Joel Alper William D. English Joseph A. Hunt Albert Lampert Chuck Lyons Roger Titus Jerry D. Weast As of July 2012 *Executive Committee

As of July 1, 2012

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 Ameriprise Financial Arts and Humanities Council of Montgomery County Morris and Gwendolyn Cafritz Foundation Ingleside at King Farm Maryland State Arts Council Montgomery County, MD Montgomery County Public Schools NOVA Research Company Schiff Hardin, LLP The State of Maryland Concertmaster Circle Jim and Carol Trawick Foundation, Inc. Clark-Winchcole Foundation The Gazette Principal Circle Harris Family Foundation Johnson & Johnson Philharmonic Circle National Philharmonic/ MCYO Educational Partnership

The Washington Post Company Ann and Gordon Getty Foundation Benefactor Circle Corina Higginson Trust Dimick Foundation Henry B. & Jessie W. Keiser Foundation, Inc. Rockville Christian Church, for donation of space TD Charitable Foundation Sustainer Circle American Federation of Musicians, DC Local 161-170 Bettina Baruch Foundation Cardinal Bank Embassy of Poland Executive Ball for the Arts KPMG Foundation The Rebecca Pollard Guggenheim Logan Foundation Lucas-Spindletop Foundation Patron American String Teachers’ Association DC/MD Chapter Boeing Gailes Violin Shop, Inc. GE Foundation IBM Lashof Violins The Potter Violin Company The Stempler Family Foundation Violin House of Weaver Washington Music Center Contributor Bank of America

68 Applause at Strathmore • september/october 2012

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

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

National Philharmonic Chorale members Larry Maloney and Leif Neve

National Philharmonic past board members Ann Eskelsen and Nancy Coleman

Ms. Anne Kanter Dr. & Mrs. Charles Kelber Ms. Martha Jacoby Krieger * Ms. Joanna Lam Mr. & Mrs. John R. Larue Mr. & Mrs. Paul Legendre Mr. & Mrs. Herbert J. Lerner Mr. & Mrs. Eliot Lieberman * Mr. Frederick Lorimer Mr. Kevin MacKenzie Mr. Jerald Maddox Mr. Tom Maloy Mr. David E. Malloy & Mr. John P. Crockett * Mr. David McGoff * Jim & Marge McMann Ms. Cecilia Muñoz and Mr. Amit Pandya Mr. Stamatios Mylonakis Ms. Katherine Nelson-Tracey * David Nickels & Gerri Hall Mrs. Jeanne Noel Ms. Anita O’Leary * Mr. and Mrs. Kenneth A. Oldham, Jr. Mr. & Mrs. Alan Peterkofsky Ms. Cindy Pikul Dr. & Mrs. Manuel Porres Mrs. Dorothy Prats Mr. & Mrs. Clark Rheinstein * Ms. Lisa Rovin * Ms. Joyce Sauvager Ms. Sandi Saville Mr. Charles Serpan Mr. & Ms. Kevin Shannon Ms. Louise Wager Dr. & Mrs. Richard Wright Mr. & Mrs. Philip Yaffee

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

Member Anonymous Mr. & Mrs. Donald Abbott Mrs. Fran Abrams Mr. & Mrs. Nabil Azzam Ms. Marietta Balaan * Mr. Mikhail Balachov Mr. Robert Barash Mr. & Mrs. Richard Bender Mrs. Barbara Botsford Mr. & Mrs. Jerome Breslow Mr. & Mrs. Frederick Brown Mrs. Dolores J. Bryan Mr. & Mrs. Stan Bryla Mr. John Buckley Dr. F. Lawrence Clare Mr. and Mrs. Johnny Clark Dr. & Mrs. Gordon M. Cragg Ms. Louise Crane Ms. Margaret Cusack Dr. & Mrs. James B. D’Albora Mr. and Mrs. David Dancer * Mr. Carl DeVore

