Strathmore Applause Sept/Oct 2013 by Strathmore

SEPTEMBER/OCTOBER 2013

inside: Strathmore AIR alumni show off skills Baltimore Symphony Orchestra War Requiemâ&#x20AC;&#x2122;s healing powers Washington Performing Arts Society Pianist Yuja Wang electrifies

concert

Compatriots The National Philharmonicâ&#x20AC;&#x2122;s close relationship with cellist Zuill Bailey yields a fall focus on Schumann

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prelude

On The Cover National Philharmonic Music Director and Conductor Piotr Gajewski and cellist Zuill Bailey. Photo by Michael Ventura.

program notes

Applause at Strathmore SEPTEMBER/OCTOBER 2013

features 8 AIR Borne

Sept. 21 26 / BSO: Scheherazade & 1812 Overture

Oct. 15 45 / Strathmore: Les Violons du Roy

Sept. 26 30 / BSO: Thibaudet Plays Bernstein

Oct. 18 47 / Strathmore: Dianne Reeves

The BSO opens its 2013-2014 theme on music as a source of solace

Sept. 27 34 / Strathmore: Sandy Hackett’s Rat Pack Show

Oct. 19 48 / BSO: Romantic Tchaikovsky

14 Really Thile

Sept. 28 & Sept. 29 37 / The National Philharmonic: Beethoven’s Eternal Masterworks Oct. 6 41 / Strathmore: Bill Engvall Oct. 10 42 / BSO SuperPops: The Streisand Songbook Oct. 12 44 / Strathmore: Sutton Foster

Oct. 24 51 / BSO: Brahms’ Third Symphony

Strathmore Artists in Residence alumni return for concert series

10 War & Peace 12 Concert Compatriots Cellist Zuill Bailey and the National Philharmonic think big

Mandolin virtuoso Chris Thile swings from bluegrass to Bach

16 Travelin’ Man Jazz trumpeter Chris Botti’s bag is always packed

18 New Kids on the Block Meet the Baltimore Symphony Orchestra’s four new musicians

Oct. 25 54 / WPAS: Yuja Wang

20 A Little of Everything

Oct. 26 57 / The National Philharmonic: Mostly Schumann

22 Electric Youth

Oct. 26 & Oct. 27 61 / The National Philharmonic: Romantic Sentiments Oct. 30 66 / Strathmore: Chris Thile

2 applause at Strathmore • SEPTEMBER/OCTOBER 2013

The National Philharmonic celebrates Verdi and Strauss in 2013-2014

Dynamic pianist Yuja Wang’s recital features Chopin and Stravinsky

departments

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

musician rosters

28 Baltimore Symphony Orchestra 39 National Philharmonic Orchestra and Chorale

M US ING S from Strathmore If the lasting story of an arts center is told through innovation and introduction of new programs, last season was a legacy-making year. We launched the Strathmore Children’s Chorus. We announced a partnership with the Pike & Rose development to open AMP, a 250-seat live performance club. Then, in May, our board approved enclosing the Bou Terrace, doubling our dining space, and adding an escalator between the Promenade and Lobby levels. We heard what you wanted and are taking action. As we begin Strathmore’s 2013-2014 season, you’ll notice two new concert series in the Mansion—Say it in a Song, featuring brilliant contemporary song interpreters, and our AIR Alumni concerts, a look back at some of the artists our hallmark Artist in Residence program has touched in the past nine years. Meanwhile, in the Concert Hall, we’re presenting more vocal performances than ever—including Sutton Foster, Maureen McGovern, Donna McKechnie, Andrea McArdle, Faith Prince, Sweet Honey in the Rock and Estrella Morente, among others. The 2013-2014 season, peppered with debut performances and world and Washington premieres, is replete with more than 50 concerts. Welcome to a new season at Strathmore!

Eliot Pfanstiehl CEO | Strathmore

a note from the BSO Dear Friends, Thank you for joining the Baltimore Symphony Orchestra for the start of our 2013-2014 season! Over the course of the coming months, the music selections we will perform here at the Music Center examine the power of music as a source of solace and healing. From Britten’s War Requiem (Nov. 16) to Bernstein’s “Age of Anxiety” (Sept. 26) to John Adams’ September 11 meditation, On the Transmigration of Souls (June 7), music’s role as a comfort for the afflicted is timeless. For an even deeper understanding of what this means to me, you can read the article on Britten’s War Requiem (and the centennial of his birth) on page 10 of this issue. I hope you’ll join us for these transformative experiences, and look forward to seeing you all in the Concert Hall throughout this season!

Marin Alsop

Music Director | Baltimore Symphony Orchestra

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

Editor and Publisher Steve Hull Associate Publisher Susan Hull Senior Editor Cindy Murphy-Tofig Design Director Maire McArdle Art Director Karen Sulmonetti Advertising Director Sherri Greeves

partners

● Strathmore: 301-581-5100, www.strathmore.org ● Baltimore Symphony Orchestra: 301-581-5215, www.bsomusic.org ● The National Philharmonic: 301-493-9283, www.nationalphilharmonic.org ● Washington Performing Arts Society: 202-785-9727, www.wpas.org ● CityDance Ensemble: 301-581-5204, www.citydance.net ● Maryland Classic Youth Orchestras: 301-581-5208, www.mcyo.org ● Levine School of Music: 301-897-5100, www.levineschool.org ● interPLAY: 301-229-0829, www.interplayband.org. 4 applause at Strathmore • SEPTEMBER/OCTOBER 2013

7768 Woodmont Ave., Suite 204 Bethesda, MD 20814 301-718-7787 Fax: 301-718-1875 Volume 10, 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

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calendar THURS., NOV. 7, 8 P.M. Strathmore presents Luis Bravo’s Forever Tango

This sizzling show tells the brilliantly hued history of tango through music, dance and dramatic vignettes. FRI., NOV. 8, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: The Planets Marin Alsop, conductor Baltimore Choral Arts Society, women’s chorus Holst: The Planets You can hear some of Holst’s influences in the music of Star Wars, The Lord of the Rings and The Gladiator. This program explores the ageless, timeless mystery of the planets through music and highdefinition imagery. SAT., NOV. 9, 8 P.M. The National Philharmonic Lost Childhood: A Concert Opera Piotr Gajewski, conductor Janice Hamer, composer Mary Azrael, librettist Nick Olcott, stage director

Hamer: Lost Childhood The music recollects the terrors of the Holocaust and inspires a hopeful vision of the future. This performance marks the 75th anniversary of Kristallnacht (“The Night of Broken Glass”), on Nov. 9-10, 1938, when a series of violent antiJewish pogroms occurred throughout Germany and elsewhere. THURS., NOV. 14, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops Chris Botti Chris Botti, trumpet Grammy Award-winning trumpeter Chris Botti draws from pop, jazz and classical influences to create a signature sound that “luxuriates in melody and mood,” says The New York Times. Note: The BSO does not perform on this program. FRI., NOV. 15, 8 P.M. Strathmore presents An Evening With Amy Tan The best-selling author of The Joy Luck Club, The Kitchen God’s Wife and The Bonesetter’s Daughter talks about her life and her writing. SAT., NOV. 16, 8 P.M. Baltimore Symphony Orchestra War Requiem

Marin Alsop, conductor Tamara Wilson, soprano Nicholas Phan, tenor Ryan McKinny, baritone University of Marin Alsop Maryland Concert Choir Peabody Children’s Chorus Britten: War Requiem Marin Alsop leads Britten’s deeply affecting War Requiem. SAT., NOV. 23, 8 P.M. The National Philharmonic Verdi’s Powerful and Timeless Requiem Stan Engebretson, conductor Danielle Talamantes, soprano Margaret Mezzacappa, mezzo-soprano William Davenport, tenor Kevin Deas, bass Danielle National Talamantes Philharmonic Chorale

[beyond the stage] Strathmore

Lift Every Voice This isn’t the pop-infused a cappella you heard in the film Pitch Perfect. Voice, the London-based, female a cappella trio of Clemmie Franks, Victoria Couper and Emily Burn, brings its airy vocals to the Mansion at Strathmore during the trio’s first U.S. tour, with two performances on Wednesday, Oct. 30 at 7 and 9:30 p.m. The trio performs a repertoire that spans ages and continents, including sacred and secular music from the medieval music of Hildegard of Bingen to 21st century commissions and folk songs from around the world. The performers met in Oxford, where they first started singing together as part of the Oxford Girls’ Choir. Their distinctive sound is driven by individual voices that blend to create beautiful harmonies.

6 applause at Strathmore • SEPTEMBER/OCTOBER 2013

Yoshitaka Kono

November FRI., NOV. 1, 8 P.M. Strathmore presents Travis Tritt Grammy Award-winning country star Travis Tritt balances the grit and pathos of “Help Me Hold On” with the infectious “It’s a Great Day to Be Alive” in an evening of his hits and personal favorites.

[November/December]

Verdi: Requiem Requiem combines the drama of the stage, the passion and emotional power of an oratorio and the intensity of a symphony in a grand, romantic expression of grief. FRI., NOV. 29, 8 P.M. Strathmore presents Classic Albums Live: Sgt Pepper’s Lonely Hearts Club Band The musicians of Classic Albums Live re-create psychedelic sounds of The Beatles’ famous record, Sgt. Pepper’s Lonely Hearts Club Band. SAT., NOV. 30, 8 P.M. Strathmore presents Michael McDonald This Christmas: An Evening of Holiday & Hits Launched into stardom with the Doobie Brothers classic “What A Fool Believes” and solo hits like “I Keep Forgettin’,” the master of blue-eyed soul lends his touch to Christmas classics. This concert is sponsored by Joel and Elizabeth Helke. december SUN., DEC. 1, 4 P.M. Strathmore presents Boston Brass and the Brass All-Stars Big Band With the Strathmore Children’s Chorus: A Stan Kenton Christmas Boston Brass and all-star brass players from around the globe team up for big band arrangements of classics like the Stan Kenton Christmas Carols, “Greensleeves” and “Motown Jingle Bells,” backed by the Strathmore Children’s Chorus. WED., DEC. 4, 8 P.M. Strathmore presents Teatro alla Scala Academy Orchestra

The best of the legendary Milan opera house will perform a program that includes works by Verdi and 20th century Italian composer Nino Rota. THURS., DEC. 5, 8 P.M. Strathmore presents Crystal Gayle and Lee Greenwood Crystal Gayle, known as much for her trademark long hair as her crystalline country vocals, partners with fellow country icon Lee Greenwood for an evening of holiday music. SAT., DEC. 7, 8 P.M. Baltimore Symphony Orchestra The Four Seasons Jonathan Carney, leader and violin Vivaldi: The Four Seasons Piazzolla: The Four Seasons of Buenos Aires A perennial favorite, Vivaldi’s universally popular The Four Seasons is led by BSO Concertmaster Jonathan Carney, cleverly paired with Piazzolla’s sensational, tango-infused The Four Seasons of Buenos Aires. THURS., DEC. 12, 8 P.M. Baltimore Symphony Orchestra Holiday Cirque Bob Bernhardt, conductor Cirque Musica Stunning aerial feats, strongmen and mind-boggling contortionists will take your breath away in this holiday extravaganza. FRI., DEC. 13, 8 P.M. Strathmore presents Spanish Harlem Orchestra: Salsa Navidad

The Grammy-winning ensemble puts its irresistible New York salsa spin on holiday tunes. Join a celebration that “double-dares you not to move!” (Associated Press) SAT., DEC. 14, 8 P.M. SUN., DEC. 15, 3 P.M. The National Philharmonic Handel’s Messiah Stan Engebretson, conductor Rosa Lamoreaux, soprano Magdalena Wór, mezzo-soprano Robert Petillo, tenor Kevin Deas, bass National Philharmonic Chorale Handel: Messiah Begin your holidays with Handel’s 1741 masterpiece, Messiah, one of the most beloved and most frequently performed works in Western choral literature. Sponsored by Ameriprise Financial. SAT., DEC. 21, 4 P.M. and 8 P.M. Strathmore presents The Irish Tenors: The Premiere Irish Holiday Celebration Tour The Irish Tenors will mine the melodic loveliness and emotional intensity of Irish music in a concert that combines the trio’s greatest hits with holiday classics. Washington Symphonic Brass

SUN., DEC. 22, 4 P.M. The National Philharmonic Washington Symphonic Brass Piotr Gajewski, conductor Join the Washington Symphonic Brass for its annual performance at Strathmore! Some of the East Coast’s finest brass and percussion players will surround you with the sounds of the holiday from all parts of this great Concert Hall.

applause at Strathmore • SEPTEMBER/OCTOBER 2013 7

strathmore

AIR Borne Laura Burhenn

Strathmore’s Artist In Residence program has nurtured emerging local artists for eight years, and this fall’s AIR Alumni concert series shows just how far they’ve come. By Chris Slattery

o matter how far Strathmore Artists in Residence alumni may travel, the lessons learned stay with them. Just ask Brooklyn-based jazz saxophonist Jeff Suzda, who just relocated back to the States after several years in Paris. “It’s kind of like a brotherhood, a fraternity,” says Suzda, part of the AIR Class of 2007-2008. “I didn’t bring a lot with me to Paris, but I brought my notes from the AIR program.” High on his list is performing in Strathmore’s new AIR Alumni concert series. What he’ll bring to his concert on Oct. 23—along with his horn and his musical partner, percussionist Sim-

one Mancuso—is a sense of connectedness to Strathmore and the sense of community that comes with taking part in the AIR program. “No one gave me a saxophone lesson while I was at Strathmore; that was not the point,” Suzda says. “The point was having exclusive access to a group of professional musicians: Chuck Redd, who was my mentor; Marcy Marxer, the most professional woman I have ever met in my life. Amy Beth Horman showed me how to practice. “It didn’t necessarily make me a better musician,” he adds, “but it made me a better professional.”

8 applause at Strathmore • SEPTEMBER/OCTOBER 2013

And that’s really the whole point of the Artist in Residence program, as far as Georgina Javor, Strathmore’s director of programming, is concerned. Javor, along with AIR program coordinator Betty Scott, curated this fall’s AIR Alumni series, which will run from the end of September until mid-November. “The AIR Alumni concert series is a fantastic illustration of the real impact that the Artist in Residence program has on musicians and that their relationship with Strathmore endures,” says Scott. “This concert series is indicative of the knowledge and skills gained during the training.”

Fresh AIR Six musicians/singers/songwriters are engaged for 10 months at Strathmore as part of the Artists in Residence program. Strathmore introduced the AIR program in 2005 to cultivate local musical talent through professional mentoring, career development workshops, networking and educational opportunities. “The 2013-14 group of AIRs is unique in its diversity,” says AIR creator and administrator Betty Scott. “While each year has a wide range of genres, the upcoming class is outstanding in its international flavor as well, which will lead to exciting collaborations.” Each AIR will perfect performances, collaborate with their peers, create an education program and premiere a new work commissioned by Strathmore. The 2013-2014 Artists in Residence, and their concert dates, are: Christie Dashiell, jazz vocalist, Jan. 15 and 29 Nistha Raj, Hindustani violinist, Feb. 12 and 26 Brad Kolodner, old-time banjo, March 12 and 26 Piotr Pakhomkin, classical guitarist, April 9 and 23 Elijah Balbed, jazz saxophonist, May 14 and 28 Amadou Kouyate, West African instrumentals, June 4 and 18

“The point is to see how much these artists have grown,” says Javor. “For these first four concerts we picked a really eclectic, successful group.” Like D.C. native Laura Burhenn, who completed the AIR program in 2006 and later moved to Omaha, Neb., to form the popular indie group The Mynabirds. “This is an artist who has created a national touring career,” Javor points out. “She’s really made a national name for herself, and we haven’t had the chance to see her back here since her AIR days—until now.” Burhenn, who returns to Strathmore Oct. 2, fresh off the road from an international tour with supergroup The Postal Service, says learning to collaborate with artists she might not otherwise work with gave her a sense of freedom in which she was able to hone her skills. Not everyone goes from AIR to the bigtime, and in the case of Loren Westbrook-Fritts that’s a good thing. Sure, the 2010 AIR is the music director of the rock cello group Primitivity. But he’s also an instrumental and digital music

Loren Westbrook-Fritts Simone Mancuso and Jeff Suzda

teacher at Wheaton High School. “It was great to be teamed with a mentor, someone to guide you,” says Westbrook-Fritts, who will release his band’s second album, Evolution, at his concert on Oct. 16. “There was a whole month of concerts for us to perform, and an educational event: I did mine with middle school kids from A. Mario Loidermann [Middle School for the Creative and Performing Arts]. Now that I’m a teach-

er at Wheaton it completes the circle.” Staying in the community and teaching, he adds, has underpinned his career with a sense of balance that allows him to go all out with his cello-meets-metal sound. “It’s taken a long time for things to coalesce, but they have,” says the musician. “I think Artists In Residence is a great program…and it’s even better to see ‘where they are’ now.” 

applause at Strathmore • SEPTEMBER/OCTOBER 2013 9

Balt imore Symphony ORchestra

war

& Peace

Britten’s War Requiem anchors the BSO’s season-long theme of music as a source of healing By M.J. McAteer

hen the final notes of Benjamin Britten’s War Requiem settle into a profound stillness, audiences typically sit stunned for a long moment, too overwhelmed by the power of what they have just heard to start applauding immediately. And that, says soprano Tamara Wilson, is exactly how it should be. “People are so moved by the poetry of the Requiem,” she says. “It makes them look into their own souls and go away thinking about the futility of war and the loss of life.” Wilson—along with tenor Nicholas Phan, baritone Ryan McKinny, the University of Maryland Concert Choir and the Peabody Children’s Chorus—

10 applause at Strathmore • SEPTEMBER/OCTOBER 2013

will join the Baltimore Symphony Orchestra and Music Director Marin Alsop in a performance of Britten’s masterwork at 8 p.m. on Nov. 16 at the Music Center at Strathmore. Although final decisions about the concert were to be made closer to the performance date, BSO Vice President of Artistic Operations Matthew Spivey said that he expects the stage to be filled to overflowing with an 88-person orchestra, a mixed choir of 100 to 120 voices, a children’s choir of 30 voices and a 12-person chamber orchestra. But the War Requiem is much more than a work of daunting logistics. Spivey calls it “an artistic initiative that explores the depth of what an orchestra can do.”

The War Requiem, he explains, is providing a major inspiration for the BSO’s 2013-2014 calendar. “One of the themes of the season is music as a balm for the afflicted, which helps people understand tragic events and find hope. The Requiem is a perfect fit.” Britten, an ardent pacifist, wrote the War Requiem for the 1962 consecration of a new Coventry Cathedral, which was rebuilt after the original 14th-century structure was destroyed by German bombs during a Luftwaffe raid in 1940. The British composer meant the music as a denunciation of all armed conflict and a plea for reconciliation. The BSO’s performance of the piece will take place 73 years to

Ryan McKinny photo by Simon Pauly; Nicholas Phan photo by Balance Photography

Ryan McKinny

the day of its debut; November also marks the 100th anniversary of the composer’s birth. The Requiem takes the form of a non-liturgical mass for the dead, and Britten said that he modeled it on the Messa da Requiem by Giuseppe Verdi. Britten’s requiem, however, intersperses traditional Latin texts with nine poems by Wilfred Owen. Owen, whose work depicted the horrors of the trench warfare of World War I, was killed in action at age 25, just one week before the 1918 Armistice. On the title page to his score, Britten quotes the poet’s preface to a collection of his poems, which were published posthumously: “My subject is War, and the pity of War. The Poetry is in the pity … All a poet can do today is warn.” Tenor Nicholas Phan will be among the three guest soloists delivering that warning, providing several of the Requiem’s most moving moments, including his singing of Owens’ poem, “Anthem for Doomed Youth.”

Phan says Britten composed “buckets and buckets” of music for his voice, largely because the composer had a long personal and professional relationship with English tenor Sir Peter Pears. That bountiful repertoire does not make the Requiem easy for a tenor to sing, though. Phan says his solos require him not only to reach powerfully into the highest parts of his register, but to float across a sprawling range of color and dynamics. It is a challenge that he finds wonderfully worth meeting. “The Requiem is a beautiful combination of head and heart,” he says. “Erudite and sophisticated, but also moving, dramatic and visceral. Its themes are things you can chew on all your life.” That laudatory description might seem a tad daunting, as though the War Requiem is so high-minded that it might be easier to admire than enjoy, but that, says Spivey, is not at all the case. Even young children “really get it,” he says, which is why he expects the Requiem to be an integral part of the BSO’s arts integration program in area schools.

Nicholas Phan

Baltimore Symphony Orchestra presents War Requiem Saturday, Nov. 16, 8 P.M.

Doreen Falby, director of the Peabody Children’s Chorus, predicts that her young singers won’t be the least bit intimidated by the Requiem. “They know that music accompanies us when we are joyful, but also when we are dealing with difficult times in our lives,” she says. That combination of the accessible and the deeply emotive will provide a one-two punch for members of the Strathmore audience. “They won’t realize what hit them until it is over,” Spivey says. Which is why, if just for a few moments at Requiem’s end, the hall renowned for its superb acoustics could be filled with the sound of silence. 

applause at Strathmore • SEPTEMBER/OCTOBER 2013 11

THE National Philharmonic

Concert

compatriots Cellist Zuill Bailey and Maestro Piotr Gajewski always plan something big By Roger Catlin

Oct. 26 with pianist Navah Perlman will feature the other cello works by Schumann and Brahms, another 19th century composer. “So in one day, we will have played the complete works of Schumann for cello,” Bailey says. “Zuill is very unique in that he has the stamina to do this kind of all-day performance,” Gajewski says. “There are very few artists who really can put themselves out and give one program in the afternoon, another program in the evening and be totally on top of their game from beginning to end.” Bailey says he admires the subtlety of Schumann’s work for cello. “This one makes you ponder and think and I think that’s what makes Schumann so wonderful: His voicing and the complex beauty of his harmonies.” Adding Brahms to the program is fitting, since Schumann helped discover the upcoming composer, Bailey says. “Schumann talked about Brahms being

12 applause at Strathmore • SEPTEMBER/OCTOBER 2013

the next Beethoven.” The Alexandria, Va., native is looking forward to returning to the area and performing with the National Philharmonic and his friend Maestro Gajewski. “I have quite a nice relationship with them,” Bailey says. “We’re really exploring lots of different kinds of music, which is a lot of fun.” 

The National Philharmonic presents Mostly Schumann Saturday, Oct. 26, 3:30 p.m. and

Romantic Sentiments

Saturday, Oct. 26, 8 p.m. and Sunday, Oct. 27, 3 p.m.

michael ventura

henever the noted cellist Zuill Bailey returns to the Music Center at Strathmore to perform with the National Philharmonic, it seems as if it’s to tackle a major body of work. “Last year, I played the Haydn Concerto, and the complete Bach cello suites,” Bailey says. “For this one, Maestro Piotr Gajewski and I have come up with the theme of ‘Schumann and his World.’ ” Bailey’s upcoming performances are a continuation of the cellist’s strong relationship with the National Philharmonic. In addition to the Haydn and Bach programs, both in January 2012, Bailey has been featured in Dvořák’s epic cello concerto and, with the violinist Elena Urioste, Brahms’ concerto for violin and cello. Bailey also has conducted master classes for aspiring cello students. His performances on Oct. 26 and 27, led by Music Director and Conductor Piotr Gajewski, will feature Robert Schumann’s Cello Concerto sandwiched between two works by Brahms. A solo recital earlier in the day on

JIMMY CHIN

TA L K S • F I L M S • C O N C E R T S • TA S T I N G S • E X H I B I T S • FA M I LY E V E N T S

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Fri, Nov 22 • 7 PM

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THE WHISKIES OF SCOTLAND

Thu, Oct 17 • 7 PM

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Tasting with whisky expert Richard Crawford

Sat, Dec 7 • 3 & 7 PM

Concert with Irish singer Moya Brennan

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strathmore

Strathmore presents Chris Thile Wednesday, Oct. 30, 8 P.M.

Really Thile Grammy winner Chris Thile talks Bach, bluegrass and bonding with Yo-Yo Ma By Chris Slattery

hris Thile has Bach on the brain. The Grammy-winning MacArthur Fellowship recipient may be best known as a mandolin-playing composer, singer and progressive bluegrass musician. When he performs at the Music Center at Strathmore Oct. 30, Thile will be sharing his love of Bach as well as playing his own bluegrass compositions. “Bach is one of the greatest musicians who ever lived,” enthuses the 32-year-old. In his latest CD, Bach: Sonatas and Partitas, Vol. 1, Thile’s deft touch and his great reverence for Bach come through. Thile, on the other hand, plays fast and loose with genre. The founding member of progressive acoustic trio Nickel Creek has won Grammys for best folk album, best bluegrass album and best classical crossover album. These days, when he’s not working on solo projects, Thile is part of the folk/ bluegrass quintet The Punch Brothers. He’s more concerned with the music itself—its “structural implications”— than with the labels people want to put on it, which is why he wanted to make a Bach album in the first place. “Because I’m such a huge Bach fan I wanted to take a crack at it,” he says. “It’s not for novelty’s sake. Every musician I love loves Bach; everyone I know and respect holds Bach up there. “I’m also really interested in pointing out the similarities between real-

ly good music. In my mind a wonderful fiddle tune from Appalachia has a lot more in common with the cantatas and partitas than it does with overwrought violin writing from the Baroque period.” There’s a symmetry to both Bach and bluegrass. And so Thile, who started playing the mandolin when he was 5, is planning a program for Strathmore that brings together his favorites from Bach’s oeuvre and some of his own contemporary compositions. It’s that classical-contemporary pair-

14 applause at Strathmore • SEPTEMBER/OCTOBER 2013

ing that earned Thile a Grammy for 2011’s The Goat Rodeo Sessions which he recorded with his mentor, bassist Edgar Meyer, fiddle player Stuart Duncan and cellist Yo-Yo Ma. “I wanted to work with Yo-Yo since I was a little kid,” says Thile. “Maybe it would seem odd, this kid who grew up playing bluegrass is playing with Yo-Yo Ma, but it’s not. Because music is more like a cocktail than a vegetable bin. And—music aside—the hang was wonderful. So fun.” 

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Balt imore Symphony ORchestra

Baltimore Symphony Orchestra presents Chris Botti

Travelin’

Thursday, Nov. 14, 8 P.M.

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Jazz trumpeter Chris Botti happily lives life on the road with his brassy “spouse” By Kathleen Wheaton

azz trumpeter and composer Chis Botti has compared his instrument to a jealous, possessive spouse who refuses to be ignored. Skipping practice for a single day, says the five-time Grammy nominee, causes the trumpet to squawk in concert as if outraged. At the same time, to see Botti with his trumpet, a 1939 Martin Committee large bore Handcraft, is to witness an abiding and thrilling love story. Botti radiates joy onstage, and he has made the majority of his 14 albums with this demanding instrument. He and his beloved trumpet will present an evening of masterful music at 8 p.m. Nov 14 at the Music Center at Strathmore. Though presented by the Baltimore Symphony Orchestra, the BSO does not perform on the program. Botti was born in Portland, Ore., to a concert pianist mother and language teacher father. He had dreams of sports stardom until he heard a recording of Miles Davis’ “My Funny Valentine.” “By the time I was 12 and heard Miles Davis, it solidified my quest to want to play the trumpet,” Botti told the Los

Angeles Times in 2012. At Indiana University, he studied under jazz teacher David Baker and trumpeter Bill Adam, as well as with trumpeter Woody Shaw, through a grant from the National Endowment for the Arts. Botti left college before graduation to tour with Frank Sinatra and Buddy Rich, and quickly made a name for himself with his rich and varied repertoire of cool jazz, smooth jazz and pop. He’s a musician known for playing well with others, including such disparate stars as Aretha Franklin, Joni Mitchell, Roger Daltrey and Barbra Streisand. Reaching back to his father’s Italian roots, Botti has also collaborated extensively with Italian tenor Andrea Bocelli. At a Boston concert he once shared a stage with Aerosmith frontman Steven Tyler and cellist Yo-Yo Ma, introducing the two Bostonians to each

16 applause at Strathmore • SEPTEMBER/OCTOBER 2013

other for the first time. A gracious, generous performer known for ceding the spotlight to others, Botti credits his stagecraft to extended tours with both Paul Simon and Sting. Watching such artists, he has said, “taught me how to get in and out of songs, how they introduce people, what they would say about one of their players. I wouldn’t be the performer I am today without that background.” Having sold more than 3 million albums worldwide, the 52-year-old Botti spends 300 days a year on the road and shows no inclination to slow his pace. Instead, he has streamlined his peripatetic life: he owns no house, has no permanent address and lives out of a 76-pound suitcase. “I have my Bose speakers, my eye mask and my trumpet,” he says. “It’s really all that I need to be happy.” 

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Balt imore Symphony ORchestra

New Kids on the Block Four musicians join the BSO in its mission of “using music to change lives” By Sean Lindemann

he Baltimore Symphony Orchestra is pleased to present four worldclass musicians, who have joined the orchestra and are set to debut at the start of this 2013-2014 season. “Building a great orchestra requires so much more than just assembling musicians with excellent technical ability,” says Music Director Marin Alsop. “Not only are these musicians exceptionally skilled, but they also demonstrate that exciting and charismatic panache that moves, excites and inspires. Their spirit is in keeping with the BSO’s goal to not only perform great concerts, but to accomplish the far greater mission of using music to change lives.” Previously serving as the principal timpani of the Fort Wayne Philharmonic, James Wyman succeeds the late Dennis Kain, who served as the BSO’s principal timpani for 46 years. Wyman has been studying music all of his life, earning his bachelor of music degree at BaldwinWallace College in 2006 and his master of music degree from Carnegie Mellon University in 2009. No stranger to the BSO, Wyman performed during last summer’s presentation of West Side Story. Rebekah Newman also joins the Baltimore Symphony as fourth chair viola. She previously served as principal viola with the Akron Symphony, the Charlotte Symphony and the Erie Philharmonic. Newman received her bachelor’s

Far left: Rebekah Newman Top center: James Wyman Top right: Nathaniel Hepler Left: Lisa Bergman

degree in viola performance from The Cleveland Institute of Music in 2008, where she studied under Mark Jackobs. Originally from Marquette, Mich., Newman didn’t begin playing violin until age 7, when her family moved to Rapid City, S.D. She switched fully to viola during her junior year of college at the Cleveland Institute. Nathaniel Hepler, previously with the Sarasota Opera Orchestra, joins the BSO in the role of second trumpet. A native of Malvern, Penn., Hepler received his bachelor of music in trumpet performance from the Curtis Institute of Music. He also holds a master’s of music in orchestral performance from the Manhattan School of Music, where he studied

18 applause at Strathmore • SEPTEMBER/OCTOBER 2013

under Mark Gould. As an elementary school student, Hepler experimented with the violin and drums before dedicating himself to the trumpet at 9 years old. Performing throughout the U.S. and Europe, Lisa Bergman joins the BSO as second horn. Bergman holds a bachelor’s of music in performance from Michigan State University and a master’s of music in performance from Indiana University. She has been a member of the San Antonio Symphony, New World Symphony, Knoxville Symphony, Columbus Philharmonic and Evansville Symphony. She also has performed with other major symphony orchestras nationwide. Her teachers include Randy Gardner, Michael Hatfield and Julie Landsman. 

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THE National Philharmonic

A little of everything

From Verdi’s mighty Requiem to Vivaldi’s Four Seasons, The National Philharmonic’s 2013-2014 season promises to engage and delight audiences By Phyllis McIntosh new concert opera based on the Holocaust and programs commemorating anniversaries of two wellloved composers are among the highlights of the National Philharmonic’s 2013-2014 season. The opera, Lost Childhood by American composer Janice Hamer, explores one boy’s struggle to survive the horrors of the Holocaust. The Philharmonic will perform the first fully orchestrated version of the work in November on the 75th anniversary of Kristallnacht (“Night of Broken Glass”), a series of violent attacks against Jews throughout Nazi Germany. Also in November, the orchestra and National Philharmonic Chorale will celebrate the 200th birthday of Giuseppe Verdi with a performance of his powerful Requiem. “With lots of dramatic operatic moments and antiphonal brass playing in the balcony, it’s an exciting piece to perform in this hall,” says Chorale Artistic Director Stan Engebretson. Soloists for the Requiem include mezzo-soprano Margaret Mezzacappa and tenor William Davenport. To commemorate the 150th birthday of Richard Strauss in May, the orchestra will present a program of Strauss masterpieces, including the rarely performed Wandrers Sturmlied (Wanderers’ Storm Song) for orchestra and male chorus. Another concert will feature Strauss’ Metamorphosen, which Philharmonic Music Director and Conductor Piotr

Gajewski describes as “a very unusual work for 23 solo strings.” Written near the end of World War II as an elegy for the destruction of Munich, it was premiered in the Washington area by the National Philharmonic in the 1980s. Other choral highlights include the perennial holiday favorite Handel’s Messiah and an April performance of Bach’s soaring Mass in B minor, which many consider the composer’s sacred masterpiece. “It includes music he actually wrote for a job audition, but it’s Bach at his best and baroque music at its best,” says Engebretson. Popular soloists returning to perform with the orchestra this season include cellist Zuill Bailey and violinists Sarah Chang, Soovin Kim and National Symphony concertmaster Nurit Bar-Josef. Featured for the first time are pianists Gabriela Martinez and Washington-area native Thomas Pandolfi. In February, pianist Brian Ganz will present the fourth recital in his quest to perform all of Chopin’s works. In March, Ganz and the Philharmonic will start focusing on Chopin’s works for piano and orchestra, beginning with the composer’s first piano concerto. With its “All Kids, All Free, All the Time” policy, which allows young people ages 7-17 to attend National Philharmonic concerts for free, the orchestra makes it easy for entire families to enjoy its performances. “I’m passionate about introducing this music to young people,”

20 applause at Strathmore • SEPTEMBER/OCTOBER 2013

Gabriela Martinez

Soovin Kim

Gajewski says. “There’s a lot of variety to choose from—some very familiar music, some fun music, some well-known soloists—so I definitely want to issue my personal invitation to young people and families to pick out a few concerts and come join us.” 

Soovin Kim photo by Lisa-Marie Mazzucco; Gabriela Martinez photo by Monica Trejo

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Washington Performing Arts Society

Electric Youth Dynamic pianist Yuja Wang is just as comfortable immersed in Chopin as she is listening to Rihanna By Pamela Toutant

nce upon a time, 26-year-old pianist Yuja Wang was a star-in-the-making. Now she is simply “… the most dazzlingly, uncannily gifted pianist in the concert world today,” according to Zachary Woolfe of The New York Times. “As a classical pianist, Wang has a high level of authority in her playing with a keen awareness of the music’s structure, balanced with the music’s lyricism,”

22 applause at Strathmore • SEPTEMBER/OCTOBER 2013

says Washington Performing Arts Society President and CEO Jenny Bilfield. “Her interpretive palette is truly impressive and rare. She is also a young artist who takes a curatorial role, who sees herself in musical and historical context.” Wang will take the stage Oct. 25 at the Music Center at Strathmore to offer an exciting recital program of late Romantic and early 20th century com-

Washington Performing Arts Society presents Yuja Wang Friday, Oct. 25, 8 P.M. posers, including works by Prokofiev, Chopin and Stravinsky. “I always love playing Chopin and letting his genius enwrap my daily life,” says Wang. “The most substantial part of the program reflects my admiration of and infatuation with Chopin’s inspired writing. Prokofiev and Stravinsky are the Russians with whom I feel I have an affinity, so they bracket the program.” Originally from Beijing, China, Wang began studying the piano when she was 6. “I come from a musical family,” says Wang. “My mother is a Chinese traditional dancer and my father is a percussionist. During my early musical training I had very devoted parents and a strict and sensible teacher.” At 15, Wang won the Aspen Music Festival’s concerto competition and soon moved to the United States to study at the Curtis Institute of Music in Philadelphia. “Gary Graffman was my teacher at Curtis, where I spent several enlightening years surrounded by creative, thought-provoking talents,” recalls Wang. When not performing on the world stage, Wang makes her home in New York. Wang’s relationship with WPAS and the Washington area is longstanding; she has performed with both the Baltimore and National symphony orchestras. “Yuja first performed with WPAS in the spring of 2004 when she was 17, but it was a surprise performance,” explains Samantha Pollack, WPAS’ director of programming. “A pianist on our Hayes Piano Series, which features emerging pianists at the Kennedy Center, had to cancel suddenly. We reached out to pre-eminent pianist and pedagogue Leon Fleisher, who taught at Curtis, to bring a few of his brightest students and hold a master class in place of a full recital. Yuja was one of those students. WPAS is thrilled to be hosting her first ‘big hall’ recital in D.C. at Strathmore.” The affection runs both ways. “I come back every year because WPAS is a great series and Washington is a wonderful city!” enthuses Wang. Pollack, who has seen Wang perform many times, describes her performances as “electric.” “Whether she is performing a super-soft, delicate section of a piece or a fortissimo section, your eyes and ears are

glued to her. You can see her incredible focus, completely attached and invested in the piece. Her sense of phrasing and propulsion allows the listener to both revel in the beauty of her musicality as well as be on the edge of the seat about where she’s going next.” Wang’s virtuosity, combined with her vivid sartorial choices, turns recitals into memorable performances. “My aesthetic sense was developed when I was quite young, and inspired by my mom as a dancer and her beautiful silk dresses,” says Wang. “As an artist I have the freedom to express myself and communicate as I wish on stage, so my appearance is just

“I always love playing Chopin and letting his genius enwrap my daily life.” Yuja Wang a part of that whole process.” As Bilfield observes, “Yuja really owns her career, which is critically important for young women.” While highly accomplished in the world of classical music, Wang also is a YouTube sensation, tweets and has eclectic tastes in music. “Radiohead, Rihanna, Black Eyed Peas and Zaz are all on my iPod and I love them,” she says. Asked what she might do if offered more than 24 hours in the day, she enthused, “I would love to be a food critic!” Like all young, dynamic artists, Wang’s repertoire is continually evolving. “Every composer sounds better with maturity and originality. Each work is a personal statement, and like any personal statement, each one is fascinating once you start to explore it,” she says. “It is that process that I enjoy. I love Chopin, and am enchanted by Scriabin, Beethoven, Bach, Schumann and Brahms. There is so much great music to discover in the years to come. I’ll simply see where life takes me.” Expressed another way on her Twitter feed last year, Wang quoted Mahler: “Tradition is tending the flame, it’s not worshipping the ashes.” 

applause at Strathmore • SEPTEMBER/OCTOBER 2013 23

Special Advertising Section

Culture

WATCH Literary Luncheon Series Presented by Friends of the Library Montgomery County 11:30am-1:30pm, Strathmore Mansion October 17 – Peggy Engel will discuss her career in journalism and her playwriting experience. November 21 – Author Sara Taber will discuss her new biography, Born under an Assumed Name: the Memoir of a Cold War Spy’s Daughter.

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Round House Theatre 4545 East-West Highway, Bethesda Onstage during September & October Round House Theatre launches its 2013/14 Bethesda season with The Beauty Queen of Leenane, an award-winning tragicomedy about a battling mother and daughter by acclaimed playwright and filmmaker Martin McDonagh. (Aug. 21-Sept. 15). It’s followed by the area premiere of Melissa James Gibson’s Off-Broadway hit This, an un-romantic comedy with music about entering the choppy waters of middle age (Oct. 9-Nov. 3). Box Office: 240-644-1100. www.roundhousetheatre.org

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PARTY ARTY FOR A GREAT CAUSE! MONTGOMERY COUNTY EXECUTIVE’S BALL BENEFITTING THE ARTS & HUMANITIES

Sunday, November 24, 6pm Bethesda North Marriott Conference Center 5701 Marinelli Road, North Bethesda Your hosts County Executive Ike Leggett and First Lady Catherine Leggett invite you to join Montgomery County’s leaders and supporters of our County’s arts and humanities for a night of creativity and fun as we kick up our heels to celebrate our cultural treasures. Visit our website for details. Tickets go on sale in September. Individual tickets: $125. Photo: Clark W. Day Photo-Graphics

For sponsorship and event information, call 301-244-9836. www.mocoexecball.org

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LIVE & LEARN BETHESDA

Live & Learn Bethesda is a non-profit organization that provides adult education classes at the Bethesda Chevy Chase Regional Services Center. We are conveniently located in downtown Bethesda adjacent to the Bethesda Metro and the Montgomery County parking garage. Visit www.liveandlearnbethesda.org to view our current catalog, register for classes, or request a catalog. Request a catalog by: Email: info@liveandlearnbethesda.org Phone: 301-740-6150 Mail: 4805 Edgemoor Lane, Bethesda, MD 20814

THE KLEZMATICS

Saturday, November 23, 8pm Cultural Arts Center Montgomery College Silver Spring, MD 7995 Georgia Avenue, Silver Spring, MD 20910 Join us for a spectacular advance celebration of Hanukkah. Reserved Seating Tickets on sale September 1. Purchase tickets at www.montgomerycollege.edu/cac or call 240-567-5775

JEWISH ROOTS BAND

Romantic Sentiments National Philharmonic Zuill Baily, cello Piotr Gajewski, conductor Oct. 26, 8pm & Oct. 27, 3pm Brahms Tragic Overture Schumann Cello Concerto Brahms Symphony No. 1 301-581-5100 www.nationalphilharmonic.org

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Saturday, September 21, 2013, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Scheherazade & 1812 Overture Marin Alsop, conductor Timothy McAllister, saxophone United States Navy Band Sea Chanters

The Star Spangled Banner Arrangement commissioned by the Baltimore Symphony Orchestra

John Stafford Smith (arr: James Lee III) (1750-1836)

Scheherazade, Op. 35 Nikolai Rimsky-Korsakov Largo e maestoso - Allegro non troppo (1844-1908) Lento - Allegro molto Andantino quasi allegretto Allegro molto INTERMISSION

Saxophone Concerto John Adams Animato (1947-) Molvo vivace Timothy McAllister

1812, Overture solonelle, Op. 49 Piotr Ilyich Tchaikovsky U.S. Navy Band Sea Chanters (1840-1893) John Adams’ Saxophone Concerto is co-commissioned by the Baltimore Symphony Orchestra, Sydney Symphony Orchestra, Saint Louis Symphony and the Orchestra Sinfonica do Estado de São Paulo. Support for the BSO’s commissioning of new works is provided by a generous legacy gift from Mr. and Mrs. Randolph S. Rothschild. Presenting Sponsor: M&T Bank The concert will end at approximately 10 p.m. The Music Center at Strathmore • Marriott Concert Stage

Marin Alsop, conductor Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vision and distinction who passionately believes that “music has

the power to change lives.” She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra.

26 applause at Strathmore • SEPTEMBER/OCTOBER 2013

With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008. Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry. Additionally, her success was recognized when, in 2013, her tenure was extended to the 20202021 season. Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. In the summer of 2011, Alsop served her 20th season as music director of the acclaimed Cabrillo Festival of Contemporary Music in California. Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.”

Timothy McAllister, saxophone

Acclaimed soloist and member of the renowned PRISM Quartet, Timothy McAllister is one of America’s premier concert saxophone performers and a champion of contemporary music. Credited with more than 150 premieres of new compositions by eminent and emerging composers worldwide, his celebrated work is highlighted in the Deutsche Grammophon DVD release of the world premiere of John Adams’ City Noir, filmed as part of Gustavo Dudamel’s inaugural concert as music director of the Los Angeles Philharmonic. Prior to the U.S. premiere with the Baltimore Symphony Orchestra, he gave the world premiere of John Adams’ Saxophone Concerto with the Sydney Symphony Orchestra. McAllister has recently appeared as soloist with the Albany Symphony

ALSOP PHOTO BY dean alexander; McAllister photo by RR Jones

SATURDAY SEPTEMBER 21, 2013, 8 P.M.

Saturday, September 21, 2013, 8 p.m.

Orchestra, Cabrillo Festival Orchestra, Reno Philharmonic Orchestra, Boston Modern Orchestra Project, The United States Navy Band, Dallas Wind Symphony, Hong Kong Wind Philharmonia, Pacific Symphony and the Nashville Symphony, among others. Timothy McAllister is making his BSO debut.

United States Navy Band Sea Chanters

The Sea Chanters is the United States Navy’s official chorus. The ensemble performs a variety of music ranging from traditional choral music to opera, Broadway and contemporary music. The Sea Chanters have appeared at The Kennedy Center Honors and with the National Symphony Orchestra for the National Memorial Day concerts at the U.S. Capitol. The group also has appeared on Larry King Live and CBS This Morning, as well as at the premiere of the movie Pearl Harbor. Other notable orchestral appearances include the Kansas City Symphony, the Boston Pops Esplanade Orchestra, the Baltimore Symphony Orchestra and the Cincinnati Pops Orchestra. The United States Navy Band Sea Chanters Chorus is making its BSO subscription debut.

Program Notes Scheherazade, Op. 35

Nikolai Rimsky-Korsakov Born March 18, 1844, in Tikhvin, Russia; died June 21, 1908, in Lyubensk, near St. Petersburg, Russia

Rimsky-Korsakov’s Scheherazade is as intoxicating and seductive as the alluring storyteller for whom it is named. A joy for both audiences and musicians, it is music to make one fall in love with the symphony orchestra itself: its power, its delicacy and its limitless palette of instrumental colors. In fact, Scheherazade could well be called a “concerto for orchestra,” with the solo violin, representing the Persian enchantress, the leader of a company of individual soloists and

sections playing as ensemble soloists. Created during the summer of 1888, Scheherazade was inspired by the Persian legend of the cruel Sultan who ordered all his wives to be put to death after their wedding night, and of Scheherazade who so beguiled him with her 1,001 tales that he kept postponing her execution until finally she won his love. But Rimsky does not tell any of her stories in detail, and he urged audiences not to take his movement titles too literally: “I meant these hints to direct slightly the hearer’s imagination on the path which my own fancy had traveled, and to leave more … particular conceptions to the … mood of each [listener].” Rimsky used only a few exotic melodies to build this lengthy work, and— depending on their context, tempo and orchestral guise—they play different roles in different movements. He did, however, set a framework around the work. At the beginning, we hear the Sultan gruffly ordering Scheherazade to begin her first story in a loud, harsh orchestral unison. After “once-upona-time” chords in the woodwinds, the solo violin enters as the voice of Scheherazade. Rimsky again returns to the violinist/heroine to open the second movement, and, as he begins the final one, we hear the Sultan’s voice begging for another story. At work’s end, the Sultan’s theme has been transformed: he is putty in Scheherazade’s hands as she floats a harmonic high E at the top of the violin’s range. The four movements are essentially self-explanatory. In the first, after Scheherazade’s introduction come surging arpeggios in the cellos and violas: we are on the high seas with Sinbad the Sailor. The second movement, “The Story

of the Kalander Prince,” is built around an exotic Middle Eastern-style melody introduced by the solo bassoon. The fourth movement is the most complex: it begins with the riotous color and swirling activity of “The Festival of Baghdad,” and then, at the festival’s height, sends us suddenly back to Sinbad’s seas, as the low strings billow and a fierce storm screams overhead in the woodwinds. With a huge timpani crash, the ship is wrecked, and we return to the Sultan ready to live happily ever after with Scheherazade and her marvelous stories. Saxophone Concerto

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

“My Saxophone Concerto was composed in early 2013, the first work to follow the huge, three-hour oratorio, The Gospel According to the Other Mary. Despite their very different atmospheres and subject matter, both Other Mary and the Saxophone Concerto share peculiar affinities, particularly in the use of modal scales and the way they color the emotional ambience of the music. This new concerto has as its source my lifelong exposure to the great jazz saxophonists, from the swing era through the likes of John Coltrane, Eric Dolphy and Wayne Shorter. American audiences know the saxophone almost exclusively via its use in jazz, soul and pop music. The instances of the saxophone in the classical repertory are rare, and the most famous appearances amount to only a handful of solos in works by Ravel, Milhaud, Prokofiev, Rachmaninoff and Bernstein. Having grown up hearing the sound of the saxophone virtually every day—my

applause at Strathmore • SEPTEMBER/OCTOBER 2013 27

Saturday, September 21, 2013, 8 p.m.

father had played alto in swing bands during the 1930s and our family record collection was well stocked with albums by the great jazz masters—I never considered the saxophone an alien instrument. My 1987 opera Nixon in China is almost immediately recognizable by its sax quartet, which gives the orchestration its special timbre. I followed Nixon with another work, Fearful Symmetries, that also features a sax quartet in an even more salient role. In 2010, I composed City Noir, a jazz-inflected symphony that featured a fiendishly difficult solo part for alto sax: a trope indebted to the wild and skittish styles of the great bebop and post-bop artists. Finding a sax soloist who could play in this style but who was sufficiently trained to be able to sit in the middle of a modern symphony orchestra was a difficult assignment. But fortunately I met Tim McAllister, who while rigorously trained is also aware of the jazz tradition. When one evening during a dinner conversation Tim mentioned that during high school he had been a champion stunt bicycle rider, I knew that I must compose a concerto for this fearless musician and risk-taker. A composer writing a violin or piano concerto can access a gigantic repository of past models for reference, inspiration or even cautionary models. But there are precious few worthy concertos for saxophone. But I knew many great recordings from the jazz past that could form a basis for my compositional thinking, among them Focus, a 1961 album by Stan Getz for tenor sax and an orchestra of harp and strings arranged by Eddie Sauter. Classical saxophonists are normally taught a “French” style very much at odds with the looser, grittier style of a jazz player, and in the discussions we had during the creation of the piece, I returned over and over to the idea of an “American” sound for Tim to use as his model. Such a change is no small thing; it would be like asking a singer used to singing Bach cantatas to cover a Billy Holiday song. While the concerto is not meant to sound jazzy per se, its jazz influences lie only slightly below the surface. I make constant use of the instrument’s vaunted agility as well as its capacity for a lyrical

Baltimore Symphony Orchestra Marin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair Jack Everly, Principal Pops Conductor Yuri Temirkanov, Music Director Emeritus Alexandra Arrieche, BSO-Peabody Conducting Fellow

First Violins Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair Igor Yuzefovich* Assistant Concertmaster Rui Du Acting Assistant Concertmaster James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto Gregory Mulligan Rebecca Nichols E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko Second Violins Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic Associate Principal Angela Lee Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya Minsun Choi** Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Karin Brown Assistant Principal

28 applause at Strathmore • SEPTEMBER/OCTOBER 2013

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

Clarinets Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken E-flat Clarinet Christopher Wolfe Bassoons Fei Xie Principal Julie Green Gregorian Assistant Principal Benjamin Greanya** Contrabassoon David P. Coombs Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Lisa Bergman Mary C. Bisson Bruce Moore Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Nathaniel Hepler Trombones Joseph Rodriguez** Acting Principal James Olin Co-Principal John Vance Bass Trombone Randall S. Campora Tuba David T. Fedderly Principal Timpani James Wyman Principal Christopher Williams Assistant Principal

Percussion Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl Harp Sarah Fuller** Piano Lura Johnson** Sidney M. and Miriam Friedberg Chair Director of Orchestra Personnel 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 Charles Lamar Sound Mario Serruto Lighting Director *on leave ** Guest musician

Saturday, September 21, 2013, 8 p.m.

utterance that is only a short step away from the human voice. The form of the concerto is a familiar one for those who know my orchestral pieces, as I’ve used it in my Violin Concerto, in City Noir and in my piano concerto Century Rolls. It begins with one long first part combining a fast movement with a slow, lyrical one. This is followed by a shorter second part: a species of funk-rondo with a fast, driving pulse. The concerto lasts roughly 32 minutes, making it an unusually expansive statement for an instrument that is still looking for its rightful place in the symphonic repertory.” John Adams, July 2013 1812, Overture solonelle, Op. 49

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

The year 1812 was the beginning of the end for Napoleon Bonaparte and his dreams of conquering Europe, and

the country that thwarted him was Russia. On Sept. 7, 1812, Napoleon’s army met the massive Russian forces under Gen. Kutuzov in the Battle of Borodino, which ended indecisively with more than 80,000 casualties. Kutuzov cleverly withdrew his forces behind Moscow, and when Napoleon arrived there, he found the city in flames, nothing to win, and no food or supplies for his troops. The brutal Russian winter did the rest of the work, and Napoleon limped out of Russia with his troops decimated. Nearly 70 years later in 1880, Tchaikovsky was asked by his friend Nikolai Rubinstein, director of the Moscow Conservatory, to write a patriotic piece for the opening of the Russian Exhibition of Industry and the Arts, and more specifically for the consecration of the Cathedral of Christ the Savior. Begrudging the labor necessary for such an unrewarding task, Tchaikovsky ripped the composition out in just a week and finished the scoring one

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month later. Tchaikovsky’s speed in turning out what is probably today his most famous composition was aided by his stitching the work together from a number of pre-existing melodies. In a slow, brooding introduction, it opens with a beautiful, traditional Russian Orthodox chant “Save, Lord, Thy People,” deep in the strings. This opening section also introduces a dashing military-signal-style tune representing the Russian army, which will play an important role in the work’s conclusion. The main Allegro section introduces the French national hymn “La Marseillaise,” which battles with the Russian themes. A quieter lyrical section quotes from a swaying melody in Tchaikovsky’s early opera, The Voyevoda, as well as a traditional Russian folk-dance song “At the Gates.” Finally, a grandiose coda salutes the Russian victory with an imposing statement of the Russian imperial hymn “God Save the Tsar.” Notes by Janet E. Bedell copyright 2013

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Thursday, September 26, 2013, 8 p.m.

Thursday, september 26, 2013, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Thibaudet Plays Bernstein Marin Alsop, conductor Jean-Yves Thibaudet, piano Cuban Overture

George Gershwin (1898-1937)

ymphony No. 2, “The Age of Anxiety” S Part I The Prologue: Lento moderato The Seven Ages: Variations 1-7 The Seven Stages: Variations 8-14 Part II The Dirge: Largo The Masque: Extremely fast The Epilogue: L’istesso tempo Adagio - Andante - con moto

Leonard Bernstein (1918-1990)

Program Notes Cuban Overture

George Gershwin Born Sept. 26, 1898 in Brooklyn, N.Y.; died July 11, 1937, in Beverly Hills, Calif.