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

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

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

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

Heritage Society 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

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

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

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

Applause at Strathmore • september/october 2012 69

Board of directors Reginald Van Lee, Chairman* (c) James J. Sandman, Vice Chair* (c) Christina Co Mather, Secretary* Steven Kaplan, Esq. Treasurer* (c) Burton J. Fishman, Esq., General Counsel* + Neale Perl, President and CEO* Douglas H. Wheeler, President Emeritus Patrick Hayes, Founder † Gina F. Adams* Katherine M. Anderson Alison Arnold-Simmons Arturo E. Brillembourg* Hans Bruland (c) Beverly Burke Rima Calderon Karen I. Campbell* Yolanda Caraway Josephine S. Cooper Debbie Dingell Pamela Farr Robert Feinberg* Norma Lee Funger Bruce Gates* Olivier Goudet Felecia Love Green, Esq. Jay M. Hammer* Brian Hardie Grace Hobelman (c) Jake Jones David Kamenetzky* Jerome B. Libin, Esq. (c) Charlotte Cameron Marshall* Rachel Tinsley Pearson* Joseph M. Rigby Irene Roth Yvonne Sabine

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

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

PAST CHAIRS

Todd Duncan †, Past Chairman Laureate William N. Cafritz Aldus H. Chapin † Kenneth M. Crosby † Jean Head Sisco † Kent T. Cushenberry † Harry M. Linowes

Edward A. Fox Hugh H. Smith Alexine Clement Jackson Lydia Micheaux Marshall Stephen W. Porter, Esq. Elliott S. Hall Lena Ingegerd Scott (c) James F. Lafond Bruce E. Rosenblum Daniel L. Korengold Susan B. Hepner Jay M. Hammer

WOMEN’S COMMITTEE OFFICERS

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

LAWYERS’ COMMITTEE CO-CHAIRS

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

* Executive Committee + Ex Officio † Deceased (c) Committee Chair As of Aug.1, 2012

WPAS gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of Aug. 1, 2012)

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

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

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

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

$35,000-$49,999

$15,000-$24,999

DC Commission on the Arts and Humanities Carl D.† and Grace P. Hobelman Ms. Marcia MacArthur

Anonymous Mr. and Mrs. Eugene Adams Ambassador and Mrs. Tom Anderson Ms. Adrienne Arsht Diane and Norman Bernstein Mr. and Mrs. Arturo E. Brillembourg

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

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

$7,500-$9,999

WPAS Annual Fund

$100,000+

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

70 Applause at Strathmore • september/october 2012

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

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

Ms. Rachel Tinsley Pearson Mr. and Mrs. John V. Thomas Venable Foundation The Washington Post Company