Jean-Yves Thibaudet INTERMISSION

Piano Concerto in G Major Allegramente Adagio assai Presto Jean-Yves Thibaudet

Maurice Ravel (1875-1937)

Suite No. 2 from Daphnis et Chloé Lever du jour Pantomime Danse générale

Maurice Ravel

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

Marin Alsop, conductor

For Marin Alsop’s biography see page 26.

Jean-Yves Thibaudet, piano

Jean-Yves Thibaudet, “one of the best pianists of our time” (New York

son d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo Awards and the Edison Prize. In 2010, Thibaudet released his latest CD, Gershwin, featuring “big jazz band” orchestrations of Rhapsody in Blue, variations on “I Got Rhythm,” and Concerto in F live with the Baltimore Symphony Orchestra and its music director, Marin Alsop. In 2012, Thibaudet recorded the soundtrack of the film, Extremely Loud & Incredibly Close. Known for his style and elegance, Thibaudet wears a concert wardrobe designed by Vivienne Westwood. Jean-Yves Thibaudet last appeared with the BSO in November 2009, performing George Gershwin’s Rhapsody in Blue and Concerto in F and Franz Liszt’s Totentanz, with Marin Alsop conducting.

Sun), has the rare ability to combine poetic musical sensibilities with dazzling technical prowess. Thibaudet has performed for more than 30 years and recorded more than 40 albums, and has a depth and natural charisma that have made him one of the most sought-after soloists. A recording artist for Decca, he has won the Schallplattenpreis, the Diapa-

30 applause at Strathmore • SEPTEMBER/OCTOBER 2013

George Gershwin was very conscious of his lack of early formal musical training and, in adulthood, studied with various teachers to remedy it whenever his frenetic schedule allowed. Although he’d allowed Ferde Grofé to score Rhapsody in Blue, he orchestrated all his subsequent concert pieces himself and bristled at journalists who periodically accused him of letting others polish his work. Just how sophisticated his mastery of the orchestra became can be heard in his Cuban Overture, written in 1932. At that time, Gershwin was studying theory and composition with Joseph Schillinger, a graduate of the St. Petersburg Conservatory, and this piece grew from his lessons in counterpoint (the art of weaving together multiple musical lines). It was also inspired by a vacation he’d taken in Cuba that winter; he became fascinated with Cuban dance music and returned with several Cuban percussion instruments in his luggage—bongo drums, Cuban sticks or claves, gourd and maracas—

Thursday, September 26, 2013, 8 p.m.

that received prominent parts in his new work. By the summer of 1932, he was rapidly completing the Overture for a mammoth all-Gershwin concert held outdoors at New York’s Lewisohn Stadium on Aug. 16. That concert was a spectacular success, with 18, 000 in attendance and thousands more turned away at the gates. Cuban Overture is in three sections, opening and closing with the fast, intricate rumba music featuring the indigenous Cuban instruments. In the middle, a lengthy slow section shows Gershwin’s ability to create a subtle, haunting atmosphere conjuring a tropical night. The brilliant orchestration throughout suggests the composer had learned a thing or two from his friend Maurice Ravel, but the verve and melodic inspiration are pure Gershwin. Symphony No. 2, “The Age of Anxiety”

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

None of the three works Leonard Bernstein labeled as symphonies in any way resembles a conventional orchestral symphony. Symphony No. 1, “Jeremiah,” includes a singer and chorus and is built around Old Testament texts in Hebrew. Symphony No. 3, “Kaddish,” which the BSO performed last season, combines choruses, vocal soloist and a spoken text to express what is essentially Bernstein’s very personal argument with God. And inspired by W. H. Auden’s long poem of the same name, Symphony No. 2, “The Age of Anxiety,” which we will hear at these concerts, is a highly dramatic work that resembles both a tone poem and a piano concerto. As the composer himself candidly admitted: “If the charge of ‘theatricality’ in a symphonic work is a valid one, I am willing to plead guilty. I have a deep suspicion that every work I write, for whatever medium, is really theatre music in some way.” Though not a word is spoken or sung in Symphony No. 2, it is as much tied to a literary text as are “Jeremiah” and

“Kaddish.” Bernstein was an insatiable reader, and he was utterly captivated by Auden’s Pulitzer Prize-winning poem, which he discovered soon after its publication in 1947. “From that moment, the composition of a symphony... acquired an almost compulsive quality,” Bernstein remembered, “and I worked on it steadily... in Taos, in Philadelphia, in Richmond, Mass., in Tel Aviv, in planes, in hotel lobbies.” The orchestration was done in the midst of a tour with the Pittsburgh Symphony, during which Bernstein conducted 25 concerts in 28 days. As was to happen throughout his life, the need to compose was already in conflict with the demands of his exploding conducting career. Bernstein based his hybrid work closely on the six-part format of the poem and its focus on the conversations of three men and a woman during a long, alcohol-fueled night in a wartime New York City bar. “The essential line of the poem (and of the music) is a record of our difficult search for faith. In the end, two of the characters enunciate the recognition of this faith... at the same time revealing an inability to relate to it in their daily lives, except through blind acceptance.” Bernstein explained that “the conception of a symphony with piano solo emerges from the personal indentification of myself with the poem. In this sense, the pianist provides an autobiographical protagonist, set against an orchestral mirror.” Appropriately, Bernstein himself played the solo part at “Age of Anxiety’s” premiere performance on April 8, 1949, with the Boston Symphony conducted by Serge Koussevitzky. The composer dedicated the work to Koussevitzky, who had been his conducting mentor and given him his first big opportunities on the podium. “Age of Anxiety” is an extremely eclectic score in which Bernstein mingled influences from many composers he loved and frequently conducted: Stravinsky, Shostakovich, Britten, Brahms and Rachmaninoff (for the virtuosic keyboard flights). More personal were many borrowings from his own earlier scores, as well as the exhilarating

piano jazz of the fifth movement, “The Masque,” based on his flair for improvising jazz at the keyboard. Here are Bernstein’s own descriptions of the Symphony’s six sections: Part I: “The Prologue finds four lonely characteers, a girl and three men, in a Third Avenue bar, all of them insecure and trying, through drink, to detach themselves from their conflicts or, at best, to resolve them. They... begin a kind of symposium on the state of man. Musically, the Prologue is a very short section consisting of a lonely improvisation by two clarinets... followed by a long descending scale which acts as a bridge into the realm of the unconscious, where most of the poem takes place. “The Seven Ages. The life of man is reviewed from the four personal points of view. This is a series of variations, which differ from conventional variations in that they do not vary any one common theme. Each variation seizes upon some feature of the preceding one and develops it, introducing... some counter-features upon which the next variation seizes. ... “The Seven Stages. The variation form continues for another set of seven, in which the characters go on an inner symbolic journey... leading back to a point of comfort and security. The four try every means, going singly and in pairs, exchanging partners and always missing the objective. When they awaken from this dream-odyssey, they are closely united through a common experience (and through alcohol) and begin to function as one organism. This set of variations begins to show activity and drive and leads to a hectic, though inconclusive, close.” Part II: “The Dirge is sung by the four as they sit in a cab en route to the girl’s apartment for a nightcap. They mourn the loss of the ‘colossal Dad,’ the great leader who can alway give the right orders, find the right solution, shoulder the mass responsibility and satisfy the universal need for a father-symbol. This section employs, in a harmonic way, a 12-tone row out of which the main theme evolves. There is a contrasting middle section of almost Brahmsian romanticism, in which can be felt the self-indulgent aspect of this strangely

applause at Strathmore • SEPTEMBER/OCTOBER 2013 31

Thursday, September 26, 2013, 8 p.m.

pompous lamentation. “The Masque finds the group in the girl’s apartment, weary, guilty, determined to have a party, each one afraid of spoiling the others’ fun by admitting that he should be home in bed. This is a scherzo for piano and percussion alone. ... The party ends in anticlimax and the dispersal of the actors. ... Thus, a kind of separation of the self from the guilt of escapist living has been effected, and the protagonist is free again to examine what is left beneath the emptiness. “The Epilogue. What is left, it turns out, is faith. The trumpet intrudes its statement of ‘something pure’ upon the dying pianino [upright piano in the orchestra]; the strings answer in a melancholy reminiscent of the Prologue. ... All at once, the strings accept the situation in a sudden statement of the newly recognized faith. ... The way is open, but at the conclusion, is still stretching long before the [protagonist].” Piano Concerto in G Major Daphnis et Chloé Suite No. 2

Maurice Ravel Born March 7, 1875, in Ciboure, BassesPyrenées, France; died Dec. 28, 1937, in Paris

Maurice Ravel was a masterful composer for both the orchestra and the piano. Strangely, he did not combine these sonorities until late in his career, when he wrote two remarkable concertos: the Concerto for the Left Hand and the Concerto in G Major for both hands. The impetus for the Concerto in G was Ravel’s need for a work to show off his performing skills during a North American tour in 1928, but this painstakingly slow creator did not manage to launch the concerto before his boat left. It was finally written between 1929 and 1931. Opposed to the heavy Teutonic approach of Beethoven and Brahms, Ravel declared: “The music of a concerto should, in my opinion, be light-hearted and brilliant, and not aim at profundity or at dramatic effects.” An elegant demonstration of this belief, the Concerto in G was enormously successful at its premiere in Paris on Jan. 14, 1932. Its first movement mixes

a timeless exoticism, arrayed in Ravel’s most sparkling orchestral hues, with a percussive, jazz-driven 20th-century pace. The opening is arresting: The crack of a whip sets off dazzling, bell-like music with the pianist playing white keys in the right hand against clashing black keys in the left. The piccolo whirls through a piquant melody, inspired by the folk melodies of Ravel’s native Basque country. Then the tempo slows to a bluesy mood, with wailing clarinet and muted trumpet melodies that George Gershwin himself might have penned. Jazz takes a rest during the delicately beautiful slow movement, which is in the antique style of the composer’s famous “Pavane for a Dead Princess.” Playing alone, the piano sings a long, pensive melody with sensitive woodwind commentary. Later, the English horn reprises this melody while the piano shimmers around it. The finale brings back the world of jazz with a light-hearted, highspeed chase in which the piano is nearly always the leader, urged on by mocking orchestral laughter. Ravel’s score for the ballet Daphnis et Chloé is generally acknowledged to be his greatest work. Even Igor Stravinsky, who tended to be stingy with his praise, called it “one of the most beautiful products in all of French music.” Yet, as the offspring of clashing artistic temperaments, it had a painful birth. In 1909, Sergei Diaghilev presented the first season of his Ballets Russes in Paris, and his spectacular dancers—including the incomparable male star Nijinsky—daring choreography and eyefilling sets by Leon Bakst captivated the Parisian public. Thus when Diaghilev approached Ravel for a ballet score for the company’s next season, the composer readily agreed. Ravel; Diaghilev; and his brilliant choreographer, Michel Fokine, chose to set the story of the shepherd-lovers Daphnis and Chloé from the third-century A.D. pastoral romance by the Greek writer Longus. But it is that there agreement ended. Fokine and Bakst envisioned a primitive Greece with imagery based on the stylized figures of ancient Greek pottery.

32 applause at Strathmore • SEPTEMBER/OCTOBER 2013

Ravel, instead, saw the ancient setting in more idealized terms: “a vast musical fresco, concerning itself less with archaic fidelity, than with fidelity to the Greece of my dreams, which in many ways resembled that… depicted by the French artists of the 18th century.” This artistic conflict, combined with Ravel’s slow, meticulous method of composition, and linguistic difficulties between Fokine, who spoke little French, and Ravel, who claimed “I only know how to swear in Russian,” delayed the production for several seasons. The premiere finally came on June 8, 1912, with Nijinsky and the great Tamara Karsavina dancing the title roles and Pierre Monteux conducting. Ravel extracted two concert suites from the score, and the Second Suite—which comprises the ballet’s third and final tableau—is by far the more often performed. It has three interlocking movements: “Dawn,” “Pantomine” and “Final Dance.” Earlier in the story, Daphnis and Chloé’s love has been tested by rivals, and Chloé has been abducted by pirates, but she is rescued by the miraculous intervention of the god Pan. The third act opens with “probably the most famous dawn in all music” (Robin Holloway). Master orchestrator that he was, Ravel paints the sunrise with all the Technicolor sounds he can conceive: the ripple of brooks; the chatter of birds; and, from deep in the orchestral strings, a magnificent song portraying the rising sun, finally gleaming aloft in the violins. Daphnis awakes, searches frantically for Chloé and, at the crest of the second crescendo, sees her returning with a party of shepherdesses. Seeing the crown on her head, he realizes that Pan has saved her in memory of his love for the nymph Syrinx. Daphnis and Chloé then mime the courtship of Pan and Syrinx and Pan’s invention of the flute, celebrated in a glorious extended flute solo. The two lovers swear their eternal fidelity to solemn, brass-dominated music. Nymphs and shepherds surround them for a joyously pagan dance. Here Ravel’s 18th-century ideal seems at last to yield to the full-blooded style of his Russian colleagues. Notes by Janet E. Bedell copyright 2013

Learn more at WPAS.org

Friday, September 27, 2013, 8 P.M.

FRIDAY, SEPTEMBER 27, 2013, 8 P.M.

● Strathmore Presents

Sandy Hackett’s Rat Pack Show Sandy Hackett, writer, producer, creator Lisa Dawn Miller, producer Billy Karl, director Ryan Rose, music director Mark Matson, technical director Jeanne Quinn, art director Sandy Hackett, Joey Bishop Tom Wallek, Dean Martin Louie Velez, Sammy Davis, Jr. Danny Grewen, Frank Sinatra Lisa Dawn Miller, Frank’s One Love Buddy Hackett, Voice of God, inspiration Ron Miller, composer, inspiration “Hello Again (Hello Detroit)” Berry Gordy (1929-) and Willie Hutch (1944-2005)

“The Best is Yet to Come” Cy Coleman (1929-2004) and Carolyn Leigh (1926-1983)

“My Kind of Town” Sammy Cahn (1913-1993) and Jimmy Van Heusen (1913-1990)

“Fly Me to the Moon” Bart Howard (1915-2004)

“Drink to Me Only” Larry Shay, Mark Fisher and Joe Goodwin

“You Make Me Feel So Young” Josef Myrow (1910-1987) and Mack Gordon (1904-1959)

“That’s Amore” Harry Warren (1893-1981) and Jack Brooks (1912-1971)

“I Got You Under My Skin” Cole Porter (1891-1964)

“Volare (Nel Blu Dipinto Di Blu)” Domenico Modugno (1928-1994), Franco Migliacci (1930-) and Mitchell Parish (1900-1993) “That Old Black Magic” Harold Arlen (1905-1986) and Johnny Mercer (1909-1976) “What Kind of Fool Am I” Anthony Newley (1931-1999) and Leslie Bricusse (1931-)

“Sam’s Song” Jack Elliot (1914-1972) and Lew Quadling (1906-1987) “Will I Still Be Me?” (“Mr. Bojangles” Intro) Ron Miller (1933-2007) and Kenneth Hirsch (“Mr. Bojangles Intro” by Jerry Jeff Walker) INTERMISSION Frank Sinatra Medley: “Come Fly With Me” Jimmy Van Heusen and Sammy Cahn “That’s All” Alan Brandt and Bob Haymes (1923-1989)

“For Once in My Life” Ron Miller and Orlando Murden “The Things I Should Have Said” / “Wasn’t I A Good Time” Ron Miller and Kenneth Hirsch “Me and My Shadow” Billy Rose (1899-1966), Al Jolson (1886-1950) and Dave Dreyer (1894-1967) “Luck Be A Lady” Frank Loesser (1910-1969) “A Foggy Day” George Gershwin and Ira Gershwin “Mack the Knife” Kurt Weill (1900-1950) and Bertolt Brecht (1898-1956) “My Way” Paul Anka (1941-), Claude François (1939-1978) and Jacques Revaux (1940-) “New York, New York” Fred Ebb (1928-2004) and John Kander (1927-) “Birth of the Blues” Ray Henderson (1896-1970), Buddy DeSylva (1895-1950) and Lew Brown (1893-1958)

The Music Center at Strathmore • Marriott Concert Stage

34 applause at Strathmore •SEPTEMBER/OCTOBER 2013

Friday, September 27, 2013, 8 P.M.

Tom Wallek

Sandy Hackett’s Rat Pack

Sandy Hackett is the son of legendary comedian Buddy Hackett. When HBO announced it was going to do a movie about the legendary Rat Pack, longtime family friend Joey Bishop suggested Hackett would be perfect for the role of Joey. Although the part eventually went to someone else, the Rat Pack idea stayed with Hackett, who decided to open his own show re-creating Bishop and his famous buddies. Sandy Hackett’s Rat Pack Show features performances by Sandy Hackett (Joey Bishop); his wife, Lisa Dawn Miller (Frank’s One Love); Danny Grewen (Frank Sinatra); Louie Velez (Sammy Davis, Jr.) and Tom Wallek (Dean Martin). The musical team is led by Christopher Hardin and conductor/drummer Ryan Rose.

dian, Hackett has worked as a dramatic actor in the films Jack of Hearts, Lovers & Liars and Ex-Cop. He also portrayed District Attorney Martin Siegel in the acclaimed PBS series, On Common Ground.

Danny Grewen

Danny Grewen has been performing as Frank Sinatra since 2005. When not portraying Sinatra, Grewen can be found fronting one of his own bands, The Carlitos, High Society and Horace-Scope.

Louie Velez

Louie Velez’s portrayal of Sammy Davis Jr. has been captivating audiences since he began his tribute back in New York circa 1987. He remembers watching Sammy Davis Jr. on TV and trying to imitate him while viewing Sandy Hackett The Ed Sullivan Show. Sandy Hackett is the creator of Sandy Velez has appeared on The Tonight Hackett’s Rat Pack Show. Son of the late Show and The Miss Universe Pagcomedian Buddy Hackett, Sandy Hackett eant. He opened at the MGM for the portrays Joey Bishop in the show. original Four Tops and appeared at Sandy Hackett honed his comedic skills on stage at the Casbah of the Sahara Hotel the Victor Awards at the Las Vegas & Casino in Las Vegas. Before long, he was Hilton. Velez also appeared in Legends working the Playboy and Comedy Club cir- in Concert for several years at the cuit nationally. As fate would have it, Sandy Imperial Palace in Las Vegas, which brought him to Bally’s Park Place in got to work with Sammy Davis Jr., Dean Atlantic City and other major cities Martin and Frank Sinatra in the film, The nationwide. Cannonball Run II. It wasn’t long before he Prior to his days as Sammy Davis Jr., landed a feature role in Hot Dog. The Movie. This was followed up with a starring role in Velez opened in an upstate New York summer theater for Tom Jones and Hamburger. The Motion Picture. Tony Orlando. Although known primarily as a come-

Tom Wallek is a Brooklyn, N.Y.- born comedian, actor and impressionist. He moved to the Detroit area when he was young and graduated from Farmington High School. Voted the funniest in his class, he learned early on that making people laugh was a lot of fun. After four years in the U.S. Navy, which took Wallek to San Diego, the comedy bug hit hard. He started performing every Sunday at the world famous Comedy Store, and in 1984 Wallek moved to Las Vegas where he met and became friends with Sandy Hackett. Small clubs and venues followed. Then in 1991 Wallek landed a part in Comedy Cabaret at the Maxim and later that year performed as the lead in Tropical Heat, a show at the Rio.

Lisa Dawn Miller

Lisa Dawn Miller, daughter of the late songwriter Ron Miller, spent the first part of her life as a stockbroker and financial planner. She has decided to take her knowledge from the business world and turn it toward her first love—singing, writing and producing. Miller has performed many of her father’s hits, as well as original songs she had co-written with him. She received critical acclaim for her show I Want To Come Back As A Song: Ron Miller, A Knight of Lyrics. In addition, she has been going through the personal Miller music vault to discover many neverbefore-heard songs written by her father, that she has now remade, produced and is releasing through various recording projects and live stage productions.

Buddy Hackett

Buddy Hackett was dearly loved for his gift of making people laugh. His first job as a comedian was at the Pink Elephant, a tiny club in Brooklyn. He went on to appear on Broadway and multiple appearances on The Tonight Show and The Jackie Gleason Show. Hackett became a lifelong friend of Frank Sinatra and the rest of the Rat Pack, appearing with them in several Vegas performances and at Carnegie Hall. He also appeared on the incarnations of Joey Bishop’s shows and on The

applause at Strathmore • SEPTEMBER/OCTOBER 2013 35

Friday, September 27, 2013, 8 P.M.

Dean Martin Show. Hackett made several guest appearances and cameos on TV shows, including Space Rangers, Sabrina the Teenage Witch and Boy Meets World. He also provided the voice of Scuttle the seagull in The Little Mermaid.

Ron Miller

The late songwriter was one of Motown Records’ original staff writers. His hits include “For Once in My Life,” “Touch Me in the Morning,” “Heaven Help Us All,” “Yester-me, Yester-you, Yesterday,” “A Place in the Sun,” “Someday At Christmas,” “I’ve Never Been to Me” and “If I Could.” His classic standard, “For Once in My Life,” has been recorded by more than 400 artists. Miller also wrote the book and lyrics to many musicals, including Daddy Goodness and Cherry, based on William Inge’s play, Bus Stop. Some of Miller’s previously unheard songs from his catalogue have been incorporated into Sandy Hackett’s Rat Pack Show to cre-

ate an unspoken narrative. In 2007, Miller was posthumously awarded the Heroes & Legends Award for lifetime achievement in songwriting.

Billy Karl

A native New Yorker, Karl graduated at the top of his film and television program at New York University’s Tisch School of the Arts. After graduation he went on to film and direct commercials for NBC, ABC, CBS, Warner Brothers, Citibank, Paramount Pictures, Purina, General Motors, DeLorian Motors and Nissan. He also has written and directed performances in Los Angeles, and worked radio, television and commercial production.

Ryan Rose

Ryan Rose started playing music at an early age. While studying at Wayne State University, he performed with the big band, show choir and vocal jazz ensemble. He later worked in Las Vegas with the lounge band Fahrenheit and

also has performed Latin jazz and Brazilian music with percussionist Michito Sanchez.

Mark Matson

A veteran on the Las Vegas music scene, Mark Matson has been a recording engineer/producer for more than 15 years. He has worked with performers including Celine Dion, Sheryl Crow, Huey Lewis, Sheena Easton, Boyz II Men, Megadeth and Wayne Newton. An accomplished keyboardist, guitarist and drummer, Matson also writes, records and performs original music with house/ techno group Sipping Soma.

Jeanne Quinn

Jeanne Quinn has been a professional graphic artist and award-winning web developer in the entertainment industry since 1996. Her extensive portfolio includes designs for such artists as Brendan Bowyer of the Royal Irish Showband, Jack E. Leonard, Gordie Brown, Buddy Hackett, Jon “Bowzer” Bauman of Sha Na Na, Louie Anderson and Roy Rogers.

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Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m. .

SATURDAY, September 28, 2013, 8 P.M. SUNDAY, SEPTEMBER 29, 2013, 3 P.M.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Beethoven’s Eternal Masterworks Piotr Gajewski, conductor Soovin Kim, violin

Soovin Kim, violin

“The Star Spangled Banner”

Concerto for Violin and Orchestra Ludwig van Beethoven in D Major, Op. 61 (1770-1827) Allegro ma non troppo Larghetto Rondo, Allegro INTERMISSION Symphony No. 5 in C minor, Op. 67

Ludwig van Beethoven

Allegro con brio Andante con moto Scherzo. Allegro Allegro Sunday Concert Presenting Sponsor: Ingleside at King Farm All Kids, All Free, All the Time is sponsored by The Gazette This concert is performed in honor of Todd R. Eskelsen, chair emeritus, National Philharmonic.

Gajewski PHOTO BY MICHAEL Ventura, KIM PHOTO BY LISA-MARIE MAZZUCCO

The Music Center at Strathmore Marriott Concert Stage

Piotr Gajewski, conductor

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

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.

the National Philharmonic, Gajewski is much in demand as a guest conductor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the Karlovy Vary Symphony in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States. Gajewski attended Carleton College and the University of Cincinnati, College-Conservatory of Music, where he earned a bachelor’s of music and a master’s of music in orchestral conducting. Upon completing his formal education, he continued refining his

Only 20 when he won first prize at the Paganini International Violin Competition in 1996, Soovin Kim was the first American in 24 years to receive the honor. He was later named the recipient of the Henryk Szeryng Career Award, an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award. Subsequently, he has gone on to perform with major orchestras such as the Cincinnati Chamber, Salzburg Mozarteum, Accademia di Santa Cecilia and Philadelphia orchestras; the Baltimore, San Francisco, Indianapolis, Annapolis, Stuttgart Radio, Nashville, Vermont and Moscow symphonies; the Seoul Philharmonic; and Chamber Orchestra of Philadelphia. Kim is the first violinist of the Johannes String Quartet, an ensemble that has performed newly commissioned works by Esa-Pekka Salonen, Derek Bermel and William Bolcom. Kim is a graduate of the Curtis Institute of Music, where he studied with Jaime Laredo and Victor Danchenko; he has also studied with David Cerone and Donald Weilerstein at the Cleveland Institute of Music. He currently teaches at the Peabody Conservatory, SUNY-Stony Brook and Bard College in New York.

applause at Strathmore • SEPTEMBER/OCTOBER 2013 37

Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m.

Kim plays the 1709 “ex-Kempner” Stradivarius, which is currently on loan to him.