$2,500-$4,999 Anonymous (2) Mr. and Mrs. Ricardo Andrade Mr. and Mrs. Barry Barbash Mr. Joseph Brandt Mr. and Mrs. Boris Brevnov Ms. Beverly J. Burke Mr. and Mrs. William N. Cafritz The Charles Delmar Foundation Dr. and Mrs. Abe Cherrick Ms. Nadine Cohodas Mr. and Mrs. John Kent Cooke Mr. and Mrs. J. Bradley Davis Mr. and Mrs. James Davis Dr. Morgan Delaney and Mr. Osborne P. Mackie Mr. and Mrs. Guy O. Dove III Mr. and Mrs. Melvin Eagle (L) Linda R. Fannin, Esq. (L) Mr. and Mrs. Burton J. Fishman Mr. Gregory I. Flowers Mr. and Mrs. David Frederick Mr. and Mrs. Wayne Gibbens Dr. and Mrs. Michael S. Gold James R. Golden Mr. and Mrs. Rolf Graage Dr. Maria J. Hankerson, Systems Assessment & Research Ms. Dena Henry and Mr. John Ahrem Mr. and Mrs. Allen Izadpanah Alexine and Aaron Jackson (W) Mr. and Mrs. Joseph Jacobs Mr. and Mrs. Merritt Jones Mr. and Mrs. David T. Kenney Arleen and Edward Kessler (W) Mr. Daniel L. Korengold and Ms. Martha Dippell Mrs. Stephen K. Kwass Mr. and Mrs. Harry M. Linowes James M. Loots, Esq. and Barbara Dougherty, Esq. (L) Mr. and Mrs. Christoph E. Mahle (W) The Honorable and Mrs. Rafat Mahmood Mr. and Mrs. Ralph Manaker Marshall B. Coyne Foundation Mr. and Mrs. Michael Marshall Mrs. Joan McAvoy Mr. Robert Meyerhoff and Ms. Rheda Becker Mr. Larry L. Mitchell Mr. and Mrs. Robert Monk Dr. William Mullins and Dr. Patricia Petrick Ms. Catherine Nelson Mrs. Muriel Miller Pear Jerry and Carol Perone Ms. Nicky Perry and Mr. Andrew Stifler Mr. Trevor Potter and Mr. Dana Westring Adam Clayton Powell III Mr. and Mrs. Robert Ramsay Dr. and Mrs. Douglas Rathbun Mr. and Mrs. Peter Rich Mr. and Mrs. David Roux Ms. Christine C. Ryan and Mr. Tom Graham Mr. Claude Schoch Mr. and Mrs. Samuel A. Schreiber Lena Ingegerd Scott and Lennart Lundh Mr. and Mrs. Albert H. Small Mr. Eric Steiner Ms. Mary Sturtevant

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

$1,500-$2,499 Anonymous (5) Ms. Lisa Abeel Mrs. Rachel Abraham Dr. and Mrs. James Baugh Robert and Arlene Bein Mr. and Mrs. Robert S. Bennett Jane C. Bergner, Esq. (L) Mr. and Mrs. Josiah Bunting Mr. Peter Buscemi and Ms. Judith Miller Dr. C. Wayne Callaway and Ms. Jackie Chalkley Ms. Karen I. Campbell Dr. and Mrs. Purnell W. Choppin Drs. Judith and Thomas Chused Dr. Mark Cinnamon and Ms. Doreen Kelly Mr. and Mrs. Douglas Cook Mr. Paul D. Cronin Mr. and Mrs. Sidney Dickstein Ms. Lisa Egbuonu-Davis Mrs. Sophie P. Fleming Friday Morning Music Club, Inc. Ms. Wendy Frieman and Dr. David E. Johnson Mrs. Paula Seigle Goldman (W) Mrs. Barbara Goldmuntz Mrs. Barbara W. Gordon (W) James McConnell Harkless, Esq. Ms. Gail Harmon Dr. and Mrs. Joseph E. Harris (W) Ms. Leslie Hazel Ms. Gertraud Hechl Mr. and Mrs. Carl F. Hicks, Jr. Mrs. Enid T. Johnson (W) Dr. and Mrs. Elliott Kagan Mr. E. Scott Kasprowicz Mr. and Mrs. Sherman E. Katz (L) Stephen and Mary Kitchen (L) Ms. Betsy Scott Kleeblatt Mr. and Mrs. Steven Lamb Mr. Francois Lang Mr. and Mrs. Richard F. Larkin Dr. and Mrs. Lee V. Leak (W) Mr. James Lynch Howard T. and Linda R. Martin Mr. Scott Martin Mrs. Gail Matheson Ms. Katherine G. McLeod Ms. Kristine Morris Lt. Gen. and Mrs. Michael A. Nelson Ms. Michelle Newberry The Nora Roberts Foundation Mr. and Mrs. Jeffrey Norris Dr. Michael Olding Mr. and Mrs. Jack H. Olender Mr. and Mrs. Gerald W. Padwe Dr. and Mrs. Ron Paul Ms. Jean Perin Mr. Sydney M. Polakoff The Honorable and Mrs. Stephen Porter Mr. and Mrs. Martin Ritter Mrs. Norman W. Scharpf Ms. Mary B. Schwab Dr. Deborah J. Sherrill Mrs. Nadia Stanfield Cita and Irwin Stelzer Mr. Richard Strother