Program Notes Concerto for Violin and Orchestra in D Major, Op. 61

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

Late in 1806, Beethoven paused while working on his Symphony No. 5 to write a violin concerto for the Viennese violinist Franz Clement (1780 - 1842). He had known Clement since 1794, when he was himself just one of many brilliant young pianists in Vienna and had sent the 14-yearold violinist a letter of endorsement and encouragement. By the time of the concerto’s composition, Clement had played in London under Haydn, acquired an official position at court and had been appointed leader (that is concertmaster and conductor) of the important new Theater an der Wien. We no longer know what Clement’s playing was like then, but Beethoven presumably did, for Clement had led the orchestra in the first production of Fidelio in 1805, and the Violin Concerto was almost certainly written to suit his style and skills. However, there are clear signs that Clement did not live up to his former performance level or his reputation and that Beethoven was disappointed in him. In 1813, when Weber became head of the Prague Opera, he hired Clement but quickly found his playing unsatisfactory. In 1824, Beethoven took great pains to avoid having him as concertmaster for the first performance of the Symphony No. 9. Clement died in poverty. Beethoven usually assembled his serious works slowly and painstakingly, but he wrote the Violin Concerto quickly, even hurriedly, for a performance at a concert Clement gave on Dec. 23, 1806. The work was not finished until the last moment, too late for the soloist to rehearse it with the

orchestra, but Clement had no doubt familiarized himself with his part during the writing. As unlikely as that may seem now, it was not an uncommon situation then, although it was admitted to be an undesirable one. Other common practices of the time would also surprise the modern concertgoer: The first movement was played before intermission; and the others, after; for a real showpiece, Clement played a work of his own composition, holding the violin upside down! One reviewer wrote, after the first performance, “Concerning Beethoven’s concerto, the judgment of connoisseurs is unanimous. Its many beauties must be conceded, but it must also be acknowledged that the endless repetition of certain commonplace passages may become tedious. It must be said that Beethoven could better employ his talents by giving us works such as the First [and Second] Symphonies, the charming Septet and others of his earlier compositions.” [Abridged] One wonders if the critic then took into account that he heard this difficult new composition in a hasty reading, rather than in a studied performance. The concerto was slow in making its way into the world; it was not until years later, when Joseph Joachim began to play it all over Europe, that it became an accepted, respected staple of the repertoire, recognized as the masterpiece it is. Beethoven headed his manuscript with a punning inscription that can be rendered in English as “Concerto clemently written for Clement,” but he published the work in 1808 with a dedication to a childhood friend, Stephan von Breuning. In 1807, the Italian composer-pianist Muzio Clementi, who had become a wealthy publisher and instrument-maker in London, persuaded Beethoven to rewrite the Violin Concerto’s solo part for piano, which he said would be much easier to sell, but that version of the work has never become popular. The Violin Concerto is a huge work, longer than anything Beethoven had written until then except the Eroica

38 applause at Strathmore • SEPTEMBER/OCTOBER 2013

Symphony. The number of musical ideas Beethoven employs is not large, but they are considered at such great length that the whole work becomes monumental. The five strokes of the timpani that open the first movement, Allegro ma non troppo, are at once a quiet demand for attention, the start of the opening theme and a motto-like rhythmic element that will pervade the movement. The slow movement, Larghetto, is a set of variations on a theme that can sound like a halting recitative or a flowing melody. The movement runs without pause into the final rondo, Allegro, a brilliant, exuberant virtuoso piece. The score calls for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Symphony No. 5 in C minor, Op. 67

Ludwig van Beethoven Fellow composer Robert Schumann, gave Beethoven’s Symphony No. 5 the greatest praise possible when he wrote that although it is often heard, yet it “still exercises its power over all ages, just as those great phenomena of nature that, no matter how often they recur, fill us with awe and wonder. This symphony will go on centuries hence, as long as the world and world’s music endure.” Beethoven’s Symphony No. 5 has always been popular and recognizable because of the famous four-note phrase with which it opens. Since Beethoven composed the symphony, critics and commentators have attempted to give that phrase some programmatic significance. Beethoven’s not altogether trustworthy friend, Anton Schindler, presumably quoted the composer as saying it represented Fate knocking at the door. Schindler, however, had a reputation for not letting facts get in the way of a good story, and the conversation in which he quoted Beethoven took place years after Beethoven finished the symphony, which makes it a bit suspect anyhow. Accounts also say that Beethoven

Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m. .

would say nearly anything to rid himself of annoying questioning about his compositions. Nevertheless, this statement began a never-ending stream of interpretations of the symphony. Whether it has a programmatic significance or not, unquestionably the phrase has definite importance musically, and it recurs throughout the entire symphony. The repetition of this phrase differs from a later named technique called “cyclical form,” in which a well-defined melody is stated in one movement, and retaining its original identity, is quoted and reused in another. Beethoven’s method is to use his musical phrase as a germinal idea that generates new phrases, which resemble the original, but are not identical with it. He begins with G and E-flat for the notes of the opening motive: these are two of the three notes that make up a C minor chord. This way he establishes the key of his symphony, and he announces a rhythmic motif, which repeats throughout the work, uniting the symphony’s four movements. Beethoven began to compose the Symphony No. 5 in 1804, just after finishing Symphony No. 3, but put it aside to finish Symphony No. 4, and, after that, worked simultaneously on the next two symphonies. He completed Symphony No. 5 early in 1808 and Symphony No. 6 in autumn of the same year. On Dec. 22, 1808, he gave a concert in which his latest works were premiered. The program included Symphonies Nos. 5 and 6; the concert aria Ah, Perfido!; a Latin hymn; the Sanctus from the Mass in C major; a fantasia for piano solo; the “Choral Fantasy” Op. 80 for piano, chorus and orchestra; and Piano Concerto No. 4. Beethoven conducted and also played the solo piano parts for this monumentally long concert. Since he completed Symphony No. 5 almost when he finished the F major Symphony No. 6, the “Pastorale,” at the premiere, bore the number 5. A contemporary observer said the concert lasted for more than four hours. The

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

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

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

Carlos A. Herrán Don Jansky Curt Jordan Tyler A. Loertscher Jane Lyle David Malloy Michael McClellan Chantal McHale Eleanor McIntire Wayne Meyer* Tom Milke Tom Nessinger Steve Nguyen Joe Richter Drew Riggs Jason Saffell Robert T. Saffell Dennis Vander Tuig Basses Thierry van Bastelaer Russell Bowers Albert Bradford Ronald Cappelletti Pete Chang Dale S. Collinson Stephen Cook Clark V. Cooper Bopper Deyton Charles G. Edmonds J. William Gadzuk Robert Gerard Mike Hilton Chun-Hsien Huang John Iobst William W. Josey** Allan Kirkpatrick Ian Kyle Jack Legler Larry Maloney Ian Matthews Alan E. Mayers Dugald McConnell David J. McGoff David G. Medland Kent Mikkelsen* John Milberg** Oliver Moles Mark Nelson Leif Neve Tom Pappas Anthony Radich Harry Ransom, Jr. Edward Rejuney* Frank Roys José Luis Sánchez Harold Seifried Charles Serpan Carey W. Smith Jason James Smoker Charles Sturrock Alun Thomas Donald A. Trayer Wayne R. Williams Theodore Guerrant, Accompanist, Theodore M. Guerrant Chair * section leader ** asst. section leader

Tenors Kenneth Bailes Philip Bregstone J.I. Canizares Colin Church Paul J. DeMarco Ruth W. Faison**

applause at Strathmore • SEPTEMBER/OCTOBER 2013 39

Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m.

occasion was memorable and stressful: The theater was unheated; the orchestra was under-rehearsed; and the soprano soloist had a bad case of stage fright. The orchestra stopped midcomposition several times, and the soprano who sang the aria was given a sedative for her nerves; nevertheless, Symphony No. 5 soon gained its designation as a masterwork. Somewhere between performance and publication, Beethoven renum-

bered the two symphonies. The C minor became Symphony No. 5, and the F major became Symphony No. 6, and they remain thus today. Beethoven perhaps intended the opening movement, Allegro con brio, to be mysterious yet powerfully dramatic. The thematic statement of the famous four-note motif appears first in the clarinet and violins; in the recapitulation, the whole orchestra joins in with the same figure. An

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unexpected oboe cadenza at the end of the movement, according to the late musicologist Michael Steinberg, has a special function, serving both to disrupt and to integrate. The contrasting slow movement, Andante con moto, plainly and distinctly sets forth a long melody as its principal subject; a series of variations then follow. Mystery dominates again in the third movement, a scherzo, Allegro, which runs without pause directly into the noble finale, Allegro which introduces the sound of the trombone to the orchestra for the first time in the history of music. Piccolo and contrabassoon also participate in the finale. Steinberg has described the last movement as a motion “into the sureness and daylight” with the transition into the major key. He sums up Beethoven’s achievement succinctly, “The victory symphony was a new kind of symphony, and Beethoven’s invention here of a path from strife to triumph became a model for symphonic writing to the present day.” Over the years, two critics in particular have in some way grasped the essence of this symphony with few words. Johann Amadeus Wendt wrote: “Beethoven’s music inspires in its listeners awe, fear, horror, pain and that exquisite nostalgia that is the soul of romanticism.” E.T.A. Hoffmann called the symphony “one of the most important works of the master whose position in the first rank of composers of instrumental music can now be denied by no one. ... It is a concept of genius, executed with profound deliberation, which in a very high degree brings the romantic content of the music to expression.” The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani and strings. The piccolo, contrabassoon and trombone only play in the last movement, where they greatly enrich the sound of the orchestra. Copyright Susan Halpern, 2013.

Sunday, October 6, 2013, 4 p.m. and 8 p.m.

SUNDAY, OCTOBER 6, 2013, 4 P.M. AND 8 P.M.

● Strathmore Presents

Bill Engvall featuring Gary Brightwell

Bill Engvall

Bill Engvall’s ability to share humor in everyday situations has made him one of the top comedians today. A native of Galveston, Texas, Engvall moved to Dallas and was working as a disc jockey with plans of becoming a teacher. While in a nightclub one evening, he decided to try his hand at stand-up comedy and quickly found that making people laugh was truly his forté. Soon after, he decided to move to Los Angeles to pursue television opportunities. Engvall has hosted numerous television shows, including the game show Lingo for Game Show Network, Country Fried Videos and Mobile Home Disasters for CMT. Engvall also was cast on The Jeff Foxworthy Show and was one of the stars of the sketch comedy show, Blue Collar TV, on the WB network. Engvall starred in and produced his own self-titled sitcom for TBS, which ran for three seasons. He also has appeared on the big screen in Strawberry Wine with Christina Ricci, Bed and Breakfast with Dean Cain and Delta Farce. Engvall was part of the enormously successful Blue Collar Comedy concert films, which have sold more than 9 million units. The tour united Engvall with comedians Foxworthy and Larry the Cable Guy. Engvall’s career also brought him

success with his albums. Here’s Your Sign, Dorkfish, 15 ° Off Cool and Aged and Confused landed the comedian spots on Billboard’s Country Album Chart, Top 200 Album Chart and multiple No. 1 debuts on the Billboard Comedy Chart. Engvall has written several books, including his autobiography Bill Engvall — Just a Guy. Engvall lives in southern California with his family.

Gary Brightwell

Born and raised in southern California, Gary Brightwell began his leap into comedy while studying engineering at Cal State Long Beach. After receiving two degrees in aerospace engineering and working full time during the day as an engineer at McDonnell Douglas and nights as an emcee at a comedy club in Hermosa Beach, Calif., Brightwell decided to quit the engineering job and go into stand-up comedy full time. Brightwell and his observational humor have been featured on many comedy shows including NBC’s Friday Night, A&E’s Comedy on the Road, An Evening at the Improv and a PBS comedy special entitled, Can We Be Serious. In addition, he has opened for Garry Shandling, Jerry Seinfeld, Jay Leno, Dennis Miller, Paul Reiser, Harry Anderson and many others. He also has traveled extensively for the USO and Armed Forces Entertainment to entertain deployed troops.

Stephanie Pistel

The Music Center at Strathmore Marriott Concert Stage

featuring

Frédéric Yonnet

“Prince’s killer harmonica player” –Rolling Stone

with Strathmore Artists in Residence Proceeds from Strathmore Cabaret enable us to inspire and train the next generation of artists. Last year alone, Strathmore allocated $493,370 in total investment for education and outreach programs that energize our entire community.

Friday, October 4 7–10PM Music Center at Strathmore $150 per person ($90 tax-deductible) Patron Sponsorship $500 per pair includes website and program recognition ($380 tax-deductible) RSVP by September 27 Cocktail Attire

www.strathmore.org/cabaret (301) 581-5145

applause at Strathmore • SEPTEMBER/OCTOBER 2013 41

THURSDAY, OCTOBER 10, 2013, 8 P.M.

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

presents

The Streisand Songbook Jack Everly, conductor Ann Hampton Callaway, vocalist Jon Kalbfleisch, piano Hampton Childress, rhythm bass Steve Hanna, drums

A Tribute to Irving Berlin

Irving Berlin (arr. Ades) (1888-1989)

“Just One of Those Things” Cole Porter (arr. Dragon) (1891-1964) Overture to Funny Girl

Jule Styne (orch. Spencer) (1905-1994)

Ms. Callaway will announce her program from the stage.

This program will include a 20-minute intermission. The concert will end at approximately 10:10 p.m. The Music Center at Strathmore Marriott Concert Stage

Jack Everly, conductor

Jack Everly is the principal pops conductor of the Baltimore and Indianapolis symphony orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and the music director of the National Memorial Day Concert and A Capitol Fourth on PBS. He has been on stage with the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at

42 applause at Strathmore •SEPTEMBER/OCTOBER 2013

Carnegie Hall and appears regularly with The Cleveland Orchestra at Blossom Music Center. His frequent guest conducting engagements include the orchestras of Pittsburgh, Edmonton, Oklahoma City and this season with The Philadelphia Orchestra at The Mann Center. Everly is the music director of Yuletide Celebration, now a 26-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concertgoers. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own arrangements. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, he teamed with the late Marvin Hamlisch in Broadway shows that Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Everly has conducted the songs for Disney’s animated classic The Hunchback of Notre Dame and led the Czech Philharmonic on the recordings In the Presence, featuring tenor Daniel Rodriguez, and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Everly created the Symphonic Pops Consortium, serving as music director. The consortium, based in Indianapolis, produces new theatrical pops programs. In the past 13 years, more than 250 performances of SPC programs have taken place across the U.S. and Canada. Everly holds an honorary doctorate of arts from Franklin College in his home state of Indiana.

Michael Tammaro

Thursday, October 10, 2013, 8 p.m.

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

Ann Hampton Callaway

One of the leading champions of the great American Songbook, Ann Hampton Callaway has made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host and producer. She won the Theater World Award and received a Tony nomination for her performance in the Broadway musical Swing! Hampton Callaway also has appeared in the film The Good Shepherd and was featured in the soundtrack of the film Last Holiday. She has produced and hosted two TV specials called Singer’s Spotlight with guests Liza Minnelli and Christine Ebersole, and is in the planning stages for a radio series. Hampton Callaway has been a special guest performer with Wynton Marsalis and the Lincoln Center Jazz Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood and is featured at many of the Carnegie Hall tributes.

She has sung with top orchestras and big bands, and has performed for President Clinton in Washington, D.C. and at President Gorbachev’s Youth Peace Summit in Moscow. Hampton Callaway has written more than 250 songs, including two Platinum hits for Barbra Streisand and the theme for the TV series The Nanny. She performs the critically acclaimed acts Sibling Revelry and Boom! with Broadway star and sister Liz Callaway; their CD Boom! Live at Birdland debuted at No. 25 on the Billboard Jazz Chart. This season, Hampton Callaway pays tribute to her mentor in The Streisand Songbook, which she premiered with the Boston Pops. She has recorded 12 solo CDs and is a guest artist on more than 45 CDs. Ann Hampton Callaway last performed with the BSO for the 2009 Holiday Spectacular, with Jack Everly conducting.

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Saturday, October 12, 2013, 8 p.m.

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● Strathmore Presents ®

Sutton Foster Michael Rafter, music director and piano Leo Huppert, bass Kevin Kuhn, guitar This performance is generously sponsored by Shugoll Research. The Music Center at Strathmore Marriott Concert Stage

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Sutton Foster is an award-winning actor, singer and dancer who has performed in 10 Broadway shows and originated roles in the Broadway productions of The Drowsy Chaperone, Little Women, Young Frankenstein, Shrek the Musical and her Tony Award-winning performances in Anything Goes and Thoroughly Modern Millie. She was first seen on television on Star Search at age 15 and has more recently appeared in Bunheads, Johnny and the Sprites, Flight of the Conchords, Sesame Street, Law and Order: SVU and Royal Pains. As a solo artist, Foster has performed all over the country as well as internationally with her musical director Michael Rafter. She’s featured songs from her debut solo CD, Wish, as well as her follow up CD, An Evening with Sutton Foster: Live at the Cafe Carlyle. She has graced the stages of Carnegie Hall, Feinstein’s, Lincoln Center’s American Songbook series, Joe’s Pub and many others. In 2011, she received an honorary

44 applause at Strathmore •SEPTEMBER/OCTOBER 2013

doctorate from Ball State University, where she also is on faculty as a teacher and advisor to the Department of Theatre and Dance.

Michael Rafter

Sutton Foster and Michael Rafter collaborated on her first solo CD, Wish, which was released in February 2009 and performed it live at the Lincoln Center American Songbook series. Rafter also co-produced Norm Lewis’s solo CD, This is the Life, and the recording of Tony Kushner and Jeanine Tesori’s Broadway show, Caroline, Or Change. Rafter conducted Gypsy both on Broadway starring Tyne Daly, as well as the TV movie starring Bette Midler, and won an Emmy Award for his music direction of the movie. He has supervised the Broadway and national touring companies of Thoroughly Modern Millie, Sunset Boulevard, The Sound of Music and The Buddy Holly Story. On Broadway, Rafter has served as music director and conductor of Thoroughly Modern Millie, The Sound of Music, The King & I and Gypsy. Rafter also did the arrangements for the Broadway productions of Swing and Sweet Charity. He was one of the two pianists that played the Broadway revival of The Most Happy Fella. Off-Broadway credits include Merrily We Roll Along and Violet.

Tuesday, October 15, 2013, 8 p.m.

Tuesday, october 15, 2013, 8 P.M.

● Strathmore Presents

Les Violons du Roy Bernard Labadie, music director Stephanie Blythe, mezzo-soprano

Orchestral Suite in C Major, George Telemann TWV 55: C6 (Ouverture à 7) (1681-1767) Ouverture (grave) Harlequinade Espagniol [sic] Bourrée en trompette Sommeille [sic] Rondeau Menuet I – II Gigue Arianna a Naxos, Hob. XXXVIb: 2 (anonymous string orchestra arrangement) Dove sei tu? Dove sei, mio bel tesoro? Andante : Ah! che morir vorrei in si fatal momento Stephanie Blythe

Joseph Haydn (1732-1809)

INTERMISSION

Suite No. 4 in D Major, BWV 1069 (original version) Ouverture Bourrée I - II Gavotte Menuet I - II Réjouissance

Excerpts from Giulio Cesare, HWV 17 «Empio, diro, tu sei» (Aria di Cesare) «L’empio, sleale, indegno» (Aria di Tolomeo) «Dall’ondoso perilglio – Aure, deh, per pieta» (Aria di Tolomeo) Stephanie Blythe

Johann Sebastian Bach (1685-1750)

George Handel (1685-1759)

DAVID CANNON

Les Violons du Roy would like to thank the following partners: Conseil des arts et des lettres Québec Conseil des Arts du Canada Foundation des Violons du Roy. The Music Center at Strathmore Marriott Concert Stage

Bernard Labadie, music director Bernard Labadie is an internationally recognized expert on 17th and 18th century repertoire and founded Les Violons du Roy and La Chapelle de Québec in 1984 and 1985 respectively. He continues to direct their regular seasons in Quebec City and Montreal and throughout the Americas and Europe on tour. He has made 20 recordings with the ensembles on the Virgin Classics, Dorian, Atma and Hyperion labels. He regularly guest conducts major North American orchestras including the New York and Los Angeles philharmonic orchestras, the Chicago, Boston, San Francisco, Saint Louis, Houston and Toronto symphonies, the Cleveland Orchestra and the Metropolitan Opera Orchestra. In Europe, he has taken the podium with Amsterdam’s Concertgebouw, the Bavarian Radio Symphony, Orchestre philharmonique de RadioFrance and the orchestra of Barcelona’s Gran Teatre del Liceu. He is regularly invited to conduct the Melbourne Symphony Orchestra in Australia. Increasingly in demand among period-instrument orchestras, he regularly directs the Academy of Ancient Music and has worked with the Orchestra of the Age of Enlightenment, the English Concert and Collegium Vocale Gent Orchestras. As a leading ambassador for music in his native city of Québec, Labadie was made an officer of the Order of Canada in 2005 and a knight of the Ordre National du Québec in 2006. In 2008, he received the Banff Centre’s National Arts Award for his contribution to the development of the arts in Canada, as well as an honorary doctorate from Laval University. applause at Strathmore •SEPTEMBER/OCTOBER 2013 45

Tuesday, October 15, 2013, 8 p.m.

Stephanie Blythe,

Les Violons du Roy Tour Roster — Fall 2013

Stephanie Blythe is considered to be one of the most highly respected and critically acclaimed artists of her generation Blythe has sung in many of the renowned opera houses in the U.S. and Europe, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon and Giulio Cesare. Blythe has appeared with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris and the Concertgerbouworkest. A champion of American song, Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg; Covered Wagon Woman by Alan Smith, which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith. This season, Blythe returns to the Metropolitan Opera for the new production of Falstaff and makes her debut at the San Diego Opera in Un Ballo in Maschera. She also appears in concert with the New York Philharmonic, tours the U.S. with Les Violons du Roy and will be presented in recital in San Francisco and Princeton.

First Violins Nicole Trotier Angélique Duguay Pascale Gagnon Véronique Vychytil Second Violins Pascale Giguère Maud Langlois Michelle Seto Noëlla Bouchard Violas Jean-Louis Blouin Annie Morrier Marina Thibeault

Les Violons du Roy

The chamber orchestra Les Violons du Roy borrows its name from the renowned string orchestra of the court of the French kings. The group was brought together in 1984 by music director Bernard Labadie and specializes in the repertoire of music for chamber orchestra, performed in the stylistic manner most appropriate to each era. Although the ensemble plays on modern instruments, its approach to the works of the Baroque and Classical periods has been strongly influenced by current research into performance practice in the 17th and 18th centuries; in this repertoire Les Violons du Roy uses copies of period bows. The

46 applause at Strathmore • SEPTEMBER/OCTOBER 2013

Cellos Benoît Loiselle Raphaël Dubé Doublebass Raphaël McNabney Oboes Marjorie Tremblay Lindsay Roberts Vincent Boilard Bassoon Mathieu Lussier Harpsichord Thomas Annand Theorbo Michel Angers

orchestra also regularly delves into the repertoire of the 19th and 20th centuries, as witnessed by its recordings of works by Piazzolla, Bartók and Britten. Les Violons du Roy made its European debut in 1988 and has since gone on to give dozens of performances in France, Germany, England, Spain, Switzerland and the Netherlands. The 24 recordings made by Les Violons du Roy have been acclaimed by critics and earned various distinctions and awards at the national and international levels. Les Violons du Roy is a proud member of Orchestras Canada, the national association representing Canada’s orchestras.

blythe photo by KOBIE VAN RENSBURG; Les Violons du Roy photo by David Cannon

mezzo-soprano

Friday, October 18, 2013, 8 p.m.

FRIDAY, OCTOBER 18, 2013, 8 P.M.

● Strathmore Presents

Dianne Reeves Peter Martin, piano Romero Lubambo, guitar Reginald Veal, stand up bass Terreon Gully, drums The Music Center at Strathmore Marriott Concert Stage

Dianne Reeves

Dianne Reeves is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings—a Grammy first in any vocal category. Reeves was featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, which chronicles Edward R. Murrow’s ongoing confrontations with Sen. Joseph McCarthy. The soundtrack recording of the film provided Reeves with her fourth Best Jazz Vocal Grammy. Reeves has recorded and performed extensively with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She also has recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los

Angeles Philharmonic and the first singer to ever perform at Walt Disney Concert Hall. Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CDs I’ve heard.” Reeves was featured in an awardwinning documentary on the life of composer Billy Strayhorn—Duke Ellington’s collaborator. In recent years Reeves has toured the world in a variety of contexts including a program entitled Sing the Truth, a musical celebration of Nina Simone that also featured Lizz Wright and Angélique Kidjo. She performed at the White House at both the State Dinner for the president of China as well as the Governors’ Ball and has been hard at work on Beautiful Life, her first album in more than five years. Produced by Terri Lyne Carrington, the album features artists such as Gregory Porter, Robert Glasper, Lalah Hathaway, and Esperanza Spalding. applause at Strathmore • SEPTEMBER/OCTOBER 2013 47

Saturday, October 19, 2013, 8 p.m.

saturday OCTOBER 19, 2013, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Romantic Tchaikovsky Arild Remmereit, conductor Nobuyuki Tsujii, piano

Suite No. 1 from Peer Gynt Edvard Grieg Prelude (1843-1907) Ingrid’s Lament Arabian Dance Morning Mood Åse’s Death Peer Gynt’s Homecoming Solveig’s Song Anitra’s Dance In the Hall of the Mountain King

Water of Life Karen Tanaka (1961-) INTERMISSION Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Nobuyuki Tsujii

Piotr Ilyich Tchaikovsky (1840-1893)

Presenting Sponsor: M&T Bank The concert will end at approximately 9:30 p.m. The Music Center at Strathmore Marriott Concert Stage

Arild Remmereit, conductor In 2005, Norwegian conductor Arild Remmereit made five dramatic debuts with the Pittsburgh Symphony, Baltimore Symphony, Milan’s Filarmonica della Scala, Munich Philharmonic and the Vienna Symphony, quickly establishing

himself as a major talent on the international scene. Remmereit also has been engaged by England’s Halle Orchestra, the Detroit Symphony, Dallas Symphony, Seattle Symphony, Rochester Philharmonic, New Jersey Symphony and the Seoul Philharmonic, among many others. The 2012-2013 season included debuts with the Naples Philharmonic, Orchestre Symphonique de Québec and

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Mexico National Symphony. Remmereit began piano lessons at age 6, studied trumpet and performed as a boy soprano. He earned master degrees in voice, piano and composition from the Norwegian Conservatory of Music in 1986. A conducting seminar in 1985 at the Aspen Music Festival inspired him to change his focus. He has studied conducting under the direction of Karl Österreicher at the Hochschule für Musik und Darstellende Kunst. Remmereit also studied with Leonard Bernstein at the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome. Arild Remmereit last appeared with the BSO in November 2007, conducting Berwald’s Tragic Overture from Estrella de Soria, Mendelssohn’s Violin Concerto and Schumann’s Symphony No.1.

Nobuyuki Tsujii, piano

Blind since birth, Nobuyuki Tsujii was joint Gold Medal winner at the 2009 Van Cliburn International Piano Competition. As a concerto soloist, he has appeared with the Philharmonia Orchestra and Vladimir Ashkenazy, the BBC Philharmonic and Yutaka Sado, and the Orchestra della Svizzera Italiana and Thierry Fischer, among others. Future engagements include his Carnegie Hall orchestral debut with the Orpheus Chamber Orchestra, his debut with the Seattle Symphony Orchestra under Ludovic Morlot and a major Japanese tour with the BBC Philharmonic, Sado conducting. As a recitalist, he gave a sold-out solo performance at Carnegie Hall’s Stern Auditorium in 2011 and also has given recitals at the Aspen and Ravinia festivals and in Washington, D.C; Boston; Berlin; and Munich. In his home country, he has appeared as a soloist with all the major Japanese orchestras, including NHK Symphony, Yomiuri Nippon Symphony, Tokyo Symphony, Japan Philharmonic and Orchestra Ensemble Kanazawa.

Saturday, October 19, 2013, 8 p.m.

Tsujii’s international tours are supported by All Nippon Airways, and he gratefully acknowledges their assistance. Nobuyuki Tsujii is making his BSO debut.

Program Notes Music from Peer Gynt

Edvard Grieg

Born June 15, 1843, in Bergen, Norway; died Sept. 4, 1907, in Bergen

Edvard Grieg’s great-grandfather, Alexander Greig (as the family name was originally spelled), was an independentminded Scotsman who immigrated to Norway from his native Aberdeen in the 1760s after the Scottish clans were destroyed. There he prospered as a fish merchant, and, 100 years later, his greatgrandson became Norway’s greatest composer. In January 1874, Norway’s preeminent playwright, Henrik Ibsen (1828–1906), asked the now 30-yearold composer if he would be willing to compose incidental music for Ibsen’s latest drama Peer Gynt. Grieg at first hesitated—he initially declared the play “the most unmusical of all subjects”— but, ultimately, threw himself into the task of creating more than 20 musical numbers for the work’s theatrical premiere. Despite the fact that the two men’s creative styles were extremely different—Grieg was a Romantic master of lyrical melody, while Ibsen wrote starkly uncompromising dramas with an almost contemporary viewpoint—their joint efforts triumphed at the play’s premiere on Feb. 24, 1876. Eventually, the composer fashioned two suites of Peer Gynt music that rivaled his Piano Concerto in popularity. With its fantastic globetrotting plot, Peer Gynt, despite Grieg’s early reservations, lends itself very well to musical treatment. Based on an actual person living in southwestern Norway in the early 19th century, Peer is no solid, hardworking Norwegian, but an unreliable, yet lovable, scamp who gets into plenty of trouble in his home village and

then abandons his sweetheart, Solveig, to seek adventure in the wider world. Arild Remmereit has chosen nine excerpts, several of which may be discoveries for audience members. Though in this concert we will hear the individual numbers in a slightly different order, here they are listed as they occur in the story. We begin with “In the Wedding Garden,” the play’s prelude. Invited to a neighborhood wedding, Peer commits his first crime by abducting the bride, Ingrid. This prelude contains three types of music: an energetic theme associated with Peer, a slow woodwind melody that gives us the first taste of “Solveig’s Song,” and Norwegian folk-dance music led by the viola, imitating the sound of the indigenous Hardanger folk fiddle. One of the most powerful yet poignant numbers, “Ingrid’s Lamentation,” is the prelude to Act II. The furious music that frames this sequence represents Peer berating the hapless Ingrid before abandoning her on a mountain pass. Next Peer is attracted to a mysterious woman, who turns out to be the daughter of the King of the Trolls. He follows her to her subterranean home, where her father and a rowdy group of trolls are waiting. “In the Hall of the Mountain King” is rightfully one of Grieg’s most famous pieces. Starting pianissimo in the orchestra’s lowest instruments, this relentless dance uses one menacing little melody to build a steady acceleration and crescendo as the trolls threaten the intruder. After his narrow escape from the trolls, Peer decides it’s time to get out of Norway, but first he visits home for the last time. “Åse’s Death” is the profoundly sorrowful music for the death of his adored mother. Built from a simple, poignant melody, it is scored for strings with mutes attached to veil their sound. Though “Morning Mood” may sound like morning dawning over a Norwegian fiord, this exquisite lyrical melody actually depicts sunrise shimmering on the sands of Northern Africa at the beginning of Act IV. Anitra is a desert beauty with whom Peer falls

in love; she eventually abandons him after robbing him of all the riches he has acquired. She and her companions perform the “Arabian Dance” to lure him. Its prominent use of shrill piccolos and flutes, drums and tambourine makes use of an exotic style known as “Turkish music,” which Mozart and Beethoven also used in several of their scores. Anitra also performs a solo dance (“Anitra’s Dance”); pizzicato strings add to the delicacy of this alluringly feminine music. At the beginning of Act V, Peer, now a penniless old man, is returning at last to his homeland. But the North Sea throws one of its not uncommon tempests at him, and he barely escapes with his life. The brief tone poem “Peer Gynt’s Homecoming: Stormy Night at Sea” vividly describes the raging winds and waters. In Peer’s home village, the devoted Solveig loves Peer, despite his many faults, and has waited patiently over the decades for his return; at the play’s conclusion, they are reunited as old people near death. “Solveig’s Song,” originally scored for soprano and so characteristic of Grieg in its gentle melancholy, is a superb example of the composer’s gifts as a songwriter. Water of Life

Karen Tanaka Born April 7, 1961, in Tokyo, Japan; now living in Los Angeles, Calif.

The beautiful, delicately colored music of Japanese composer Karen Tanaka makes its Baltimore Symphony debut at these concerts. Now living in Los Angeles and teaching composition at the California Institute of the Arts, Tanaka is a pianist as well as a composer, and many of her works have been created for the piano, among them her recent Our Planet Earth, a series of exquisite short pieces meditating on aspects of nature and designed expressly for young pianists. Indeed, Tanaka’s love of nature and concern for the environment have influenced many of her works, including Water of Life, which was commissioned by the Rochester Philharmonic and pre-

applause at Strathmore • SEPTEMBER/OCTOBER 2013 49

Saturday, October 19, 2013, 8 p.m.

miered in Rochester just this past May. Born in Tokyo, where she began formal piano and composition lessons as a child, Tanaka studied composition at Tokyo’s Gakuen School of Music. In 1986, she moved to Paris to study with Tristan Murail and work in electronic music at IRCAM. The next year, she won the Gaudeamus Prize at the International Music Week in Amsterdam. Her works have been commissioned and performed by distinguished orchestras and ensembles worldwide, including the Los Angeles Philharmonic, the BBC Symphony Orchestra, the Finnish Radio Symphony Orchestra, and the Kronos and Brodsky quartets. Karen Tanaka explains Water of Life as follows: “When I was composing Water of Life, I had two things in mind. The first is biblical references about ‘water’ and ‘water of life.’ I have served as a church organist for many years, and verses about life-giving water have always inspired me. “‘Then the angel showed me the river of the water of life, as clear as crystal, flowing from the throne of God and of the Lamb...’ Revelations 22:1 “The second is ‘water’ in nature. I wanted to project images of various phases of water and shimmering light with orchestral sounds. The music gradually changes just as the water flows continuously and never in the same phase. “The beginning of the piece played by harp and strings suggests the birth of pure water. The music then flows freely with a pleasant feeling of pulse. It gradually grows into turbulence and muddiness that, in the end, becomes filtered into purity. “Water of Life is a prayer for the tsunami victims in Japan.” Piano Concerto No. 1 in B-flat minor, Op. 23

Piotr Ilyich Tchaikovsky

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

If one had to pick one work that epitomizes the Romantic piano concerto, it would have to be Tchaikovsky’s No.

1. Written in 1874–75, it was the first Russian piano concerto to enter the standard concert repertoire, and it has remained perhaps the most popular concerto ever written. Even Rachmaninoff’s celebrated piano concertos were closely modeled on it. But the first person to hear it pronounced it a failure. This was Nikolai Rubinstein, renowned pianist and conductor, founder of the Moscow Conservatory, and usually Tchaikovsky’s staunch friend and supporter. Not being a concert pianist himself, Tchaikovsky had brought the concerto to Rubinstein on Christmas Eve, 1874, for advice as to how to make the solo part most effective. This is how the composer remembered the occasion: “I played the first movement. Not a single word, not a single comment! … I summoned all my patience and played through to the end. Still silence. I stood up and asked, ‘Well?’ “ “Then a torrent poured forth from Nikolai Gregorievich’s mouth. … My concerto, it turned out, was worthless and unplayable—passages so fragmented, so clumsy, so badly written as to be beyond rescue—the music itself was bad, vulgar—here and there I had stolen from other composers—only two or three pages were worth preserving—the rest must be thrown out or completely rewritten. … This was censure, indiscriminate and deliberately designed to hurt me to the quick. … ‘I shall not alter a single note,’ I replied. ‘I shall publish the work exactly as it stands!’ And this I did.” Although this episode threw Tchaikovsky into a depression, he still had energy and faith enough in his work to submit the concerto to Hans von Bülow, a German pianist-conductor as famous as Rubinstein who was looking for a new showpiece for his upcoming American tour. Von Bülow took on the work with enthusiasm and played its world premiere on Oct. 25, 1875, in Boston. The Bostonians gave it a tumultuous reception, and the Piano Concerto No. 1 never looked back. This is a concerto in which gorgeous, inventive orchestral writing meets one

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of the great virtuoso piano parts of the repertoire. And it is enriched by a cornucopia of marvelous Tchaikovskian melodies, the first of which forms the introduction to movement one. Launched by Tchaikovsky’s beloved horns, it sweeps grandly through the orchestra. The pianist makes his presence strongly felt with massive chords ringing from bottom to top of the keyboard. This big Romantic opening eventually fades, and a melody that most composers would kill for is gone, never to return. In the first of several dramatic mood shifts, the pianist now attacks a quick, skittish tune, based on a Ukrainian folksong, which is the movement’s actual principal theme. In another emotional shift, clarinets introduce a new melody, lovely and rather melancholy, which gives the pianist opportunity to show his poetic side. After the middle development section, this melancholy theme appears again, now soaring rhapsodically. Movement two rocks gently on a poignant, lullaby-like theme, introduced by the flute. Sparkling, highspeed music fills the movement’s middle section. Its rollicking tune, introduced by the violins, is from a French song popular in Russia at the time, “Il faut s’amuser, danser et rire” (“One should enjoy oneself, dance and laugh”). This was a favorite of the Belgian singer Désirée Artôt, the only woman Tchaikovsky ever fell in love with. The spirited rondo finale features a dashing refrain theme whose emphatic rhythms stress the second beat of each measure. It alternates with a rapturous waltz melody, introduced by the violins. A broad concluding coda energetically combines these themes, with the waltz ultimately dominating. And now comes one of the most famous of all virtuoso piano passages: a flight of fast double-fisted octaves, sweeping up and down the keyboard. This leads to a grand apotheosis of the waltz, before the pianist and orchestra urge each other on to a blazing finish. Notes by Janet E. Bedell copyright 2013

Thursday, October 24, 2013, 8 p.m.

THURSDAY, OCTOBER 24, 2013, 8 P.M.

Telarc, Mendelssohn with MDR and a highly acclaimed nine-disc Debussy set with ONL on Naxos. In recognition of his tenure in Lyon and his hugely successful recordings of French music, in 2012 he was honored by the French Ministry of Culture with the Chevalier de l’Ordre des Arts et des Lettres. Jun Märkl last appeared with the BSO in April 2012, conducting von Weber’s Euryanthe Overture, Beethoven’s Violin Concerto and Schumann’s Symphony No. 3.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Brahms’ Third Symphony Jun Märkl, conductor Johannes Moser, cello

Johannes Moser, cello

erenade for Strings in E Major, Op. 22 Antonín Dvořák S Moderato (1841-1904) Tempo di valse Scherzo: Vivace Larghetto Finale: Allegro vivace ariations on a Rococo Theme, Op. 33 V Johannes Moser

Piotr Ilyich Tchaikovsky (1840-1893)

INTERMISSION Symphony No. 3 in F Major, Op. 90 Allegro con brio Andante Poco allegretto Allegro

Johannes Brahms (1833-1897)

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

MARKL PHOTO BY Jean-Baptiste Millot

Jun Märkl, conductor

Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic Debussy, Ravel and Messiaen. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have

in recent years been complemented by his music directorships of the Orchestre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012). He guests conducts with the world’s leading orchestras, including: Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic and Tonhalle Orchester Zürich. Märkl is an accomplished recording artist, having recorded Mahler and the complete Schumann symphonies live with the NHK Symphony, Dvořák on

Cellist Johannes Moser has performed with many of the world’s leading orchestras, including the Berlin Philharmonic, New York Philharmonic, Concertgebouw Orchestra, Tokyo Symphony and Israel Philharmonic. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Zubin Mehta and Paavo Jarvi. Besides performing on his Andrea Guaneri cello from the year 1694, Moser is an enthusiastic advocate for the electric cello. In 2011, he premiered the electric cello concerto Magnetar by Enrico Chapela with the Los Angeles Philharmonic. Also a dedicated chamber musician, Moser has performed with Emanuel Ax, James Ehnes, Midori and Jonathan Biss and at the Verbier, Colo., and Brevard music festivals, as well as the Mehta Chamber Music Festival. He combines almost every engagement with either outreach or master classes, reaching out to young audiences from kindergarten to college and beyond. Born into a musical family in 1979 as a dual citizen of Germany and Canada, Moser won the top prize at the 2002 Tchaikovsky Competition. He now holds a professorship in Cologne, Germany. An avid outdoorsman, the New York-based Moser has crossed the Alps on his mountain bike. Johannes Moser is making his BSO debut.

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Thursday, October 24, 2013, 8 p.m.

Program Notes Serenade for Strings in E Major, Op. 22

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

Antonín Dvořák might have languished far longer in Bohemian obscurity if he hadn’t come to the attention of Johannes Brahms in the mid-1870s. The well-established Brahms was then serving on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire. Deeply impressed by Dvořák’s submitted compositions, he not only voted for him to receive the prize money but also went to his own publisher Fritz Simrock to urge him to take on the young composer. Thus began a profitable relationship with the Berlin publishing house, and Dvořák was on his way to becoming a household name among European music lovers. Written in May 1875, Dvořák’s gorgeous Serenade for Strings reflects the joy of the new opportunities awaiting him. There are strong relationships between this work and Tchaikovsky’s better-known Serenade for Strings: both feature an enchanting waltz as a second movement and both bring back their beautiful first-movement themes in closing. But, in fact, Dvořák did it first, composing his Serenade five years before Tchaikovsky’s. Dvořák’s Serenade handsomely displays two of his finest compositional gifts. First, as an accomplished string player himself—for years he supported his family as principal violist of Prague’s opera house—he wrote superbly for string instruments. And, secondly, he was one of the greatest melodists classical music has ever produced. As a demonstration of this, the first movement, in a relaxed Moderato tempo, features a principal theme of warm, serene loveliness. Moving to Csharp minor, the second movement is

a gracefully spinning waltz. Somewhat surprisingly, its middle or trio section is more passionate, more emotionally complex, and—despite moving to a major key—darker in mood. In a Vivace tempo, the third movement is a high-spirited scherzo, whose principal theme is chased in canon between the instruments. A lyrical ascending melody calms its vigorous dance, and a soaring trio section also provides luscious contrast. Loveliest of all is the wonderful fourth movement Larghetto in A major: a dreaming nocturne that exploits the richness of string colors to the fullest. Its quick-silver middle section resembles Mendelssohn’s fairy music in his A Midsummer Night’s Dream. The Allegro vivace finale is the most rhythmically and thematically playful of the five movements. It is calmed briefly during the development section by a return of the Larghetto’s beautiful theme in the cellos. But the most important reprise is that of the first movement’s serene theme, which brings the Serenade to a satisfying full-circle close. Variations on a Rococo Theme

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

The year 1876 was one of low spirits for Tchaikovsky. Restless and irritable, he traveled about Europe in search of the creative muse. The first work he finally wrote late in the year, the tempestuous tone poem Francesca da Rimini, reflected his mood, but the one that followed in December, Variations on a Rococo Theme for cello and orchestra, certainly did not. For in this lovely work the composer retreated to the 18th-century world of his favorite composer Mozart and the quality of balance it always gave his spirit. “I don’t just like Mozart, I idolize him,” he wrote a little later to his patroness Nadezhda von Meck. “Perhaps it is just because —being a child of my time—I feel broken and

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spiritually out of joint, that I find consolation and rest in the music of Mozart, music in which he gives expression to that joy in life that was part of his sane and wholesome temperament.” Rococo, from the Italian word for “shell,” was originally the name for a shell-like ornament used for interior decoration in mid-18th-century palaces; its popularity eventually gave name to an entire cultural style of delicate ornamentation and lightheartedness. Tchaikovsky adopted the rococo spirit here in his simple, graceful theme, in the charm and fancifulness of his variations, and in the use of a small 18th-century orchestra, with only pairs of woodwinds plus strings to support the cello soloist. In the seven variations that follow the cello’s presentation of the theme, Tchaikovsky sticks closely to the melody so that we never forget its original shape. The heart of the work is the lengthy third variation: a soulful, slow-tempo song for the cello that is a masterpiece of heartfelt lyricism. Variation five shows off the soloist’s virtuosity with chains of trills, an extremely wide range (Tchaikovsky emphasizes the cello’s highest notes throughout this work), and rapid figurations. The sixth variation moves into the minor mode with a darkly melancholy Russian melody, exquisitely accompanied by pizzicato strings and woodwind solos. Symphony No. 3 in F Major

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

Most of the major works of Johannes Brahms’ maturity were composed in summertime in beautiful rural settings overlooking tranquil lakes and alpine peaks. But during the summer of 1883, his Third Symphony was written in a more urban location: a lofty studio overlooking the German Rhineland city of Wiesbaden. The urge to create this work had

Thursday, October 24, 2013, 8 p.m.

come on the composer while visiting Wiesbaden and, rather than lose inspiration traveling to a vacation retreat, he stayed on. And there was another compelling reason to stay: a rich-voiced contralto named Hermine Spies. Brahms had just met her and was captivated by her marvelous voice and vivacious personality. Another of this confirmed bachelor’s romantic friendships ensued, even though Spies was young enough to be the 50-year-old Brahms’ daughter. He wrote many songs for her, and she became his favorite interpreter of the Alto Rhapsody. And so even without mountain views, the summer of 1883 was a particularly happy one, and the Third Symphony, his shortest, was born with ease. The least often performed of Brahms’ four, it is his most refined and densely constructed symphony: one in which he distills the maximum possibilities from every motive and theme, even bringing them back in new guises in later movements. This sturdy intellectual foundation is overlaid with some of his loveliest melodies, clothed in exquisite orchestral colors. But it is easier for conductors and orchestras to dazzle audiences with the other symphonies than with this subtle creation, all four of whose movements end quietly. The first movement opens with three rising chords that spell out F-A (flat)-F, a personal motto for Brahms that pervades much of the symphony. Years earlier, Brahms and his close friend, violinist Joseph Joachim, had experimented with musical mottos symbolizing their bachelor status. Joachim’s was F-A-E for “Frei aber einsam” (“Free but lonely”), and he soon married. Brahms countered with F-A-F, “Frei aber froh” (“Free but glad”). But now in his Third Symphony, the A has become A-flat, shifting the F-major home tonality to minor. Is there perhaps a hint of ambiguity about his motto as Brahms pays court to Hermine Spies?

The F-A-F motto spawns a ruggedly masculine principal theme, striding across a big range. But soon the music becomes more subdued and proposes a romantic waltz, led by clarinet and bassoon, as the second theme. This melody is later taken up in the development section, which also features a brooding treatment of the first theme led by the first horn. The movement’s concluding coda begins big, but surprisingly, the masculine theme turns tender and lyrical for a hushed close. Brahms scholar Malcolm MacDonald calls the second movement “one of Brahms’ most inspired sublimations of folksong style.” Clarinets and bassoons introduce the principal melody “of simple gravity and hymn-like seriousness.” Pay special attention to the second theme: a melancholy duet for clarinet and bassoon emphasizing triplet rhythms and accompanied by a persistent short-long rhythm; this music will appear again in the finale. The movement’s closing coda is exceedingly beautiful, exploiting the orchestra’s most diaphanous colors. Another intermezzo-style movement, the third-place Poco allegretto, features one of Brahms’ loveliest tunes, sung first by the cellos; it is a bittersweet mix of Romantic yearning and regret so characteristic of this composer. Brahms gives it many variants, with radiant new orchestrations. The struggle between minor and major becomes fierce in the sonataform finale, which resolves all that has gone before. It opens in F minor with a mysterious, scurrying theme. This is followed by a solemn new version of the clarinet-bassoon duet theme from movement two. The development section tackles the first theme in moods both meditative and heroic, but most of the drama is saved for the duet theme, its shortlong rhythm grown monumental. In the closing coda, this theme is transformed yet again: played very slowly in the woodwinds over shimmering strings. From this miraculously floats the F-A-F motto and the work’s

bold opening theme; serenely, it ripples down through the orchestra like a benediction. Hungarian Rhapsody No. 5

Johannes Brahms When he was barely 20, Brahms had joined the flamboyant Hungarian violinist Eduard Reményi on a concert tour around central Europe and fell in love with the propulsive Hungarian gypsy-style numbers that were Reményi’s stock in trade. For the rest of his life, especially after he settled in Vienna, Brahms haunted the cafés that featured this dashing, uninhibited music. For his own pleasure, Brahms also enjoyed improvising Hungarian gypsy melodies on the piano at private parties, and this is how the Hungarian Dances were born. By the end of the 1860s, he finally responded to his friends’ urging that he write down these improvisations and publish them. In 1869, his publisher Fritz Simrock brought out the first set of 10 Hungarian Dances arranged for piano fourhands, and they were an immediate hit with amateur pianists throughout Europe. These dances turned out to be a goldmine for both Brahms and Simrock. In order to meet demand, Brahms created editions for solo pianist and orchestrated three of them. When these orchestral versions also proved popular, Simrock commissioned other musicians to make more orchestral arrangements. Ultimately, this highly lucrative music provided Brahms with a very comfortable income—essentially financing his more serious music. We’ll hear the Fifth Hungarian Dance, which is one of the most popular. Orchestrated by Martin Schmeling, it emphasizes the art of rubato or the continual slowing down and speeding up of the tempo; this rhythmic freedom was one of the hallmarks of gypsy style. Notes by Janet E. Bedell copyright 2013

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Friday, October 25, 2013, 8 p.m.

FRIDAY, OCTOBER 25, 2013, 8 P.M.

● Washington Performing Arts Society Celebrity Series presents

Yuja Wang, piano Piano Sonata No. 3 in A minor, Op. 28 Sergei Prokofiev (1891-1953) Frédéric Chopin (1810-1849)

Program Notes

INTERMISSION

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

Frédéric Chopin

Ballade No. 3 in A-flat major, Op. 47

Frédéric Chopin

Variations for Piano, Op. 41 Nikolai Kapustin (1937-)

Three Movements from Petrushka Russian Dance In Petrushka’s Cell The Shrove-Tide Fair

Igor Stravinsky (1882-1971)

This performance is made possible through the generous support of Betsy and Robert Feinberg. The Music Center at Strathmore Marriott Concert Stage

Yuja Wang, piano Twenty-sixyear-old pianist Yuja Wang is widely recognized as one of the most important artists of her generation. Wang has been praised for her authority over the most complex technical demands of the repertoire and the depth of her musical insight, as well as her fresh interpretations and charismatic stage presence.

In the years since her 2005 debut with the National Arts Center Orchestra led by Pinchas Zukerman, Wang has performed with many of the world’s most prestigious orchestras including those of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia and San Francisco. Abroad, she has performed with Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Philharmonic, Orchestre de Paris, Orquesta Nacional España, Simón Bolívar Symphony Orchestra, the NHK Symphony in Tokyo, Royal Concertgebouw

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Piano Sonata No. 3 in A minor, Op. 28

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

The year 1917 brought profound changes to Russia, and it was also the most productive of Prokofiev’s life. That year, he wrote his “Classical” Symphony, First Violin Concerto and Visions fugitives, and—in the midst of all this new music—he also looked back. As a young music student in St. Petersburg, Prokofiev had sketched a number of piano sonatas, but then—realizing how quickly he was developing as a composer—left these early works in manuscript. Now, at age 26, he returned to these youthful sketches and discovered that he still found much of the music attractive. Very quickly he composed two new piano sonatas—his Third and Fourth—and based them on themes he had written as a teenager. To make clear their origin, he published each of the sonatas with the subtitle “From Old Notebooks.” The Sonata No. 3 in A minor has become one of Prokofiev’s most popular keyboard works, despite its unusual brevity: it is in one movement that gets past in only seven minutes. They are a pretty dazzling seven minutes. Prokofiev notates the meter as 4/4(12/8), and that

James Cheadle

Piano Sonata No. 3 in B minor, Op. 58 Allegro maestoso Scherzo: Molto vivace Largo Finale: Presto non tanto; Agitato

Orchestra, Orchestra Mozart and Santa Cecilia, among others. In 2006 Wang made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season under Lorin Maazel during the Philharmonic’s Japan/ Korea visit. Wang studied under Ling Yuan and Zhou Guangren at Central Conservatory of Music in Beijing. Wang later moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. In 2006 she received the Gilmore Young Artist Award, and in 2010 was awarded the prestigious Avery Fisher Career Grant. Wang is a Steinway Artist.

Friday, October 25, 2013, 8 p.m.

rush of triplets will energize the opening statement, which Prokofiev marks Allegro tempestoso. A two-measure vamp rockets us straight into the main idea of this sonata-form movement, which is stamped out fortissimo, and this has already begun to evolve by the time Prokofiev arrives at his second subject. The contrast could not be more complete. After that white-hot opening, Prokofiev goes out of his way to emphasize how different this second theme should sound: it is marked Moderato, tranquillo, pianissimo, legato and semplice e dolce. This second idea does sing beautifully, but the opening furies return at the development, and the sonata drives to a huge climax (marked both fortissimo and con elevazione). The long coda begins with murmuring energy and gradually builds to a thunderous cadence. Much of Prokofiev’s early music met with scorn and misunderstanding. Not this sonata, however. Prokofiev gave the premiere in St. Petersburg on April 15, 1918, during a week-long festival of his music sponsored by the Conservatory. But the acclaim that greeted these works did little to reconcile the young composer to the changing political climate in Russia: three weeks later he left for the United States, and he would not return for 15 years. Piano Sonata No. 3 in A minor, Op. 58

Frédéric Chopin Born Feb. 22, 1810, in Zelazowa Wola, Poland; died Oct. 17, 1849, in Paris

Chopin wrote the Piano Sonata in B minor, his last large-scale composition for piano, during the summer of 1844, when he was 34. He composed the sonata at Nohant, the summer estate in central France he shared with the novelist George Sand. That summer represented a last moment of stasis in the composer’s life—over the next several years his relationship with Sand would deteriorate, and his health, long ravaged by tuberculosis, would begin to fail irretrievably. Dedicated to Madame la Comtesse Emilie de Perthuis, a friend and pupil, the Sonata in B minor was published in 1845. Chopin himself

never performed it in public. Chopin’s sonatas have come in for a hard time from some critics, and this criticism intensifies to the degree that they depart from the formal pattern of the classical piano sonata. But it is far better to take these sonatas on their own terms and recognize that Chopin—like Beethoven before him—was willing to adapt classical forms for his own expressive purposes. The Sonata in B minor is a big work—its four movements stretch out to nearly half an hour. The opening Allegro maestoso does indeed have a majestic beginning with the first theme plunging downward out of the silence, followed moments later by the gorgeous second subject in D major, marked sostenuto. The movement treats both these ideas but dispenses with a complete recapitulation and closes with a restatement of the second theme. The brief Molto vivace is a scherzo, yet here that form is without the violence it sometimes takes on in Beethoven. This scherzo has a distinctly light touch, with the music flickering and flashing across the keyboard (the right-hand part is particularly demanding). A quiet legato middle section offers a moment of repose before the returning of the opening rush. Chopin launches the lengthy Largo with sharply dotted rhythms, over which the main theme—itself dotted and marked cantabile—rises quietly and gracefully. This movement is also in ternary form, with a flowing middle section in E major. The finale—Presto, non tanto—leaps to life with a powerful eight-bar introduction built of octaves before the main theme, correctly marked Agitato, launches this rondo in B minor. Of unsurpassed difficulty, this final movement—one of the greatest in the Chopin sonatas—brings the work to a brilliant close. Nocturne in C minor, Op. 48, No. 1

Frédéric Chopin Chopin wrote the dramatic Nocturne in C minor in 1841, when he was 31 years old and living in Paris. The title “nocturne,” with its suggestion of a re-

strained and subdued atmosphere, might seem inappropriate for the Nocturne in C minor, which moves from a quiet beginning to an almost frenzied climax. The understated beginning (Chopin marks it mezza voce: “middle voice”) soon introduces widely spaced chords in the left-hand accompaniment, and these in turn give way to rolled chords and then to thunderous octave runs. These runs—four octaves deep—require the utmost power from a performer, and the chordal theme emerges almost in passing. Chopin drives the music to a huge climax full of rhythmic complexity—the closing section consistently sets three against four—until suddenly the fury subsides and the music concludes on three quiet C-minor chords. Ballade No. 3 in A-flat Major, Op. 47

Frédéric Chopin Chopin himself was the first to use the term “ballade” to refer to a piano composition, appropriating the name from the literary ballad: he appears to have been most taken with the lyric and dramatic possibilities of the term, for his four ballades fuse melodic writing with intensely dramatic—almost explosive—gestures. After Chopin’s death, Liszt, Grieg, Fauré and Brahms would compose works for solo piano that they too called ballades. Formally, Chopin’s ballades most closely resemble the sonata-form movement (an opening idea contrasted with a second theme-group, and the two ideas developed and recapitulated), but the ballades are not strictly in sonata-form, nor was Chopin trying to write sonata-form movements. His ballades are quite free in form, and their thematic development and harmonic progression are sometimes wildly original. All four ballades employ a six-beat meter (either 6/4 or 6/8), and the flowing quality of such a meter is particularly well-suited to the sweeping drama of this music. All four demand a pianist of the greatest skill. Because of the literary association and the dramatic character of the music, many have been quick to search for extra-musical inspiration for the ballades, believing that such music must represent the at-

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Friday, October 25, 2013, 8 p.m.

tempt to capture actual events in sound. Some have heard the Polish struggle for independence in this music, others the depiction of medieval heroism. Chopin himself discouraged this kind of speculation and asked the listener to take the music on its own terms rather than as a representation of something else. Chopin wrote the Ballade in A-flat Major in 1840-41 and performed the work in public in 1842. The least overtly dramatic of the four ballades, this one nevertheless contains music of extraordinary beauty. The opening theme—a quiet, rising figure—also contains the falling half-step that gives shape to the lilting second subject. Variations for Piano, Op. 41

Nikolai Kapustin

performed, and Kapustin feels that that violates the improvisational essence of jazz. Kapustin’s Variations date from 1984. That title might seem misleading—all jazz is a matter of variations on a theme, after all—but Kapustin’s compact work takes a basic musical idea through a series of evolutions at different tempos and in varying moods. The opening section, marked Medium swing, introduces and briefly extends his main idea. The music leaps ahead at the Doppio movimento, where Kapustin goes into 3/4, then returns to common time for the wistful Larghetto, an expressive and beautiful interlude that Kapustin marks “Swinging just a bit.” A brief, blazing Presto in cut-time rockets the Variations to a fiery (and fun) close.