Ms. Loki van Roijen Ms. Viviane Warren A. Duncan Whitaker, Esq. (L) CDR and Mrs. Otto A. Zipf

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

Mr. and Mrs. Arman Simone Mr. and Mrs. Albert H. Small, Jr. Mr. and Mrs. Thomas Strong Chris Syllaba The Manny & Ruthy Cohen Foundation, Inc. Mr. and Mrs. Tom Tinsley Mr. and Mrs. Aaron Tomares Mr. and Mrs. Sami Totah G. Duane Vieth, Esq. (L) Mr. John Warren McGarry (L) Drs. Anthony and Gladys Watkins (W) Drs. Irene and John White Mr. and Mrs. Robert H. Winter Christopher Wolf, Esq. (L) Mr. and Mrs. Dennis R. Wraase

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

Mr. and Mrs. David Maginnes (W) Shaila Manyam Rear Adm. and Mrs. Daniel P. March Ms. Hope McGowan Mr. and Mrs. Rufus W. McKinney (W) Ms. Cheryl C. McQueen (W) Dr. and Mrs. Larry Medsker Mrs. G. William Miller Mr. and Mrs. Bruce D. Moreton Ms. Dee Dodson Morris Mr. Charles Naftalin Mr. and Mrs. David Neal Mr. John Osborne Mr. and Mrs. Thomas Papoian Ms. Christine Pieper Mrs. And Mrs. Herbert Posner Ms. Susan Rao and Mr. Firoze Rao (W) Ms. Nicola Renison Mrs. Lynn Rhomberg Mr. and Mrs. Dave Riggs Ms. Elaine Rose Mr. Burton Rothleder Dr. and Mrs. Jerome Sandler Mr. and Mrs. Michael Schultz In memory of Mr. H. Marc Moyens Mrs. Zelda Segal (W) Dr. Deborah Sewell (W) Mr. Peter Shields Daniel and Sybil Silver Mr. and Mrs. Robert Silverman Mr. and Mrs. John Slaybaugh Virginia Sloss (W) Mr. and Mrs. L. Bradley Stanford Dana B. Stebbins Dr. and Mrs. Moises N. Steren Mr. and Mrs. David Stern

Sternbach Family Fund Mr. Daniel Tarullo Ms. Julie Vass (W) Mr. Craig Williams and Ms. Kimberly Schenck Mr. and Mrs. John Wilner Mr. and Mrs. James D. Wilson (W) Ms. Christina Witsberger Ms. Bette Davis Wooden (W) Dr. Saul Yanovich Mr. James Yap Paul Yarowsky and Kathryn Grumbach

IN-KIND DONORS Booz Allen Hamilton Ms. Ossie Borosh Mr. and Mrs. Charles Both Embassy of Spain Jamal Felder 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 Lord & Taylor Mars, Incorporated Mr. Neale Perl Mr. Claude Schoch St. Gregory Luxury Hotels & Suites Mr. Anthony Williams Kathe and Edwin D. Williamson Elizabeth and Bill Wolf Key: (W) Women’s Committee (L) Lawyers’ Committee # Deceased

Washington Performing Arts Society Staff Neale Perl President & CEO Douglas H. Wheeler President Emeritus Development Murray Horwitz Director of Development Daren Thomas Director of Leadership and Institutional Gifts Meiyu Tsung Director of Major Gifts Roger Whyte, II Director of Special Events Michael Syphax Foundation Relations Manager Rebecca Talisman Donor Records Coordinator Helen Aberger Membership Gifts Associate Education Michelle Hoffman Director of Education Katheryn R. Brewington Assistant Director of Education/ Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate Njambi Embassy Adoption Consultant Michelle Ebert Friere CIS Consultant Finance and Administration Allen Lassinger Director of Finance Lorna Mulvaney Accounting Associate Robert Ferguson Database Administrator

Marketing and Communications Jonathan Kerr Director of Marketing and Communications Hannah Grove-DeJarnett Assistant Director of Marketing and Communications Scott Thureen Audience Development Manager Keith A. Kuzmovich Website and Media Manager Corinne Baker Audience Engagement Manager Celia Anderson Graphic Designer Brenda Kean Tabor Publicist Programming Samantha Pollack Director of Programming Torrey Butler Production Manager Wynsor Taylor Programming and Production Coordinator Stanley J. Thurston Artistic Director, WPAS Gospel Choirs Ticket Services Ofﬁce Folashade Oyegbola Ticket Services Manager Christian Simmelink Ticket Services Coordinator Edward Kerrick Ticket Services Assistant

Applause at Strathmore • september/october 2012 71

Audra McDonald with WPAS board member Beverly Burke and guests

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

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

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

ASK THE EXPERTS | Senior Services

Miriam Rose † Mr. James J. Sandman and Ms. Elizabeth D. Mullin Mrs. Ann Schein Mr. and Mrs. Hubert (Hank) Schlosberg Ms. Lena Ingegerd Scott Mrs. Zelda Segal Mr. Sidney Seidenman Ms. Jean Head Sisco † Mr. and Mrs. Sanford L. Slavin Mr. and Mrs. Albert H. Small Mr. Robert Smith and Mrs. Natalie Moffett Smith Mrs. Isaac Stern Mr. Leonard Topper Mr. Hector Torres Mr. and Mrs. Stefan Tucker Mr. Ulric † and Mrs. Frederica Weil Mr. and Mrs. Douglas Wheeler Mr. and Mrs. Robert H. Winter 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.

SPECIAL ADVERTISING SECTION

John Swanson, President WILLOW VALLEY RETIREMENT COMMUNITIES 450 Willow Valley Lakes Drive, Willow Street, PA 17584 800-770-5445 | info@willowvalley.org www.WillowValleyRetirement.com

Many factors converge to create a unique scenario at Willow Valley – value for price paid, the geographic location in Lancaster, PA, national award-winning lifestyle and dining, “A” category financial ratings, and a long-term care assurance for life. We have a wide variety of spacious apartments and villas, which can be customized, and world-class amenities at unparalleled pricing. Couple that with Lancaster’s low cost of living, excellent healthcare and the fact retirement income isn’t taxed by Pennsylvania, and the value is obvious. Lancaster is a vibrant small city that offers wonderful restaurants, art galleries and shops, plus major metro cities nearby. This area is well known for fresh foods and our chefs take full advantage of this bounty. This year our dining experience was voted the best in the nation by the National Association of Home Builders (NAHB). Residents enjoy nearly endless opportunities to nurture their mind, body and spirit and continually suggest new programs, events and trips; a lifestyle that NAHB voted Number One in the country among 50+ communities. Considering all of this, it’s clear why residents have moved here from 37 states. 72 Applause at Strathmore • september/october 2012

COURTESY JOHN SWANSON

Why do people from all over the country move to Willow Valley Retirement Communities?

SPECIAL ADVERTISING SECTION

ASK THE EXPERTS | Senior Services

Dr. Carole Lewis, Physical Therapist, Fitness Author, George Washington University Professor, International Lecturer on Exercise for Seniors, Volunteer at Maplewood Park Place MAPLEWOOD PARK PLACE 9707 Old Georgetown Road, Bethesda, MD 20814 301-571-7400 | info@maplewoodparkplace.com | www.maplewoodparkplace.com