Born Nov. 22, 1937, in Gorlovka, Ukraine Three Movements from Petrushka

Born in the Ukraine, Nikolai Kapustin learned to play the piano there as a boy and then went on to the Moscow Conservatory, where he studied with Alexander Goldenweiser, the legendary teacher of many Russian pianists, including Dmitri Kabalevsky, Tatiana Nikolayeva and Lazar Berman. But along his path to a career as a virtuoso pianist, an unexpected thing happened: Kapustin fell in love with American jazz. This was during the 1950s, that icy era when jazz was considered ideologically deficient in the Soviet Union, but Kapustin made a successful career as a jazz performer, both as a solo pianist and as a member of a jazz quintet. Kapustin has composed prolifically (his list of works now runs to well over 150 opus numbers), and these include 20 sonatas, six concertos and other works for piano and orchestra, and many more. All of his music is touched in some ways by his love for jazz, but Kapustin has said repeatedly that he does not consider himself a jazz composer. At the center of jazz is improvisation, and Kapustin has been quite specific that he does not improvise—he writes out his pieces and then goes back and revises them repeatedly until he gets them in the form he wants. And so his pieces should be the same whenever they are

Igor Stravinsky Born June 17, 1882, Oranienbaum, Germany; died April 6, 1971, New York City

In the early 1920s, Igor Stravinsky—one of the greatest orchestrators in history and creator of some of the finest music ever written for orchestra—began to write for solo piano. There were several reasons for this. In the aftermath of World War I, Stravinsky discovered that orchestras that could play huge and complex scores were rare (and expensive). And in any case Stravinsky did not wish to go on repeating himself by writing opulent ballets. But the real factor that attracted Stravinsky to the piano was that he was a pianist and so could supplement his uncertain income as a composer by appearing before the public as both creator and performer; this was especially important during the uncertain economic situation following the war. While not a virtuoso pianist, Stravinsky was a capable one, and over the next few years came a series of works for piano that Stravinsky introduced and then played on tour. The impetus for all this piano music may well have come from Arthur Rubinstein, who asked the composer to prepare a version of the ballet Petrushka for solo piano, which Stravinsky did during

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the summer of 1921. Rubinstein paid Stravinsky what the composer called “the generous sum of 5,000 francs” for this music, but Stravinsky made clear that his aim was not to cash in on the popularity of the ballet: “My intention was to give virtuoso pianists a piece of a certain breadth that would permit them to enhance their modern repertory and demonstrate a brilliant technique.” The ballet Petrushka, with its haunting story of a pathetic puppet brought to life during a Russian fair, has become so popular that it is easy to forget that this music had its beginning as a sort of piano concerto. Stravinsky said: “I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi.” That puppet became Petrushka, “the immortal and unhappy hero of every fair in all countries,” as the story of the ballet took shape, but the piano itself receded into the background of the ballet. Stravinsky drew the piano score from three of the ballet’s four tableaux. The opening movement, Russian Dance, comes from the end of the first tableau: the aged magician has just touched his three puppets—Petrushka, the Ballerina and the Moor—with his wand, and now the three leap to life and dance joyfully. Much of this music was given to the piano in the original ballet score, and here this dance makes a brilliant opening movement. The second movement, In Petrushka’s Cell, is the ballet’s second tableau, which introduces the hapless Petrushka trapped in his room and railing against fate and shows the entrance of the ballerina. The third movement, The Shrove-Tide Fair, incorporates most of the music from the ballet’s final tableau, with its genre pictures of a St. Petersburg square at carnival time: various dances, the entrance of a peasant and his bear, gypsies, and so on. Here, however, Stravinsky excises the end of the ballet (where Petrushka is murdered and the tale ends enigmatically) and replaces it with the more abrupt ending that he wrote for concert performances of the ballet suite. Program notes by Eric Bromberger

Saturday, October 26, 2013, 3:30 p.m.

SATURDAY, OCTOBER 26, 2013, 3:30 P.M.

Symphony Orchestra, and the Elgar Concerto in Indianapolis under the baton of Krzysztof Urbanski. He also plays Elgar with the Napa Valley, Youngstown and El Paso symphonies. Other orchestral engagements include dates with the El Paso, Fairbanks, Knoxville, Shreveport, Pensacola, York and Fort Collins symphonies, and a return to the National Philharmonic at Strathmore for performances of the solo Bach Suites and the Haydn C Major. The 2010-2011 season saw the release of the album Brahms Works for Cello and Piano. The disc, recorded with pianist Awadagin Pratt, follows up the previous season’s critically acclaimed Complete Bach Cello Suites. Other recordings include Russian Masterpieces on Telarc International; a debut recital disc for Delos; Cello Quintets of Boccherini and Schubert with Janos Starker; Saint-Saëns’ Cello Concertos No. 1 and 2 Live; and the Korngold Cello Concerto with the Bruckner Orchestra Linz for ASV. He is the artistic director of El Paso Pro Musica, artistic director designate of the Sitka Summer Music Festival and Series (Alaska) and professor of cello at the University of Texas at El Paso. Bailey performs on a 1693 Matteo Gofriller cello, formerly owned by Mischa Schneider of the Budapest String Quartet.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Mostly Schumann Zuill Bailey, cello Navah Perlman, piano Funf Stücke im Volkston Robert Schumann (“Five Pieces in Folk Style”), Op. 102 (1810-1856) 1. Mit Humor 2. Langsam 3. Nicht schnell,mit viel Ton zu spielen 4. Nicht zu rasch 5. Stark und markiert

Adagio and Allegro in A-flat Major, Op. 70

Robert Schumann

Fantasiestücke Robert Schumann (“Fantasy Pieces”), Op. 73 INTERMISSION

Arabesque in C Major, Op. 18

Robert Schumann

Intermezzo in A Major, Op. 118, No. 2 Johannes Brahms Andante teneramente (1833-1897)

Ballade in G minor, Op. 118, No. 3

Johannes Brahms

Faschingsschwank aus Wien (“Carnival Scenes from Vienna”), Op. 26 Allegro Romanze, Ziemlich langsam Scherzino Intermezzo, Mit grösster Energie

Robert Schumann

Navah Perlman, piano

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

photos by LISA-MARIE MAZZUCCO

Zuill Bailey, cello

Widely acknowledged as one of the pre-eminent cellists of his generation, Zuill Bailey engages audiences with compelling

artistry and technical finesse. Bailey has appeared with the symphony orchestras of Chicago, San Francisco, Minnesota, Indianapolis, Nashville, Dallas, Milwaukee and Toronto, and prominent orchestras around the world. He made his Carnegie Hall debut with the U.S. premiere of Miklos Theodorakis’ Rhapsody for Cello and Orchestra. This season Bailey performs the Dvořák Concerto with the Phoenix

Known for her lyrical eloquence on the stage, Navah Perlman has established herself as one of the most poetic and admired pianists

of her generation. Perlman has appeared with numerous orchestras throughout North America including the Philadelphia Orchestra and the Pittsburgh, Nashville and Montreal symphonies. Internationally, Perlman has appeared with the Barcelona Symphony Orchestra, the National

applause at Strathmore • SEPTEMBER/OCTOBER 2013 57

Saturday, October 26, 2013, 3:30 p.m.

Orchestra of Mexico, the Israel Philharmonic, the Prague Symphony and the New Japan Philharmonic in Suntory Hall. In addition to her successful solo career, Perlman collaborates frequently in chamber music with violinist Philippe Quint and cellist Zuill Bailey as the Perlman/Quint/Bailey Trio.

Program Notes Funf Stücke im Volkston (“Five Pieces in Folk Style”), Op. 102

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

Robert Schumann, a renowned German Romantic composer, took his first piano lessons when he was a very young child and began composing when he was only 11. Schumann’s father was a small-town bookseller who encouraged his son’s inclination toward the arts; nevertheless, his family was eager to see him study law, and although he complied with their desires, he soon abandoned that study to take up his pursuit of music. Schumann dedicated the Five Pieces in Folk Style to his wife, Clara, and to the cellist Andreas Grabau when they were published in 1851. These Five Pieces, written specifically for cello and piano, fit into the category of character pieces. They have no fixed form but have the kind of descriptive title that Schumann gave to many works during this period of his life. They were composed in three days during April 1849. Grabau probably performed them at their first performance on June 8, 1850, at a private musical party in Leipzig. The music has very much the feel of German folk and popular songs that were then so widely sung. The first piece (which Schumann inscribed, in Latin, Vanitas vanitatum, “vanity of vanities”) is to be played “with humor” yet quite quickly. The theme recurs four times with contrasting episodes between its re-appearances. The second piece is slow, with contrasts of major and minor

tonality and a simply written piano accompaniment. The third piece is not fast and has a rich effect with alternations of cello solo, duo with piano, and then cello solo again. The fourth is not too quick, while the fifth is speedy. Both have a strong, emphatic sense of character, and also have strong lines of contrast as their governing feature. Adagio and Allegro in A-Flat, Op. 70

Robert Schumann Schumann had initially hoped for a career as a pianist, but he injured his hand, and instead turned to composing, conducting and editing an important musical journal that he founded in 1844. In the late 1840s and early 1850s, Schumann composed a number of works that he felt could be played interchangeably by any of several instruments with piano accompaniment. The lyrical Adagio and Allegro, intended originally for horn, cello or violin has become a favorite for many different instruments. Schumann composed it in Dresden during four days of February 1849; two weeks later, his wife, Clara, tried it out with a horn player from the local orchestra. At the first public concert performance during the next winter, she also played it with a violinist. Schumann wrote the Adagio and Allegro and its companion, the more introspective Phantasiestücke, as an experiment; in both, he was widening the concept of the “character piece.” Prior to these works, the character piece had usually been the exclusive province of the piano, but Schumann enriched it by adding a second instrument. The opening of the extroverted Adagio and Allegro echoes the work’s original title, Romanze und Allegro, in its intimate evocation of a love song. After the gentle and lyrical introduction, the work becomes bolder, with a brightness that Schumann described as “fast and fiery.” Fantasiestücke (“Fantasy Pieces”), Op. 73

Robert Schumann In the late 1840s and early 1850s, Robert Schumann wrote several sets of

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pieces for one or two instruments and piano that are generally shorter than formal sonata movements and have such fanciful titles as Romances, Fairy Tales and Folk Pieces. Most of them can be played by a variety of instruments. Schumann used the title Fantasiestücke or Phantasiestücke repeatedly for various piano compositions as well as several chamber works. The Fantasiestücke, Op. 73, were pieces conceived for clarinet and piano, and in the manuscript Schumann called them Soirée-stücke, or “Party Pieces.” Though they were originally intended for clarinet and piano, Schumann directed that the clarinet part could be also performed on violin or cello. He sketched them in two or three days of February 1849, and on the 18th, they had taken final enough form that his wife Clara, a great pianist, played them in the Schumann home with the clarinetist of the court orchestra. Later that year, Schumann published them with cello as an equal alternative choice to the clarinet. In this work, the clarinet substitutes for the human voice in a kind of songlike free lyric flow. Schumann indicated that the three poetic short pieces be played without pause. The first, Zart und mit Ausdruck, a pensive, symmetrical work, has a tender and expressive demeanor in a minor tonality; the second, Lebhaft, leicht, lively and light, is spirited and written in the more optimistic key of A major; and the third, Rasch und mit Feuer, quick and fiery, displays high enthusiasm almost to the point of agitation. Schumann wrote the last two in major keys. The three works all have a similar structure; they all make use of the da-capo form, which means from the “head,” or back to the beginning, and they have a shape that could be diagrammed as ABA, as a return to an exact repeat of the piece for the final section. Each of the last two pieces also has a coda. The common key of A links all three pieces. Arabesque, in C Major, Op. 18

Robert Schumann Schumann studied piano with Friedrich Wieck, who was one of that epoch’s great teachers. In 1834, Schumann fell in love with a fellow Wieck pupil, and the two

Saturday, October 26, 2013, 3:30 p.m.

considered themselves to be secretly engaged to marry, until family disapproval successfully separated them. In 1835, Schumann fell in love again, this time with Wieck’s star pupil, Wieck’s own 16 year old daughter Clara, who had made her public debut when she was 9. Clara became a published composer at 12, and grew up to be one of the greatest pianists of her time. Her father did everything he could to break up the developing relationship between her and Schumann, but the two found ways of communicating despite him, and five years later, on the eve of Clara’s 21st birthday, they married. Most of Robert Schumann’s piano music was written before 1840, the year of his marriage to Clara. The bulk of this work consists of collections of intimate miniatures that express the Romantic imagination. Schumann wrote this Arabesque in 1838 in a single movement. It is a short, colorful, poetic work, fancifully titled. The music is neither complex nor ornate in design and certainly owes nothing to Arabic art. In structure it resembles a rondo, with a major key principal theme that recurs in alternation with contrasting ideas in a minor tonality. Intermezzo in A Major, from Sechs Klavierstücke (“Six Piano Pieces”), Op. 118, No. 2

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

In his youth, Brahms earned his living as a pianist, and played well enough that later he performed his own concertos, although critics say he played more like a composer than a virtuoso. In 1892 and 1893, he composed a series of 20 relatively short and intimate pieces published in four sets, probably as a convenience. Nothing binds the separate numbers together, and the titles have no specific meaning. They are personal statements, eloquent soliloquies like songs without words; in many ways, they resemble his beautiful songs of the 1880s. The Intermezzi are generally short and slow, and the Ballades longer. A single structure satisfied Brahms’ needs for

almost all of them: a basic three-part form with the same or similar opening and closing music surrounding a contrasting central section. Brahms makes strong efforts to avoid extra-musical associations in his designation of Intermezzi. Rather, his focus in this and his other character pieces is of small scope with emphasis on strict compositional procedures, a high degree of harmonic and rhythmic elaboration, an unusual use of counterpoint and extensive thematic variation. Brahms’ Intermezzo, Op. 118, No. 2 Andante teneramente is introverted and subdued; Brahms succeeds in making the major key nostalgic and gentle. The music is composed in ternary form and seems to have qualities of reticence and longing, as if Brahms were striving for a level of expressive immediacy that he could not readily call up but worked hard to elicit. This lovely work is one of his lengthier and more profound intermezzos. The melody is flowing and lyrical; it is richly harmonized in innovative, imaginative ways. As the critic Robert Morgan points out, “Brahms’ message seems clear: music can continue to exist only by reflecting upon the very difficulty of its continuing existence.” In the central section, Brahms created what might be termed an internal intermezzo (or an intermezzo within an intermezzo) in which he articulates another beautiful theme, but one that includes some tension, if not agitation, as it progresses. When Brahms returns to the initial section, the mood lightens. The relationship between the main voice and the accompaniment is remarkable here: Brahms inverts his main theme and harmonizes it richly. Ballade in G minor from Sechs Klavierstücke, (“Six Piano Pieces”), Op. 118, No. 3

Johannes Brahms As a young man, Brahms wrote grand works for the piano on a heroic scale, but as time went by, the intervals between them grew longer. After his Piano Concerto No. 2, there is a gap of about 10 years in which he produced no piano music. Then in 1892 and 1893, he

composed a series of 20 relatively short and intimate pieces that he published in four sets. No. 3, in G minor, Allegro energico, is a dramatic Ballade. It is somewhat different from the other pieces for piano Brahms composed at this time, most of which are reflective and even dark in spirit, which perhaps can be best understood because in the year of their composition, 1892, both the composer’s sister and his close friend Elizabeth von Herzogenberg passed away. This ballade, however, in ternary (ABA form) is more vigorous and energetic, especially in its outer sections. The work can even be thought of as a heroic composition, based on two contrasting subjects. The first section can be distinguished by its bold, galloping rhythms. In the ballade’s center, Brahms introduces lovely, serene music with subdued variations on the first two subjects and a csárdás, a Hungarian folk dance. Although the music of the main subject returns in the final section, in the conclusion it has become more peaceful. The coda, including a little fragment of the csárdás, brings the work to a quiet end. Faschingsschwank aus Wien (“Carnival Scenes from Vienna”), Op. 26

Robert Schumann Schumann went to Vienna for an extended stay in September 1838. Clara Wieck, whom he already loved, had recently given very successful concerts there, and the two thought that if Schumann could move the magazine he edited from Leipzig to Vienna, they might move there when they married. After six months, that plan did not work out, and Schumann left Vienna, but while he was there he composed several short works as well as this long one. Schumann subjected most of his compositions to much revision. He often gave them their picturesque titles well after they were conceived and written, and frequently, he wrote many coded messages into his music, some obvious and some cryptic. On March 15, 1839, a month after Carnival that year,

applause at Strathmore • SEPTEMBER/OCTOBER 2013 59

Saturday, October 26, 2013, 3:30 p.m.

the composer wrote to a wealthy Belgian admirer of his music (to whom he later dedicated this work) that it was a “big, romantic sonata.” The Intermezzo, the fourth of the piece’s five movements, was a later addition, and when Schumann first published it separately in his own magazine as a supplement, he said that it was one of his forthcoming Nachtstücke, or Nocturnes, Op. 23. By 1840, Schumann gave the work its sonata-like form but with the first and last movements reversed. The first movement is headed with the word Allegro as a title rather than a tempo, which is given in German as Sehr lebhaft, or “Very lively.” The movement is rondo-like (which the classicists generally reserved for finales), its opening theme repeating and alternating with contrasting ideas. At one point Schumann quotes the “La Marseillaise,” the French national anthem, its martial duple meter transformed into the triple meter of a Viennese waltz. Some critics feel that this is the clue to the work’s title, and scholars have often said that the composer put the musical reference in simply because it was forbidden in the Austrian Empire, as “La Marseillaise,” was thought of as a French revolutionary song. What Schumann might have had in mind, however, was the transmission of a musical message from Vienna to Paris, where Clara had gone in January, trying to build her career on her own, independent of her influential father who disapproved strongly of her match with Schumann. In this movement, there are altogether five contrasting episodes. The last is related to the slow movement of Beethoven’s Sonata in E Flat Major, Op. 31, No. 3. Next come two movements built of short motives, a brief gentle Romanze, Ziemlich langsam (“Rather slow”) with a flowery melodic theme and a little Scherzino that is a witty but abbreviated scherzo without a trio. The Intermezzo, Mit grösster Energie (“With very great energy”) follows, and in the Finale, Höchst lebhaft, (“With the highest level of liveliness”) Schumann turns to the sonata-allegro form with an added coda. 60 applause at Strathmore • SEPTEMBER/OCTOBER 2013

Saturday, October 26, 2013, 8 p.m. and Sunday, October 27, 2013, 3 p.m.

SATURDAY, OCTOBER 26, 2013, 8 P.M. SUNDAY, OCTOBER 27, 2013, 3 P.M.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

Romantic Sentiments Piotr Gajewski, conductor Zuill Bailey, cello Tragic Overture, Op. 81 Johannes Brahms (1833-1897)

Concerto for Cello and Orchestra in A minor, Op. 129

Robert Schumann (1810-1856)

Nicht zu schnell Langsam Sehr lebhaft INTERMISSION

Symphony No. 1 in C minor, Op. 68

Zuill Bailey, cello

Johannes Brahms

Un poco sostenuto; Allegro Andante sostenuto Un poco allegretto e grazioso Adagio--Piu Andante— Allegro non troppo, ma con brio

gajewski photo by Michael ventura; Bailey photo by LISA-MARIE MAZZUCCO

Weekend Concerts Program Sponsor: Ameriprise Financial Saturday 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

Karlovy Vary Symphony in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States. Gajewski attended Carleton College and the University of Cincinnati, College-Conservatory of Music, where he earned a bachelor’s of music and a master’s of music in orchestral conducting. Upon completing his formal education, he continued refining his conducting skills at the 1983 Tanglewood Music Festival in Massachusetts, where he was awarded a Leonard Bernstein Conducting Fellowship. His teachers there included Leonard Bernstein, Seiji Ozawa, André Previn, Gunther Schuller, Gustav Meier and Maurice Abravanel. Gajewski is also a winner of many prizes and awards, among them a prize at New York’s prestigious Leopold Stokowski Conducting Competition and, in 2006, Montgomery County’s Comcast Excellence in the Arts and Humanities Achievement Award.

region. The Washington Post recognizes him as an “immensely talented and insightful conductor,” whose “standards, taste and sensitivity are impeccable.” In addition to his appearances with the National Philharmonic, Gajewski is much in demand as a guest conductor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the

Widely acknowledged as one of the pre-eminent cellists of his generation, Zuill Bailey engages audiences with compelling artistry and

technical finesse. Bailey has appeared with the symphony orchestras of Chicago, San Francisco, Minnesota, Indianapolis, Nashville, Dallas, Milwaukee and Toronto, and prominent orchestras around the world. He made his Carnegie Hall debut with the U.S. premiere of Miklos Theodorakis’ Rhapsody for Cello and Orchestra. This season Bailey performs the Dvořák Concerto with the Phoenix Symphony Orchestra, and the Elgar Concerto in Indianapolis under the baton of Krzysztof Urbanski. He also plays Elgar with the Napa Valley, Youngstown and El Paso symphonies, where he adds the Haydn C Major

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Saturday, October 26, 2013, 8 p.m. and Sunday, October 27, 2013, 3 p.m.

Concerto to the program. Other orchestral engagements include dates with the El Paso, Fairbanks, Knoxville, Shreveport, Pensacola, York and Fort Collins symphonies, and a return to the National Philharmonic at Strathmore for performances of the solo Bach Suites and the Haydn C Major. The 2010-2011 season saw the release of the album Brahms Works for Cello and Piano. The disc, recorded with pianist Awadagin Pratt, follows up the previous season’s critically acclaimed Complete Bach Cello Suites, Other recordings include Russian Masterpieces on Telarc International; a debut recital disc for Delos; Cello Quintets of Boccherini and Schubert with Janos Starker; Saint-Saëns’ Cello Concertos No. 1 and 2 Live; and the Korngold Cello Concerto with the Bruckner Orchestra Linz for ASV. Bailey performs on a 1693 Matteo Gofriller cello, formerly owned by Mischa Schneider of the Budapest String Quartet. He is the artistic director of El Paso Pro Musica, artistic director designate of the Sitka Summer Music Festival and Series (Alaska) and professor of cello at the University of Texas at El Paso.