HILARY SCHWAB

Is “it’s never too late to start exercising” a cultural myth, or can a senior really improve his or her overall health with an exercise program? I believe that Ponce de Leon was looking for the fountain of youth in all the wrong places. He should have looked at Maplewood Park Place. I have interviewed, lectured and worked with many seniors who have never exercised a day in their life. I tell anyone that it’s never too late. The secret is to start out slow and find something you like doing, and that includes walking, gardening, games, lifting weights – anything that works your muscles and gets your heart pumping faster. I did a recent public speaking engagement at Maplewood, and I was so impressed with the energy and passion of the residents that I volunteered to offer a six-week balance and strength training class at the community. It’s been a fun and interesting time for me, and the residents. “Each class she makes sure to push us a little harder with the exercise routine,” says Avonne Gravel, a Maplewood resident. Resident Alice Duncan agrees. An avid exercise buff her entire life, Alice says, “An exercise program needs to become part of your daily habit. Being physically fit allows seniors to remain

cognitively strong and emotionally healthy.” I could not agree more! In my most recent book, "Age-Defying Fitness," I share lots of information about how an exercise program can be started at any age.

How does a physical therapy and an exercise program improve the quality of life for a senior? Research has shown that a complete exercise program that does not just include aerobic exercises but also incorporates balance, flexibility, strength training and posturing, will have long term positive effects in all aspects of a senior’s life. Of course, genetics does play a role in one’s overall health; however, there have been studies done on identical twins, one who exercises and one who does not, and the twin who has an exercise regimen is more likely to be physically, mentally and emotionally healthier than the sibling who does not exercise. People ask me, “What motivates you?” and I always respond that it’s, “Seniors who want to remain physically active and enjoy all that life offers at every age.”

Applause at Strathmore • september/october 2012 73

PROFILES | Women in Business

SPECIAL ADVERTISING SECTION

Jill Schwartz Long & Foster

What is the one thing that your clients should know about you? Coming up on only my third year as a real estate professional, I am one of the top 66 agents with Long and Foster Mid-Atlantic. I believe that is because my number one strategy for all of my clients is to get them not a good deal, but a great deal. With a dash of creativity, I do that by knowing the inventory inside out, which comes from being connected to people and using the latest technology.

What makes you different than others in your profession? I absolutely love what I do, and my clients feel it because I make the process of purchasing and selling their home enjoyable. I articulate a clear game plan and a strategy. I always advise my

74 Applause at Strathmore • september/october 2012

“

I always advise my clients not to settle; they joke that I can find that needle in the haystack."

clients not to settle; they joke that I can find that needle in the haystack. I paint a picture of what their lives will look like living in that home and in that community. The total dynamics of the environment have to feel right. I go the extra mile, researching all the details and communicating often. Every client I work with is hand-held through the process. My greatest satisfaction is knowing that they are happy. Another difference my clients appreciate is that I am “green,” the only real estate professional in Maryland and DC to be certified with the National Association of Realtors Green Designation and have a LEED AP Green Associates Degree.

STEPHANIE BRAGG

4733 Bethesda Ave., Bethesda, MD 20814 301-758-7224 | jill.schwartz@longandfoster.com www.gogreenwithjill.com

PROFILES | Women in Business

SPECIAL ADVERTISING SECTION

Neli Balia Konplott, Westfield Montgomery Mall 7107 Democracy Blvd., Bethesda, MD 20817 240-888-7478 | www.konplott.com

HILARY SCHWAB

What made you decide to get into your line of work? I grew up in Lithuania but spent years in the United States, performing across the country in different ballet troupes and becoming a U.S. citizen. I met my husband on a visit home, where he and his sister had Konplott stores. A fan of the jewelry and the designer, I worked to bring this beauty to America. My Montgomery Mall store, opened in the fall of 2011, is Konplott’s first in this country. This 25-year-old international brand has an international founder: Miranda Konstantinidou is a Greek citizen who grew up in Germany and studied her art in Italy. The jewelry is handmade and produced in small quantities in exclusive series, often inspired by different cultures. Each season brings new designs in all kinds of materials. It’s chic, but not expensive. Most pieces are in the $60 to $300 range, but it starts with $20 earrings.

“

I love being surrounded by art, and that’s how I regard this jewelry."

What brings you the most satisfaction in your work? I love being surrounded by art, and that’s how I regard this jewelry. I love watching a woman walk into the shop and be captivated. One recently said, “This is like a museum; there’s too much to see in one visit.”

What are your interests outside of work? I follow ballet but love the arts of all kinds, from opera to music to film. It’s great to have Strathmore nearby and I often go to the Kennedy Center where I used to dance.

Applause at Strathmore • september/october 2012 75

PROFILES | Women in Business

SPECIAL ADVERTISING SECTION

Annabel Burch

Coldwell Banker Residential Brokerage 7272 Wisconsin Ave., #100, Bethesda, MD 20814 301-718-0010 (office) | 202-285-7166 (cell) | www.AnnabelBurch.com

What is the one thing your clients should know about you? I work really hard. I have always gotten tremendous satisfaction from a job well done so it didn't suprise people who know me that within 2 years of joining Coldwell Banker in 2005 I was one of the top agents in our Bethesda office and shortly thereafter one of the top agents in our company nationwide.

What makes you different than others in your profession? I always keep in mind, with every action I take, that my clients have entrusted me with the purchase or sale of what is most likely their largest asset. This is a tremendous responsibility and I treat it as such and almost all my business comes from personal referral so there is always a lot on the line. Another difference is that I brought my business background, very heavy in negotiation and marketing, to my work in real estate.

â&#x20AC;&#x153;

I always keep in mind, with every action I take, that my clients have entrusted me with the purchase or sale of what is most likely their largest asset."

What is your professional and educational background? I grew up in Silver Spring and have lived in Bethesda and Chevy Chase since the mid-90's. I graduated from the University of Maryland. I worked in real estate advertising straight out of college. It was fast paced and I learned to think five steps ahead at all times. I then spent 16 years in local and national radio sales and was one of the top sellers in the DC market. In both cases, selling an intangible made me draw on every resource.

I hope they would describe me as hard working, strategic, effective and fun.

76 Applause at Strathmore â&#x20AC;˘ september/october 2012

HILARY SCHWAB

How would your clients describe you?

PROFILES | Women in Business

SPECIAL ADVERTISING SECTION

Zelda Heller, Vice President TTR Sotheby’s International Realty 5454 Wisconsin Ave., Chevy Chase, MD 20815 202-257-1226 | zelda.heller@sothebysrealty.com

What made you decide to get into your line of work? When my husband and I sold our home in 1988, I fell in love with the real estate profession. I so enjoyed the process that I decided to step away from the family business, Heller Jewelers, and start a new career. The love has lasted. After years of watching our store’s costly inventory sit in a vault until sold, it excites me to have the world as my inventory now.

HILARY SCHWAB

What brings you the most satisfaction in your work? I love solving problems. I once investigated a sliver of land next to a listing I had. The seller was having financial trouble and needed to enhance her property in order to make her home more saleable. My research revealed that the county owned the adjoining land and was willing to sell it. I did not make a cent on that transaction, but it netted the seller an extra $250,000 on the

“

When my husband and I sold our home in 1988, I fell in love with the real estate profession."

sale of her home. I am confident that kind of service has helped me remain in the top quarter of 1% of agents nationwide for over 20 years, and first in sales for my entire company in 2011.

What makes you different than others in your profession? The personal attention I pay to each client and potential client. I give of myself and never pass people off to an assistant.

How would your clients describe you? Most would say I was a professional acquaintance who became a friend. Applause at Strathmore • september/october 2012 77

PROFILES | Women in Business

SPECIAL ADVERTISING SECTION

Maria Cornelius Burt Wealth Advisors 6010 Executive Blvd., #900, Rockville, MD 20852 301-770-9880 | mcornelius@burtwealth.com

What makes you different than others in your profession? I take a more holistic approach that enables me to design a strategy to satisfy clients’ goals, often working with their existing tax and estate planning specialists. While some clients simply want to ensure that their assets will last throughout their retirement, others are interested in tax efficiency or coordinating investments with estate plans. Capital preservation has emerged as a primary goal due to market volatility, and our conservative investment philosophy is therefore very appealing.