Program Notes Tragic Overture, Op. 81

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

Brahms wrote his intense Tragic Overture (and its companion piece, the Academic Festival Overture) in the Austrian resort town of Ischl during the summer of 1880, and it was first performed at a Vienna Philharmonic concert conducted by Hans Richter on Dec. 26. Brahms’ sketches suggest that he was grappling with some of the musical ideas for about 10 years before he organized and developed them into this composition. When he had finished the two overtures, he sent them to his publisher with a letter asking, “What do you think about the overtures? Are these

two (which, I assure you, are excellent) worth 1,500 or 2,000 thalers each (including four-hand piano arrangements)? You will surely say, and rightly, that no one needs any more overtures for as long as Weber’s, Cherubini’s and Mendelssohn’s are around.” The publisher evidently thought otherwise, for he paid the larger amount. Brahms said of the two overtures, “One laughs; the other weeps.” He had difficulty deciding on a name for this one and wrote, “In earlier days, my music never pleased me. Now the titles don’t either. In the end, it is all vanity.” He first thought of calling it Dramatic Overture, and there is some evidence to suggest that it might have been intended, at some point, as incidental music for a Viennese production of Goethe’s Faust, but by the time it was published in the summer of 1881, it bore its present title. Brahms did not much like the title Tragic Overture, but settled on it because neither he nor his friends, from whom he solicited suggestions, could think of a better one. The listener need not look for the emotion of any of the world’s greatest tragedies in this music; the title simply defines it as a serious piece. Brahms insisted that he did not contemplate a “particular drama as a subject;” therefore, it is not an overture to anything, but simply a one-movement composition in classical form for which the word “overture” was a title of convenience. To the conductor Bernhard Scholz, he wrote, “You can put on the program Dramatic or Tragic Overture, or Overture to a Tragedy. You see, this time, too, I cannot find a title.” The work, Allegro ma non troppo, begins with two chords and a timpani roll after which the strings introduce the principal theme, a rising and falling subject that builds in force and concentration. Following the principal theme’s exposition, the violins spin out a relaxed, expressive second theme. The whole orchestra soon joins in and the music gathers up a great intensity before the march-like development section with its sorrowful mood. The recapitulation brings back both fragments of the opening theme as well as the second

62 applause at Strathmore • SEPTEMBER/OCTOBER 2013

theme, which now is given fuller treatment. At the end, in the coda, a tremendous tension is again built up, as the work closes with great tumult. The Tragic Overture is scored for piccolo and two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, and tuba, timpani and strings. Concerto for Cello and Orchestra in A minor, Op. 129

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

On Sept. 2, 1850, Robert Schumann, his illustrious wife, Clara, and their five small children arrived in the Rhineland city of Düsseldorf, where he was to take up his new duties as musical director of the orchestra and choral society. Schumann’s position left him enough time for composition, and he took full advantage of it. Before his orchestra rehearsals began in late October, he had completed the Cello Concerto. He sketched it in the week between Oct. 10 and 16, and by Oct. 24, he had completed the orchestration. Nine days after finishing the concerto, he was at work on his Rhenish Symphony. Despite the speed with which he turned out the Cello Concerto, it ranks today among the half dozen finest works of its kind. Clara thought very highly of it, but evidently her husband did not, for after scheduling a performance in 1852, he withdrew it. It was finally released for publication in 1854, the tragic year when Schumann attempted suicide by throwing himself into the Rhine. As far as is known, the concerto was never performed during the composer’s lifetime and did not receive its initial hearing until June 9, 1860, when it was played at the Leipzig Conservatory in a concert marking the 50th anniversary of Schumann’s birth. Schumann’s Cello Concerto has three connected movements. Cyclical in construction, it has a motto theme that is heard at the very outset and that reappears at various times and in various guises throughout the entire work. The beautifully lyrical, flowing first movement,

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marked Nicht zu schnell (Not too fast), begins with the theme that serves as the basic motto for the whole concerto. A bridge passage connects the first movement directly with the second movement, which is slow and lyrical. A transitional passage recalls the first movement, and the tempo accelerates, propelling soloist and orchestra into the spirited, energetic finale, Sehr lebhaft (Very lively). This sonata form movement has a theme whose principal subject is derived directly from the motto motive. Near the end, a cadenza for the solo cello comments and elaborates on material from the entire concerto. When the orchestra re-enters, its pace is more animated, and the work concludes brilliantly. The orchestral score requires two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Symphony No. 1 in C minor, Op. 68

Johannes Brahms Twenty-two years before Brahms completed his Symphony No. 1, he began to think about composing a symphonic work when his fellow composer Robert Schumann, in a review of the young Brahms’ work, publicly compared his music to that of Beethoven. Finally, eight years later, although he would not complete the symphony for 14 years, Brahms began to work on the music that was to become his Symphony No. 1. His colleagues, especially Schumann, anticipated the symphony’s appearance eagerly, but their anticipation did not hasten Brahms. “Composing a symphony is no laughing matter,” he once said, and at another time, “I shall never finish a symphony. You have no idea how it feels to hear behind you the tramp of a giant like Beethoven.” In 1862 Brahms sent Clara Schumann, Robert’s wife, a sketch of a first movement, minus the introduction, of music that would evolve into his Symphony No. 1. A few years later, in 1868, he sent Clara a birthday song that later he used as the horn theme in the finale of the symphony. Even

though the awe Beethoven instilled in Brahms was formidable, Brahms understood what he needed to do to follow in Beethoven’s footsteps in an acceptable way. Like Beethoven, he had to synthesize and balance the elements of the Classical and the Romantic in music. In 1876, when Brahms was 43 years old, he was offered the position of music director in Düsseldorf, and when he tentatively decided to leave Vienna to go there, he wrote a friend that “I have arrived at the decision to come out with a symphony. … I just think I ought to offer the Viennese something presentable by way of farewell.” He decided against going to Vienna, but he did finally allow his first symphony to be released. The premiere performance took place on Nov. 4 at the Grand Ducal Theater in Karlsruhe. Because he trusted the conductor and admired the orchestra of this small city, Brahms refused offers to perform the symphony elsewhere, but soon after the premiere he conducted the work himself in Mannheim, Munich and Vienna. At early performances, the reception was quite cold; listeners were at first puzzled by the work’s combination of restrictive formality and expansive expression, but, of course, it eventually became one of the most popular symphonies in the repertory. The symphony opens with a broad introduction, Un poco sostenuto, that leads to the vigorous main section of the first movement, Allegro. In the very beginning, Brahms gives the violins prominent ascending notes (by half-steps: C, C-sharp, and D), which become evident again at many spots throughout the movement. The violins announce the first theme, while the second theme appears in the woodwinds. The music is austere and displays restlessness and a kind of brooding melancholy. The lovely second movement, Andante sostenuto, is lyrical and serene but restrained. Two different oboe solos are particularly noteworthy in this movement. The coda is unusual with a solo for the horn with a violin obbligato, which culminates with a tender reprise of the chromatic notes that began the symphony.

64 applause at Strathmore • SEPTEMBER/OCTOBER 2013

In place of a scherzo, like the one Beethoven used or a minuet like Haydn favored for the form of the third movement, Brahms composed a brief, light hearted intermezzo, Un poco allegretto e grazioso, with a contrasting trio or middle section. The opening subject is heard first in the clarinet; it is similar in structure and character to the second subject of the preceding movement, where Brahms also used the clarinet. Grove called this theme a “sort of national tune or Volkslied of simple sweetness and grace.” Brahms planned the third movement as a foil for the matchless grandeur of the finale, which, similar to the first movement, begins with a tensely dramatic Adagio introduction. This introduction is exceptionally protracted; in fact, its length equals that of the preceding movement. Like Beethoven in his Symphony No. 5, Brahms waits until the final movement to unleash the trombones, monumental here in the heroic trombone chorale of the introduction. Toward the end of the section, the tempo changes, and a horn calls for attention to the movement’s principal section, Allegro non troppo, ma con brio, with its broad hymn-like main theme. This theme unquestionably owes a large debt to Beethoven in his Symphony No. 9. Brahms’ answer when this obvious “reminiscence” or affinity was pointed out to him was, “Any ass can hear that.” At early performances, comparisons of the thematic melody with the theme of the finale of Beethoven’s Symphony No. 9 made Brahms’ partisans accept the idea of calling it Beethoven’s Symphony No. 10; however, in truth, the resemblance is slight, except that the listener is aware of a struggle and then a resolution. Actually, neither the last symphony of Beethoven nor the first of Brahms needs or gains from the comparison. The movement concludes with a speeding up, or stretto, and heroic treatment of the trombone chorale that had been introduced in the beginning of the movement. The score of the Symphony No. 1 calls for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings. Copyright Susan Halpern, 2013.

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Wednesday, October 30, 2013, 8 p.m.

Wednesday, october 30, 2013, 8 P.M.

● Strathmore Presents

Chris Thile

The Punch Brothers’ debut album, Punch—featuring the bluegrass suite The Blind Leaving the Blind—was released in 2008. Since then, says The Music Center at Strathmore Marriott Concert Stage Thile, “Punch Brothers has gradually evolved from a band that existed to present the ideas of one guy into a band presenting the unified idea of five guys. I had a very clear vision for The Blind Leaving the Blind and I’m Chris Thile very proud how that turned out, but Chris Thile, of Punch Brothers, is the reason to put yourself in this kind a mandolin virtuoso, composer and of situation is to have the opportunity vocalist. With his broad outlook that to present a real sense of community encompasses progressive bluegrass, to other people. classical, rock and jazz, Thile tran“When there are five dudes up there scends the borders of conventionally circumscribed genres. He has created a doing something as a unit that endistinctly American canon and a new courages people to participate, that’s where Punch Brothers is exhibiting a musical aesthetic for performers and lot of growth. We can actually bring audiences alike. a sense of real musical camaraderie, Recently awarded a MacArthur creative camaraderie, to people who Fellowship, in February 2013 Thile come to our shows and those who also won a Grammy for his work on listen to the records.” The Goat Rodeo Sessions, collaboratThile’s latest album, Bach Sonatas & ing with Yo-Yo Ma, Edgar Meyer and Partitas Vol. 1, was released in August Stuart Duncan. by Nonesuch Records. Punch Brothers, described by The In the album, Thile stretches the Times of London as “brilliant, audalimits of the mandolin as he plays cious, original and, above all, enterworks written for solo violin—Sonata taining,” released their latest album, No. 1 in G minor, BWV 1001; Partita Who’s Feeling Young Now?, in 2012 No. 1 in B minor, BWV 1002; and on Nonesuch Records. The quintet’s album includes a cover of Radiohead’s Sonata No. 2 in A minor, BWV 1003. On this new program, he draws song “Kid A.” “I like the irony that the cover from the famous band is the from his new Bach recording, while also exploring his own compositions most abstract thing on the record,” and contemporary music. Thile says.

66 applause at Strathmore •SEPTEMBER/OCTOBER 2013

Danny Clinch

This tour engagement of Chris Thile is funded through the American Masterpieces program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts and the Maryland State Arts Council.

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Profiles | Physicians

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that breast cancer is affecting women at a younger age, and rapid early detection and treatment can be key.” The office offers a special program to measure a woman’s lifetime risk of developing breast cancer. The Tyrer-Cuzick Model is a comprehensive risk assessment tool that weighs family histories as well as non-familial and demographic factors. “Our goal is to increase awareness among doctors and patients about whether screening with a mammogram alone is enough for each individual patient,” said Dr. Kella. Shady Grove Breast Center reports breast density to all patients already, which is only becoming a state-mandated requirement in the fall. The Center has been designated as a Breast Imaging Center of Excellence by the American College of Radiology, which demonstrates achievement and high practice standards in image quality, personnel qualifications, facility equipment, quality control procedures and quality assurance programs.

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important information

please contact the Ticket Office for replacements.

patrons. Both main entrances have power- assisted doors.

CHILDREN

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

GROUP SALES, FUNDRAISERS

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

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

PARKING FACILITIES

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

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

All tickets are prepaid and non-refundable.

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

WILL CALL

PUBLIC TRANSPORTATION

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

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

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

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

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

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

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

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

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

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

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

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

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

ASSISTIVE LISTENING

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

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

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

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

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

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

Applause at Strathmore • SEPTEMBER/OCTOBER 2013 71

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

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

Barbara Goldberg Goldman Sol Graham Thomas H. Graham Nancy E. Hardwick Paul L. Hatchett Dr. Sachiko Kuno Delia K. Lang Carolyn P. Leonard Hon. Laurence Levitan J. Alberto Martinez, MD Thomas A. Natelli Kenneth O’Brien DeRionne P. Pollard Donna Rattley Washington Graciela Rivera-Oven Regina Brady Vasan

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 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 Joel and Liz 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 Yanqiu He and Kenneth O’Brien Bridget and Joseph Judge Dianne Kay Lerch, Early & Brewer, Chartered Sharon and David Lockwood Constance Lohse and Robert Brewer J. Alberto Martinez Katherine and William Parsons

72 Applause at Strathmore • SEPTEMBER/OCTOBER 2013

Left: Sachiko Kuno, founding CEO and co-founder of Sucampo Pharmaceuticals Inc. and president and CEO of S&R Foundation, with Ryuji Ueno, chief executive officer, chief scientific officer, founder and chairman of Sucampo Pharmaceuticals. Right: Proceeds from the Spring Gala at Strathmore support education and artistic programs, including the Strathmore Student Concerts and the Artists in Residence program.

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 & 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 Vivian 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 & 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 Linda and I. Robert Horowitz Randy Hostetler Living Room Fund Linda and Van Hubbard Patricia and Christopher Jones

Left: County Executive Isiah Leggett and Catherine Leggett backstage with Strathmore Gala performer Michael Feinstein, Karmen Walker Brown and Maryland Lt. Gov. Anthony Brown. Center: Gail Nachman, philanthropist Carol Trawick of the Jim and Carol Trawick Foundation and Phyllis Maharam. Right: Nancy Hardwick, immediate past Strathmore Board chair and executive vice president for strategy and organization at Booz Allen Hamilton, with Strathmore President Monica Jeffries Hazangeles and Strathmore CEO Eliot Pfanstiehl.

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 & 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 & 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 & 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. Anonymous (2) 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 Melody and Chui Lin

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

DEVELOPMENT Bianca Beckham Director of Institutional Giving Bill Carey Director of Donor and Community Relations Lauren Campbell Development & Education Manager 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 Laura Webb Staff Accountant Marco Vasquez Operations Manager

Diana Locke and Robert Toense Janet L. Mahaney Carol and Alan Mowbray Eliot and Cindy Pfanstiehl Barbara and David (deceased) Ronis Henry Schalizki and Robert Davis (deceased) 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 Christopher S. Inman Manager of Security Chadwick Sands Ticket Office Manager Wil Johnson Assistant Ticket Office Manager Christian Simmelink Ticket Services Coordinator Christopher A. Dunn IT Technician Johnathon Fuentes Operations Specialist Brandon Gowen Operations Specialist Jon Foster Production Stage Manager William Kassman Lead Stage Technician Lyle Jaeger Lead Lighting Technician Caldwell Gray Lead Audio Technician

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

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

STRATHMORE TEA ROOM Mary Mendoza Godbout Tea Room Manager

Applause at Strathmore • SEPTEMBER/OCTOBER 2013 73

Baltimore Symphony Orchestra

Board of directors OFFICERS

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

BOARD MEMBERS

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

William R. Wagner Jeffrey Zoller^, BSYO Chair

LIFE DIRECTORS

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

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

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

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST

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

SUPPORTERS OF THE BALTIMORE SYMPHONY ORCHESTRA 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, 2012 and July 10, 2013.

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

CHAIRMAN’S CIRCLE PARTNERS ($25,000 and above) The Morris and Gwendolyn Cafritz Foundation M&T Bank PNC Lori Laitman & Bruce Rosenblum VOCUS

MAESTRA’S CIRCLE

($10,000 and above) Mr. and Mrs. A. G. W. Biddle, III Ms. Susan Esserman and Mr. Andrew Marks

Michael G. Hansen & Nancy E. Randa Joel and Liz Helke Mr. and Mrs. Stephen M. Lans Susan Liss and Family In memory of James Gavin Manson Hilary B. Miller & Dr. Katherine N. Bent Mr. and Mrs. Arnold Polinger Total Wine & More

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

74 Applause at Strathmore • SEPTEMBER/OCTOBER 2013

GOVERNING MEMBERS SILVER

($2,500-$4,999) Anonymous (3) Alan V. Asay and Mary K. Sturtevant Mr. Gilbert Bloom Dr. Nancy D. Bridges Lt Gen (Ret) Frank B. and Karen Campbell Geri & David Cohen Jane C. Corrigan Kari Peterson and Benito R. and Ben De Leon Marcia Diehl and Julie Kurland Ms. Marietta Ethier Mr. Joseph Fainberg Sherry and Bruce Feldman Georgetown Paper Stock of Rockville, Inc. John and Meg Hauge Madeleine and Joseph Jacobs Dr. Robert Lee Justice and Marie Fujimura-Justice Mr. and Mrs. Charles Kelber Kiplinger Foundation Marc E. Lackritz & Mary DeOreo Burt & Karen Leete Mr. & Mrs. Howard Lehrer S. Kann Sons Company Foundation, Amelie and Bernei Burgunder Mrs. June Linowitz & Dr. Howard Eisner Dr. Diana Locke & Mr. Robert E. Toense Howard and Linda Martin Marie McCormack Mr. & Mrs. Humayun Mirza David Nickels & Gerri Hall Ms. Diane M. Perin Jan S. Peterson & Alison E. Cole Mr. Martin Poretsky and Ms. Henriette Warfield Patricia Smith and Dr. Frances Lussier Mr. A. Strasser & Ms. P. Hartge The Washington Post Company 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 Charles C. Alston and Susan Dentzer Mr. William J. Baer and Ms. Nancy H. Hendry Phebe W. Bauer Leonard and Gabriela Bebchick Mrs. Elaine Belman David and Sherry Berz Drs. Lawrence and Deborah Blank Dorothy R. Bloomfield Hon. & Mrs. Anthony Borwick Mr. Kurt Thomas Brintzenhofe Gordon F. Brown Mr. Vincent Castellano Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Harvey A. Cohen and Mr. Michael R. Tardif Mr. and Mrs. Arthur C. Cox Joan de Pontet Delaplaine Foundation Jackson and Jean H. Diehl Dimick Foundation Mr. John C. Driscoll Mr. and Mrs. Charles Fax Mr. and Mrs. Kenneth R. Feinberg Dr. Edward Finn Mr. and Mrs. Anthony Fitzpatrick Catoctin Breeze Vineyard Mr. and Mrs. Arthur P. Floor Mr. and Mrs. John Ford Mr. and Mrs. Roberto B. Friedman Mr. and Mrs. William Gibb Peter Gil Dr. and Mrs. Sanford Glazer George and Joni Gold

Dr. and Mrs. Harvey R. Gold Alan and Joanne Goldberg Mr. and Mrs. Frank Goldstein Drs. Joseph Gootenberg & Susan Leibenhaut Mr. David Grizzle 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 Esther and Gene Herman Ellen & Herb Herscowitz David A. & Barbara L. Heywood Fran and Bill Holmes Betty W. Jensen Dr. Henry Kahwaty Dr. Phyllis R. Kaplan Virginia and Dale Kiesewetter Darrell Lemke and Maryellen Trautman Ms. Marie Lerch and Mr. Jeff Kolb Drs. David and Sharon Lockwood Dr. and Mrs. Peter C. Luchsinger Michael & Judy Mael Ms. Janet L. Mahaney Mr. Winton Matthews David and Kay McGoff The Meisel Group Mr. and Mrs. David Menotti Dr. & Mrs. Stanley R. Milstein Teresa and Don Mullikin Douglas and Barbara Norland Mr. and Mrs. Peter Philipps Herb and Rita Posner Richard and Melba Reichard Dr. and Mrs. Gerald Rogell Mr. and Mrs. Barry Rogstad Bill and Shirley Rooker Mr. and Mrs. John Rounsaville Estelle D. Schwalb Roger and Barbara Schwarz Mrs. Phyllis Seidelson Mr. Donald M. Simonds Mr. and Mrs. Jeffrey Singer Don Spero & Nancy Chasen Mr. and Mrs. Richard D. Spero Jennifer Kosh Stern and William H. Turner Margot & Phil Sunshine Mr. and Mrs. Richard Swerdlow Donna and Leonard Wartofsky David Wellman & Marjorie Coombs Wellman Ms. Susan Wellman Richard and Susan Westin Dr. Ann M. Willis Sylvia and Peter Winik Marc and Amy Wish H. Alan Young & Sharon Bob Young, Ph.D. Robert & Antonette Zeiss

BRITTEN LEVEL MEMBERS

($500-$999) Anonymous Donald Baker Ms. Cynthia L. Bowman-Gholston Mr. Richard H. Broun & Ms. Karen E. Daly Frances and Leonard Burka Cecil Chen & Betsy Haanes Bradley Christmas and Tara Flynn Barbara and John Clary Mr. Herbert Cohen Mr. & Mrs. Jim Cooper Mr. and Mrs. Robert Fauver Ms. Alisa Goldstein Frank & Susan Grefsheim Ms. Haesoon Hahn Keith and Linda Hartman Mr. Jeff D. Harvell & Mr. Ken Montgomery Mr. & Mrs. William L. Hickman Ms. Daryl Kaufman Mr. & Mrs. Christopher Keller

Donor Nancy Hendry speaks with violinist Midori at the exclusive Artist Reception following her performance.

Dr. Birgit Kovacs Dr. Arlin J. Krueger Ms. Delia Lang Ms. Pat Larrabee and Ms. Lauren Markley Mr. Richard Ley Harry and Carolyn Lincoln Merle and Thelma Meyer Ms. Ellen Miles Mr. & Mrs. Walter Miller Mr. William Morgan Eugene and Dorothy Mulligan Mrs. Jane Papish Mr. and Mrs. Peter Philipps Thomas Plotz and Catherine Klion Andrew and Melissa Polott Mr. and Ms. Donald Regnell Mr. James Risser Ms. Trini Rodriquez and Mr. Eric Toumayan Harold Rosen Ms. Ellen Rye Lois and David Sacks Mr. Allen Shaw and Ms. Tina Chisena Donna and Steven Shriver Ms. Terry Shuch and Mr. Neal Meiselman Ms. Sonja Soleng Gloria and David Solomon Mr. and Mrs. Duane Straub Mr. Peter Thomson Mr. & Mrs. Richard Tullos Linda and Irving Weinberg Mr. David M. Wilson Robert and Jean Wirth Mr. Daniel Zaharevitz and Ms. Karen Flint Ms. MaryAnn Zamula

BRAHMS LEVEL MEMBERS ($250-$499) Anonymous (3) Ms. Kathryn Abell Ms. Judith Agard Rhoda and Herman Alderman Mr. Bill Apter Mr. and Mrs. James Bailey Drs. Richard and Patricia Baker Mr. Robert Barash Mr. & Mrs. John W. Beckwith Melvin Bell Alan Bergstein and Carol Joffe Mr. Neal Bien Mr. and Mrs. John Blodgett Ms. Judith A. Braham Mr. & Mrs. Ronald Brotman Mr. and Mrs. Serefino Cambareri Mr. and Mrs. Nicholas Carrera Ms. June Colilla

BSO President and CEO Paul Meecham, Maestra Marin Alsop and Ambassador H.E. Mauro Vieira at Bravo Brazil With the BSO at the Residence of the Ambassador of Brazil

Ms. Marion Connell Mr. and Mrs. Herbert Cooper Ms. Margaret Cusack Dr. & Mrs. James R. David Mr. David S. Davidson Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Claudia and Eliot Feldman Mr. Michael Finkelstein Dr. & Mrs. David Firestone Mr. & Mrs. Michael Scott Friedman Lucian & Lynn M. Furrow Roberta Geier Irwin Gerduk Mr. and Mrs. Stephen Giddings Brian and Mary Ann Harris Mr. Lloyd Haugh Mrs. Jean N. Hayes Joel and Linda Hertz 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. James Kempf Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Mr. and Mrs. Eugene Lambert Mr. and Mrs. Francis Leahy Alan and Judith Lewis LTC David Lindauer, U.S. Army (Ret’d) Dr. Richard E. and Susan Papp Lippman Lucinda Low and Daniel Magraw Mr. David Marcos Mr. and Mrs. Charles H. Matterson Mr. Mark Mattucci Mr. and Mrs. Thomas Maestri Ms. Susan McGee Anna Therese McGowan Mr. Steve Metalitz Mrs. Rita Meyers Ms. Caren Novick Amanda & Robert Ogren Mrs. Patricia Olson Mr. Jerome Ostrov Mr. and Mrs. Philip Padgett Mr. Kevin Parker Marie Pogozelski and Richard Belle Mr. and Mrs. Edward Portner Mr. and Ms. Richard Pratt

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.

Host Committee Co-Chairs Lucinda Low and Daniel Mcgraw, BSO Board Member Jack Biddle and Host Committee Co-Chair and Board Member Susan Esserman enjoying Bravo Brazil With the BSO

Ms. Laura Ramirez-Ramos Dr. and Mrs. Bernard Reich Mr. Thomas Reichmann Dr. Joan Rittenhouse & Mr. Jack Rittenhouse Mr. & Mrs. Robert Sandler Ms. Beatrice Schiff Mr. J. Kenneth Schwartz Mr. and Mrs. David Scott Ms. Debra Shapiro Mr. & Mrs. Larry Shulman Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith

Richard Sniffin Mr. Alan Thomas Mr. John Townsley Dr. and Ms. George Urban Ms. Roslyn Weinstein Alan White Ms. Carol Wolfe Eileen and Lee Woods Dr. & Mrs. Richard N. Wright Mr. Warren Zwicky

Baltimore symphony Orchestra STAFF Paul Meecham, President & CEO John Verdon, Vice President and CFO Leilani Uttenreither, Executive Assistant Eileen Andrews, Vice President of Marketing and Communications Carol Bogash, Vice President of Education and Community Engagement 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 Patrick Chamberlain, Artistic Coordinator Anna Harris, Operations Assistant Chris Monte, Assistant Personnel Manager Tabitha Pfleger, Director of Operations and Facilities Marilyn Rife, Director of Orchestra Personnel and Human Resources Meg Sippey, Artistic Planning Manager and Assistant to the Music Director eDUCATION Nicholas Cohen, Director of Community Engagement Annemarie Guzy, Director of Education Patrick Locklin, Education Program Manager Nick Skinner, OrchKids Site Manager Larry Townsend, Education Assistant Dan Trahey, OrchKids Artistic Director DEVELOPMENT Megan Beck, Donor Stewardship Coordinator Adrienne Bitting, Development Assistant Allison Burr-Livingstone, Director of the BSO Campaign for the Second Century Kate Caldwell, Director of Philanthropic Services Stephanie Johnson, Manager of Annual Giving, BSO at Strathmore Joanne M. Rosenthal, Director of Major Gifts, Planned Giving and Government Relations

Valerie Saba, Institutional Giving Coordinator 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 Sarah Beckwith, Director of Accounting Sophia Jacobs, Senior Accountant Janice Johnson, Senior Accountant Evinz Leigh, Administration Associate Chris Vallette, Database and Web Administrator Jeff Wright, Director of Information Technology MARKETING AND PUBLIC RELATIONS Rika Dixon, Director of Marketing and Sales Laura Farmer, Public Relations Manager Derek A. Johnson, Manager of Single Tickets Theresa Kopasek, Marketing and PR Associate Bryan Joseph Lee, Direct Marketing Coordinator Alyssa Porambo, PR and Publications Coordinator Adeline Sutter, Group Sales Manager Elisa Watson, Graphic Designer TICKET SERVICES Amy Bruce, Director of Ticket Services Timothy Lidard, Manager of VIP Ticketing Juliana Marin, Senior Ticket Agent for Strathmore Peter Murphy, Ticket Services Manager Michael Suit, Ticket Services Agent Thomas Treasure, Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht, Symphony Store Volunteer Manager Louise Reiner, Office Manager

Applause at Strathmore • SEPTEMBER/OCTOBER 2013 75

INDIVIDUALS

GIFTS OF $50,000+ Robert & Margaret Hazen for the Second Chair Trumpet Fund GIFTS OF $25,000+ Ms. Anne Claysmith for the Chorale Chair-Soprano II Fund Ann & Todd Eskelsen for the Chorale Music Fund Tanya & Albert Lampert for the Guest Artist Fund

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

Sally Sternbach Dr. Charles Toner Elzbieta Vande Sande

Board Officers

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

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

As of July 1, 2013 *Executive Committee

As of July 1, 2013

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

GIFTS OF $15,000+ Mrs. Hilda Goodwin Patricia Haywood Moore and Roscoe M. Moore, Jr. for the Guest Artist Fund Paul & Robin Perito for the Guest Artist Vocal Fund Maestro Circle The Jacob & Malka Goldfarb Charitable Foundation, Inc. Mrs. Margaret Makris Dr. Kenneth P. Moritsugu, Emily Moritsugu & Ms. Lisa R. Kory, includes match by Johnson & Johnson Paul A. & Peggy L. Young Concertmaster Circle Mr. and Mrs. Paul Dudek Principal Circle Anonymous Dr. Paul Jay Fink Dr. Ryszard Gajewski Dr. & Mrs. Val G. Hemming Ms. Dieneke Johnson, includes match by Washington Post Drs. Charles and Edna Foa Kahn Mr. Arthur Langerman Mr. Robert Misbin Dr. Gregory & JaLynn Prince Dr. Saul Sternberg