My goal is to build strong long-term client relationships. I encourage clients to be actively involved and to ask questions. I want them to understand our approach. They find this interaction both comforting and empowering.

How do you employ new technology to help your patients? We take great pride in using state of the art technology to minimize the discomfort and anxiety associated with many dental procedures. Our digital impression system has virtually eliminated gagging related to traditional impressions. Digital x-rays provide the patient benefit of significantly reduced radiation exposure and the environmental benefit of eliminating the need for disposal of harsh chemicals. Our in-office whitening system does not require 78 Applause at Strathmore • september/october 2012

Dr. Thomas

light activation, which results in less post-treatment sensitivity. In addition to improving our patients’ clinical experiences, these technologies are also a vital tool with which we communicate and transmit information between our office, specialists and lab technicians in order to provide comprehensive care with a personalized touch.

Cheryl Callahan, DDS, PA 15225 Shady Grove Road, Suite 301, Rockville, MD 20850 301-948-1212 | www.cherylcallahandds.com

HILARY SCHWAB

Dr. Callahan

HILARY SCHWAB

What is one thing your clients should know about you?

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 Metro attendant to exit at no cost. For all non-ticketed events, Monday – Friday, parking in the garage is $4.75 and may be paid using a Metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the GrosvenorStrathmore Metro garage, walk across the glass-enclosed sky bridge located on the 4th level.

WILL CALL

PUBLIC TRANSPORTATION

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

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

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

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

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

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

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

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

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

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

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

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

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

ASSISTIVE LISTENING

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

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

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

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

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

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

Applause at Strathmore • september/october 2012 79

encore by Sandy Fleishman Q. What are you proudest of in your first year in the job? I would say our commitment to continuing and expanding programs for children and helping them grow as individuals, and to involving people of all ages in community programs. Currently we have participants from ages 3 to 78. The youngest is in OrchKids, an intensive music education and social engagement program with Baltimore City Public Schools. … The oldest attended the BSO Academy this summer, spending a week playing music and studying with Music Director Marin Alsop. The Baltimore Symphony Youth Orchestras, debut Sept. 1. And of course, we’re continuing mid-week youth concerts, where more than 50,000 kids a year enjoy and learn about symphonic music.

BSO Vice President of Education and Community Engagement

Carol Bogash

arol Bogash has blazed a trail in arts, humanities and sciences education and community activities at the Washington Performing Arts Society and The Smithsonian Associates Program. Now she’s focused on strengthening and expanding the Baltimore Symphony Orchestra’s outreach to young and old, and this fall is overseeing not only its first youth orchestras but also a new education effort in Montgomery County. 80 applause at Strathmore • september/october 2012

Q. What are the BSO’s expansion plans for Baltimore City Public Schools? We’ll be reaching about 600 kids next year, and are on a trajectory to expand to up to 1,000 kids eventually, at the request of schools CEO Dr. Andrés A. Alonso. Q. With the economy the way it is, how do you envision the future? The BSO has made a commitment to these programs and has been working creatively with our participating partners to restructure our budget and our programming to accommodate our vision. … What I’m very excited about are the opportunities and possibilities to work with Music Director Marin Alsop, who is hugely creative in this area, and to help fulfill the BSO’s mission as the state’s largest cultural organization.

MICHAEL VENTURA

Q. What’s planned for Montgomery County? The Baltimore Symphony Orchestra is ready to announce a new initiative in Montgomery County called OrchLab, a program focusing on instrumental music education for all grades. We are exploring how this program might best serve Montgomery County Public Schools. We hope to have a strong footprint in Montgomery County with education.

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