BENEFACTOR CIRCLE Corina Higginson Trust Henry B. & Jessie W. Keiser Foundation, Inc. Rockville Christian Church, for donation of space

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

SUSTAINER CIRCLE American Federation of Musicians, DC Local 161-170 Cardinal Bank Dimick Foundation Embassy of Poland Executive Ball for the Arts KPMG Foundation Lucas-Spindletop Foundation

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 Mr. Greg Lawson, includes match by Bank of America Mr. & Mrs. Kent Mikkelsen * Michael & Janet Rowan

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

SUSTAINER CIRCLE Anonymous (3) Mrs. Rachel Abraham Mr. & Mrs. Joel Alper Fred & Helen Altman * Ms. Sybil Amitay * Mr. Stanley Asrael Ms. Nurit Bar-Josef Mr. Robert Beizer Dr. Ronald Cappelletti * Dr. Mark Cinnamon & Ms. Doreen Kelly Mr. Steven C. Decker & Ms. Deborah W. Davis Drs. Eileen & Paul DeMarco * Mr. & Mrs. Robert Dollison Dr. Stan Engebretson * Mr. William E. Fogle & Ms. Marilyn Wun-Fogle

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

CONTRIBUTOR Bank of America

76 Applause at Strathmore • SEPTEMBER/OCTOBER 2013

Dr. Maria A. Friedman * Mr. & Mrs. Darren & Elizabeth Gemoets * Ms. Sarah Gilchrist * Mr. Barry Goldberg Dr. Joseph Gootenberg & Dr. Susan Leibenhaut Dr. Etsuko Hoshino-Browne Mr. & Mrs. Joseph A. Hunt Drs. William & Shelby Jakoby Ms. Margaret Keane Ms. Katherine Kopp Ms. Joanna Lam, in memory of Mr. Chin-Man Lam Mr. & Mrs. John R. Larue, includes match by IBM Mr. & Mrs. Harald Leuba Mrs. Joan M. Levenson Mr. & Mrs. Leslie Levine Mr. & Mrs. Charles A. Lyons Mr. Larry Maloney * Ms. Cecily Mango Mr. Winton Matthews Mrs. Eleanor D. McIntire * Susan & Jim Murray * Mr. & Mrs. Charles Naftalin Mr. Thomas Nessinger * Ms. Martha Newman * David Nickels & Gerri Hall Dr. & Mrs. Goetz Oertel Mr. & Mrs. William Pairo Dr. and Mrs. Edward Perl Mr. & Mrs. Jerome Pinson, includes match by GE Foundation Ms. Phyllis Rattey Ms. Aida Sanchez * Mrs. Jan Schiavone * Ms. Kathryn Senn, in honor of Dieneke Johnson Shara Family, in honor of the Langerman Family Seltzer Family Foundation 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. Jack Yanovski Mr. & Mrs. Bernard J. Young Ms. Sandra Zisman PATRON Mary Bentley & David Kleiner * Mr. Thomas M. Boyle Rabbi & Mrs. Leonard Cahan Susan Linn & Clifford Craine Mr. & Mrs. Norman Doctor Ms. Linda Edwards Mr. John Eklund Mr. Joseph Fainberg David & Berdie Firestone Mr. & Mrs. Herbert Goldman Mr. & Mrs. William Hickman Mr. David Hofstad William W. & Sara M. Josey* Mr. Robert Justice & Mrs. Marie Fujimura-Justice Mr. Michael Lame Ms. May Lesar Mr. Pardee Lowe, Jr. Ms. Jane Lyle * Mr. Jerald Maddox Mr. & Mrs. Raymond Mountain Mr. Larz Pearson & Mr. Rick Trevino Mrs. Bernice Sandler Ms. Kari Wallace & Dr. Michael Sapko Mr. & Mrs. Steven Seelig Ms. Lori J. Sommerfield * and Mr. Dennis Dollinger Mr. Walter Zachariasiewicz CONTRIBUTOR Anonymous (2) Mr. & Mrs. Byron Alsop Mr. Robert B. Anderson Mrs. Marietta Balaan * Mike & Cecilia Ballentine

National Philharmonic Board Member Leonard Cahan with Chorale member Lori Sommerfield in the Comcast Lounge.

Mr. and Mrs. Thomas Bechert Mr. Michael Belfer Mr. & Mrs. Richard Bender Ms. Patricia Bulhack Mr. John Choi Mrs. Patsy Clark Ms. Irene Cooperman Ms. Kimberly Elliott Mr. & Mrs. William English Mr. & Mrs. Elliott Fein, includes match by IBM Mr. Eliot Feldman Dr. & Mrs. John H. Ferguson Mr. & Mrs. Mayo Friedlis Mr. & Mrs. William Gibb Mr. & Mrs. Paul Goldstein Mr. William Haffner Ms. Nina Helmsen Mr. Robert Henry Dr. Roger Herdman Ms. Katharine Cox Jones Mr. & Mrs. William Kominers Ms. Cherie Krug Dr. Marcia D. Litwack Dr. & Mrs. David Lockwood Mr. Kevin MacKenzie Mr. David E. Malloy & Mr. John P. Crockett * Mr. David McGoff * Dr. & Mrs. Oliver Moles, Jr. * Mr. Stamatios Mylonakis Mr. & Mrs. Harvey Nathan Dr. Ruth S. Newhouse Mrs. Jeanne Noel Mr. and Mrs. Kenneth A. Oldham, Jr. Evelyn & Peter Philipps Dr. & Mrs. Manuel Porres Mrs. Dorothy Prats Mr. Jacques Rosenberg Ms. Lisa Rovin * Mr. J. Michael Rowe & Ms. Nancy Chesser Ms. Sandi Saville Mr. Ronald Sekura Dr. & Mrs. Kevin Shannon Mr. John I. Stewart & Ms. Sharon S. Stoliaroff Mr. Gerald Vogel Mr. & Mrs. Greg Wager Mr. & Mrs. John F. Wing Tom & Bobbie Wolf Dr. & Mrs. Richard Wright Mrs. Beatrice Zuckerman MEMBER Anonymous Mr. Dan Abbott Mrs. Fran Abrams Ms. Ann Albertson Mr. & Mrs. Nabil Azzam Mr. Mikhail Balachov Mr. Robert Barash Mrs. Barbara Botsford Mr. & Mrs. Herman Branson

National Philharmonic donors Michael and Janet Rowan with National Philharmonic Director of Development Leanne Ferfolia.

Mr. & Mrs. Jerome Breslow Mr. & Mrs. Frederick Brown Mrs. Dolores J. Bryan Mr. John Buckley Dr. John Caldwell Dr. & Mrs. Gordon M. Cragg Mr. Alan T. Crane Ms. Louise Crane Mr. Dean Culler Mr. & Mrs. David Dancer Mr. Carl DeVore Mr. Jian Ding Mr. Paul Dragoumis Mr. & Mrs. Tom Dunlap Mr. & Mrs. J. Steed Edwards Mr. Charles Eisenhauer F.W. England Mr. Philip Fleming Mr. Harold Freeman Ms. Phyllis Freeman Mr. Bernard Gelb Mr. & Mrs. Richard O. Gilbert Mr. Tom Gira Ms. Jacqueline Havener Ms. Lisa Helms Dr. & Mrs. Donald Henson Mr. & Mrs. James Hochron * Mr. J. Terrell Hoffeld Mr. Robert Hoffman Mr. & Mrs. Nelson Hsing Mr. & Mrs. Doug Jacobson Mr. & Mrs. Barbara Jarzynski Mrs. Harriett G. Jenkins Dr. Elke Jordan Mr. Gerald Kaiz Ms. Elizabeth King Mr. & Mrs. Allan Kirkpatrick Mr. Mark A. Knepper Ms. Martha Jacoby Krieger Mr. Dale Krumviede Mr. & Mrs. Sheldon Landsman Ms. Sandra Lebowitz Ms. Michelle Lee Mr. & Mrs. Paul Legendre Mr. & Mrs. Herbert J. Lerner Mr. & Mrs. Elliot Lieberman * Mr. & Mrs. Forbes Maner Dr. Lorenzo Marcolin Mr. and Mrs. James Mason Mrs. Nancy C. May Mr. Alan E. Mayers * Mr. & Mrs. Robert McGuire Mr. Edward Mills Mr. & Mrs. Thaddeus Mirecki Ms. Stephanie Murphy Mrs. Gillian Nave Mr. Leif Neve *, includes match by Aquilent Dr. Ruth S. Newhouse Dr. Sammy S. Noumbissi Mr. & Mrs. Kenneth Oldham Dr. & Mrs. David Pawel

Mr. & Mrs. Alan Peterkofsky Mr. & Mrs. Paul Plotz Drs. Dena & Jerome Puskin Mr. & Mrs. Clark Rheinstein * Mr. Drew Riggs Mr. and Mrs. John Schnorrenberg Ms. Bessie Shay Mr. Charles Short Dr. & Mrs. Paul Silverman Ms. Myra W. Sklarew Mr. Victor Steiger

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

Ms. Priscilla Stevens Ms. Sarah Thomas Ms. Maureen Turman Ms. Virginia W. Van Brunt * Mr. David B. Ward Mr. Stephen Welsh Ms. Joan Wikstrom Mr. Robert E. Williams Dr. & Mrs. Kevin Woods * Chorale members

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

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

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

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

Katie Tukey, Manager of Development Operations Amy Salsbury, Graphic Designer Lauren Aycock, Graphic Designer William E. Doar Jr. Public Charter School for the Performing Arts Staff Kimberly Teachout, Music Program Director Scarlett Zirkle, Suzuki Violin Instructor

Applause at Strathmore • SEPTEMBER/OCTOBER 2013 77

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

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

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

PAST CHAIRS

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

WOMEN’S COMMITTEE OFFICERS

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

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

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

Kiplinger Foundation Inc. KPMG LLP Judith A. Lee, Esq. (L) Ms. Marcia MacArthur Mr. and Mrs. John Marshall Dan Cameron Family Foundation, Inc. The Meredith Foundation PricewaterhouseCoopers LLP Mr. James J. Sandman and Ms. Elizabeth D. Mullin (L) Mr. and Mrs. Hubert M. Schlosberg (L) (W) NoraLee and Jon Sedmak Mr. and Mrs. Daniel Simpkins Verizon Washington, DC Versar Ms. Mary Jo Veverka Washington Gas Light Company Wells Fargo Bank

Mr. and Mrs. Robert S. Giles Mr. and Mrs. Stephen Graham Mr. and Mrs. Carlos Gutierrez Mr. and Mrs. Brian J. Hardie Host Hotels & Resorts Ms. Debra Lee Ms. Sandy Lerner Mr. Mark London and Ms. Dania Fitzgerald Mr. and Mrs. David O. Maxwell Dr. Robert Misbin Mr. and Mrs. Glenn A. Mitchell Ms. Rachel Tinsley Pearson The Honorable and Mrs. Stephen Porter Mr. and Ms. Steve Silverman Ms. Diane Tachmindji Mr. and Mrs. John V. Thomas Venable Foundation

$10,000-$14,999

$2,500-$4,999

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

Anonymous (2) Mr. Alvin Adell Mr. and Mrs. Barry Barbash Mr. and Mrs. Boris Brevnov Ms. Beverly J. Burke Mr. Peter Buscemi and Ms. Judith Miller Mr. and Mrs. William N. Cafritz The Charles Delmar Foundation Dr. and Mrs. Abe Cherrick Ms. Nadine Cohodas Mr. and Mrs. J. Bradley Davis Dr. Morgan Delaney and Mr. Osborne P. Mackie DyalCompass Mr. and Mrs. Melvin Eagle (L) Mr. and Mrs. Glenn Epstein Linda R. Fannin, Esq. (L) Mr. and Mrs. Burton J. Fishman Mr. and Mrs. Wayne Gibbens Dr. and Mrs. Michael S. Gold James R. Golden Mr. and Mrs. Rolf Graage Mr. and Mrs. Raymond Hardwick James McConnell Harkless, Esq. Ms. Dena Henry and Mr. John Ahrem Alexine and Aaron † Jackson (W) Mr. and Mrs. Joseph Jacobs Drs. Frederick Jacobsen and Lillian Comas-Diaz Mr. and Mrs. Merritt Jones Mr. and Mrs. David T. Kenney Arleen and Edward Kessler (W) Mr. Daniel L. Korengold and Ms. Martha Dippell Mrs. Stephen K. Kwass Mr. and Mrs. Steve Lans Mr. and Mrs. Harry M. Linowes James M. Loots, Esq. and Barbara Dougherty, Esq. (L) Mr. and Mrs. Christoph E. Mahle (W) The Honorable and Mrs. Rafat Mahmood Mr. and Mrs. Ralph Manaker Marshall B. Coyne Foundation Mr. Scott Martin Mrs. Joan McAvoy Mr. Larry L. Mitchell Mr. and Mrs. Robert Monk Dr. William Mullins and Dr. Patricia Petrick Ms. Catherine Nelson Mr. Paul Nelson and Mrs. Labrenda Garrett-Nelson Ms. Nicky Perry and Mr. Andrew Stifler Mr. Trevor Potter and Mr. Dana Westring Mr. and Mrs. Robert Ramsay Dr. and Mrs. Douglas Rathbun Mrs. Lynn Rhomberg Mr. and Mrs. Peter Rich Mr. Ken Rietz and Ms. Ursula Landsrath

$7,500-$9,999

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

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

$50,000-$99,999 Abramson Family Foundation Daimler Dallas Morse Coors Foundation for the Performing Arts National Arts and Cultural Affairs Program/The Commission of Fine Arts

Park Foundation, Inc. Dr. Paul G. Stern

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

$25,000-$34,999 Anonymous Ambassador and Mrs. Tom Anderson Bank of America BB&T Private Financial Services BET Networks Billy Rose Foundation Mrs. Ryna Cohen Ernst and Young Mark and Terry McLeod Mr. and Mrs. Herbert S. Miller

National Endowment for the Arts PEPCO Ruth and Arne Sorenson

$15,000-$24,999 Arcana Foundation AT&T Services Diane and Norman Bernstein Mr. and Mrs. Arturo E. Brillembourg Mr. Eric Collins and Mr. Michael Prokopow Embassy of South Africa, His Excellency Ebrahim Rasool Ms. Pamela Farr Mr. and Mrs. Jose Figueroa Mr. and Mrs. Morton Funger Mr. and Mrs. Bruce Gates Mr. and Mrs. Jay M. Hammer Carl D. † and Grace P. Hobelman Mr. and Mrs. Terry Jones

78 Applause at Strathmore • SEPTEMBER/OCTOBER 2013

Anonymous Apollo Group Mr. Wes Combs and Mr. Greg Albright Hilton Worldwide David and Anna-Lena Kamenetzky Ms. Danielle Kazmier and Mr. Ronald M. Bradley Mr. and Mrs. Paul Liistro The Hon. Mary V. Mochary and Dr. Philip E. Wine Ourisman Automotive of VA Adam Clayton Powell III Prince Charitable Trusts Dr. Irene Roth Sutherland Asbill & Brennan

$5,000-$7,499 Dr. and Mrs. Clement C. Alpert Katherine M. Anderson Mr. and Mrs. Joseph Brodecki Capitol Tax Partners Mrs. Dolly Chapin Ms. Josephine S. Cooper Mr. Joaquin Fajardo Bob and Jennifer Feinstein James A. Feldman and Natalie Wexler

Mr. and Mrs. 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 Ms. Mary Sturtevant and Mr. Alan Asay Mr. and Mrs. George R. Thompson Jr. Mr. and Mrs. R. Moses Thompson Mr. and Mrs. Brian Tommer Mr. Richard M. Tuckerman Drs. Anthony and Gladys Watkins (W) Mr. and Mrs. James J. Wilson Dr. and Mrs. William B. Wolf Mr. Bruce Wolff and Ms. Linda Miller Mr. and Mrs. Paul A. Young, NOVA Research Company

$1,500-$2,499 Anonymous (4) Ms. Lisa Abeel Mrs. Arthur Arundel Lisa and James Baugh Robert and Arlene Bein Mr. and Mrs. Robert S. Bennett Jane C. Bergner, Esq. (L) Ms. Bunny Bialek (W) Ms. Carol A. Bogash Mr. and Mrs. Leonard Burka Dr. C. Wayne Callaway and Ms. Jackie Chalkley Mr. and Mrs. Jordan Casteel Dr. and Mrs. Purnell W. Choppin Drs. Judith and Thomas Chused Dr. Mark Cinnamon and Ms. Doreen Kelly Mr. and Mrs. Douglas Cook Mr. Paul D. Cronin Dr. and Mrs. Joseph H. Danks DCI Group Ms. Lisa Egbuonu-Davis Ms. Lynda Ellis Mrs. John G. Esswein Mrs. Sophie P. Fleming Friday Morning Music Club, Inc. Mr. Tom Gallagher Mrs. Paula Seigle Goldman (W) Mrs. Barbara Goldmuntz Mr. J. Michael Hall and Dr. Natalie Hall Dr. and Mrs. Joseph E. Harris (W) Mr. and Mrs. James Harris, Jr. Ms. Leslie Hazel Ms. Gertraud Hechl Dr. Charlene Drew Jarvis Mrs. Enid T. Johnson (W) Mr. E. Scott Kasprowicz Stephen and Mary Kitchen (L) Ms. Betsy Scott Kleeblatt Mr. and Mrs. Steven Lamb Mr. and Mrs. Gene Lange (L) Mr. and Mrs. Richard F. Larkin Dr. and Mrs. Lee V. Leak (W) Ms. Jacqueline Rosenberg London and Mr. Paul London Mr. James Lynch Rear Adm. and Mrs. Daniel P. March Mr. and Mrs. Michael Marshall Howard T. and Linda R. Martin Mrs. Gail Matheson Ms. Katherine G. McLeod Ms. Cheryl C. McQueen (W) Mr. and Mrs. Samuel Muscarella Lt. Gen. and Mrs. Michael A. Nelson Ms. Michelle Newberry The Nora Roberts Foundation Mr. and Mrs. Jack H. Olender Mr. and Mrs. Gerald W. Padwe Dr. and Mrs. Ron Paul Ms. Jean Perin Mr. Sydney M. Polakoff

Mr. James Rich Ms. Mary B. Schwab Virginia Sloss (W) Mrs. Nadia Stanfield Cita and Irwin Stelzer Mr. Richard Strother Ms. Loki van Roijen Ms. Viviane Warren A. Duncan Whitaker, Esq. (L)

$1,000-$1,499 Anonymous Ruth and Henry Aaron Mrs. Rachel Abraham Mr. John B. Adams Mr. and Mrs. James B. Adler Mr. and Mrs. Dave Aldrich Ms. Carolyn S. Alper Mr. and Mrs. Michael Barnello Hon. and Mrs. John W. Barnum Mr. Mark Bisnow and Ms. Margot Machol Mr. A Scott Bolden Ms. Liz Buchbinder Mr. and Mrs. Calvin Cafritz Mr. Arthur Cirulnick Mr. Jules Cohen Mr. David D’Alessio Mr. and Mrs. Gregory Davis Edison W. Dick, Esq. (L) Mr. and Mrs. Sidney Dickstein Mr. Anthony E. DiResta (L) Ms. Nancy Ruyle Dodge Daniel J. DuBray and Kayleen M. Jones Marietta Ethier, Esq. (L) Dr. Irene Farkas-Conn Ms. Janet Farrell Fierce, Isakowitz & Blalock, LLC Mr. Gregory I. Flowers Ms. Gloria Garcia Mr. Donald and Mrs. Irene Gavin Gelman, Rosenberg & Freedman The Hon. Ruth Bader Ginsburg Mr. and Mrs. William L. Goldman (W) Mrs. Barbara W. Gordon (W) Mr. Michael Hager Ms. Gail Harmon Mr. Charles E. Hoyt and Ms. Deborah Weinberger (L) Mr. David Kahn and Ms. Sherry A. Bindeman Mrs. Carol Kaplan Mr. and Mrs. Sherman E. Katz (L) Dr. Marvin C. Korengold Simeon M. Kriesberg and Martha L. Kahn Sandra and James Lafond Mr. and Mrs. Eugene I. Lambert (L) Ms. Patricia Marvil Dr. Jeanne-Marie A. Miller Mr. and Mrs. Adrian L. Morchower (W) Mr. Richard Moxley Mr. and Mrs. Daniel Mulcahy Nancy Peery Marriott Foundation, Inc. Mr. and Mrs. Patrick Nettles Mr. and Mrs. Lawrence C. Nussdorf Mr. and Mrs. John Oberdorfer Mrs. Elsie O’Grady (W) Tom and Thea Papoian with Mr. Smoochy Mrs. Linda Parisi and Mr. J.J. Finkelstein Dr. Gerald Perman Mr. and Mrs. Arnold Polinger Reznick Group Mr. and Mrs. Martin Ritter Mr. and Mrs. Michael Rowan Ms. Yvonne Mentzer Sabine Steven and Gretchen Seiler Mr. and Mrs. Arman Simone Ms. Karen Sowell Ann and Stuart Stock

Sid Stolz and David Hatfield Mr. and Mrs. Thomas Strong Chris Syllaba Mr. and Mrs. Tom Tinsley Mr. and Mrs. Aaron Tomares Mr. J. Rock Tonkel, Jr. Mr. and Mrs. Jim Trawick Mr. and Mrs. J. Christopher Turner G. Duane Vieth, Esq. (L) Mr. John Warren McGarry (L) Mr. and Mrs. Stanley Weiss Mr. and Mrs. Stephen Weiswasser Drs. Irene and John White Mr. Peter L. Winik Mr. and Mrs. Robert H. Winter Mr. John C. Wohlstetter Christopher Wolf, Esq. (L)

$500-$999 Anonymous (4) Ms. and Mrs. Edward Adams (W) Mr. Donald R. Allen Mr. and Mrs. Gary Altman Esq Mr. Jerome Andersen and June Hajjar Mr. and Mrs. Ricardo Andrade Ms. Amy Ballard Miss Lucile E. Beaver Ms. Patricia N. Bonds (W) Mr. and Mrs. Charles Both Ms. Francesca Britton (W) Mrs. Elsie Bryant (W) Mr. Robert Busler Mrs. Gloria Butland (W) Ms. Deborah Clements and Mr. Jon Moore Mr. John W. Cook Dr. and Mrs. Chester W. De Long Mr. and Mrs. James B. Deerin (W) Mr. and Mrs. Carlos Del Toro Mrs. Rita Donaldson Mr. John Driscoll Mr. and Mrs. Marc Duber Mrs. Yoko Eguchi Mr. and Mrs. Harold Finger Fitness For Older Adults, LLC Mr. Michael Frankhuizen Mr. Juan Gaddis Dr. and Mrs. Robert Gagosian (W) Dr. Melvin Gaskins Jack E. Hairston Jr. Ms. June Hajjar Dr. and Mrs. Harry Handelsman (W) Mrs. Robert A. Harper Ms. Tatjana Hendry Mr. and Mrs. Carl F. Hicks, Jr. Mr. and Mrs. Laszlo Hogye J.S. Wagner Company Mr. and Mrs. Ernest Drew Jarvis Ralph N. Johanson, Jr., Esq. (L) Ms. Anna F. Jones (W) Mr. and Mrs. Charles Jones Mr. and Mrs. Sunny Kapoor Ms. Janet Kaufman (W) Mr. Daniel Kazzaz and Mrs. Audrey Corson Dr. Rebecca Klemm, Ph.D. Dr. Allan Kolker Mr. and Mrs. John Koskinen Mr. and Mrs. Nick Kotz Ms. Debra Ladwig Ms. Albertina D. Lane (W) Mr. William Lascelle and Blanche Johnson Mr. and Mrs. Christopher Lerner The Honorable and Mrs. Jan Lodal Mr. and Mrs. David Maginnes (W) Shaila Manyam Mr. and Mrs. Glenn Marshall Mr. Winton E. Matthews, Jr. John C. McCoy, Esq. (L) Mr. and Mrs. Paul McDonnell Ms. Hope McGowan Mr. and Mrs. James McIntyre

Mr. and Mrs. Rufus W. McKinney (W) Ms. Jacqui Michel Ms. Rachel Mondl Mrs. Ann Morales Mr. and Mrs. Bruce D. Moreton Ms. Dee Dodson Morris Mr. Charles Naftalin Mr. and Mrs. David Neal Ms. Christine Pieper Mr. and Mrs. Herbert Posner Dr. and Mrs. Linwood Rayford Mr. Spencer K. Raymond Mr. and Mrs. Dave Riggs Mr. and Mrs. Robert Rosenfeld Mr. Lincoln Ross and Changamire (W) Mr. Burton Rothleder Anne & Henry Reich Family Foundation Lee G. Rubenstein, Co-President Dr. and Mrs. Jerome Sandler Mr. and Mrs. Michael Schultz In memory of Mr. H. Marc Moyens Mrs. Zelda Segal (W) Dr. Deborah Sewell (W) Mrs. Madelyn Shapiro (W) Dr. Deborah J. Sherrill Mr. Peter Shields Daniel and Sybil Silver Dr. and Mrs. Michael H. Silver Mr. Jeffrey Z. Slavin Mr. and Mrs. John Slaybaugh Mr. and Mrs. Stephen Smith Mrs. Therrell C. Smith (W) Mr. and Mrs. L. Bradley Stanford Dr. and Mrs. Moises N. Steren Sternbach Family Fund Mr. and Mrs. David Sulser Mr. Akio Tagawa Mr. Daniel Tarullo

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

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

Washington Performing Arts Society Staff Jenny Bilfield President & CEO Douglas H. Wheeler President Emeritus Neale Perl President Emeritus Development Murray Horwitz Director of Development Meiyu Tsung Assistant Director of Development/Director of Major Gifts Daren Thomas Director of Leadership and Institutional Gifts Michael Syphax Director of Foundation and Government Relations Helen Aberger Membership Coordinator and Tessitura Application Specialist Education Michelle Hoffmann Director of Education Katheryn R. Brewington Assistant Director of Education/ Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate Chase Maggiano Education and Development Associate Finance and Administration Allen Lassinger Director of Finance Rebecca Tailsman Accounting Associate

Robert Ferguson Database Administrator Leah Manning Administrative Assistant Marketing and Communications Jonathan Kerr Director of Marketing and Communications Hannah Grove-DeJarnett Associate Director of Marketing and Communications Scott Thureen Creative Media and Analytics Manager Wynsor Taylor Audience Engagement Manager Celia Anderson Graphic Designer Brenda Kean Tabor Publicist Programming Samantha Pollack Director of Programming Torrey Butler Production Manager Stanley J. Thurston Artistic Director, WPAS Gospel Choirs Ticket Services Ofﬁce Folashade Oyegbola Ticket Services Manager Cara Clark Ticket Services Coordinator Edward Kerrick Group Sales Coordinator

Applause at Strathmore • SEPTEMBER/OCTOBER 2013 79

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 † Miriam Rose † Mr. James J. Sandman and

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

Now Enrolling for Fall Classes

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