Applause September/October 2014

september/october 2014

inside:

Strathmore

Comedians jab funny bones

The National Philharmonic Experience the ‘New World’

Baltimore Symphony Orchestra Shostakovich’s symphonic life

Bach Unabridged Violinist Gil Shaham will perform Bach’s complete sonatas and partitas as part of Washington Performing Arts’ 2014-2015 season at Strathmore

prelude

Applause at Strathmore september/october 2014

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program notes Sept. 18 20 / BSO: Beethoven’s Violin Concerto

Oct. 15, 16 36 / Strathmore: Frankie Valli & The Four Seasons

Sept. 20 24 / Strathmore: Wanda Sykes

Oct. 17 38 / Strathmore: David Sedaris

Sept. 27 25 / BSO: Rachmaninoff’s Symphony No. 1

Oct. 18, 19 40 / The National Philharmonic: Dvořák’s New World Symphony

Oct. 8 29 / Strathmore: Oct. 24 Belgrade Philharmonic 44 / BSO: Orchestra Off the Cuff: Ein Heldenleben Oct. 9 32 / BSO SuperPops: Oct. 26 Broadway Standing 45 / BSO: Ovations Ein Heldenleben— A Hero’s Life Oct. 10 34 / Strathmore: Oct. 30 California Guitar Trio 49 / BSO: Brahms’ & Montreal Guitar Trio Symphony No. 2

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features 8 Climb Every Mountain Gil Shaham plans to summit the Mount Everest of violin repertoire

10 United Colors of Strathmore Indian holiday Holi adds vibrant colors to The Rite of Spring

12 Funny Business Comic masters Wanda Sykes, David Sedaris and Joan Rivers return

14 Back Stories Take Center Stage BSO unravels Shostakovich’s dramatic Symphony No. 5

16 BSO Adds Sunday Matinée Series Performances to enhance popular lecture series

17 Meet the Musicians The eclectic Rene Hernandez and Marcia Kämper share a passion for the orchestra

18 Dvořák’s Postcard to the World

National Philharmonic opens season with composer’s view of America

19 Part musician, part diplomat, part leader Colin Sorgi takes on roles as National Philharmonic’s new concertmaster

departments

4 Musings of Strathmore CEO Eliot Pfanstiehl

4 A Note from BSO Music Director Marin Alsop 6 Calendar: November and December performances On The Cover Violinist Gil Shaham. Photo by Luke Ratray

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musician rosters

22 Baltimore Symphony Orchestra 42 National Philharmonic Orchestra and Chorale

L eft to right: photos by roger erickson, chris lee, luke ratray, charles william-bush

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Musings from Strathmore The 2014-2015 season marks the first decade of existence for Strathmore’s hallmark Music Center. Strathmore and its partners are each celebrating the week of Feb. 2-8, 2015, in our own inimitable fashion with artists both reminiscent of our past and indicative of the future.

Over these 10 years, Strathmore has proven its ability to attract national artists, partners and community leaders who have helped us thrive as a producer and presenter of extraordinary arts in the Washington, D.C., area. We have premiered 14 original productions, nearly doubled the number of presentations in the Music Center and mentored 54 artists in residence.

Strathmore’s relationship with its community is rich. It is intentional. It is deep. It is evolving. Now, we must look to our future and lay the groundwork that will support our purpose and vision in perpetuity.

This next decade begins with a series of much anticipated capital renovations, a series of new collaborations with artists and arts organizations, exciting arts outreach into new communities and the long awaited opening of AMP, our 250-seat nightclub at Pike & Rose, a new mixed-use development in North Bethesda.

As Montgomery County’s premier arts center, Strathmore will focus anew on building both financial and programmatic resources to be able to respond to emerging needs throughout our community and to take advantage of groundbreaking artistic opportunities. To do this well into the future, we must become even more resilient, resourceful and courageous.

Strathmore is more than just a venue. We are a promise, to you and your family, of memorable experiences and deep connections to come.

Eliot Pfanstiehl CEO | Strathmore

A note from the BSO Dear Friends, It is my great pleasure to welcome you to the start of another exciting Baltimore Symphony Orchestra season at The Music Center at Strathmore! This season is particularly exciting, especially as we look forward to celebrating 10 years of making music here at Strathmore in February 2015.

As this season begins, you may notice some new faces among the orchestra. We were busy over the summer adding more exceptional musicians to the already stellar BSO roster. Please join me in welcoming our new Principal Trombone Aaron LaVere and Assistant Principal Oboe Melissa Hooper, who begin their roles at the start of this season. As we approach our 100th anniversary celebrations in 2016, it is wonderful to see the finest musicians drawn to the BSO. Additionally, you’ll be seeing more of me here at Strathmore! We’ve added a brandnew five-concert Sunday matinee series, which you can read more about in this issue of Applause. These expanded offerings will represent the full-concert repertory of the accompanying Off the Cuff series, which has been so successful here in Montgomery County.

We have so much to celebrate as we begin a new season!

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

Editor and Publisher Steve Hull Vice President of Publishing and Associate Publisher Susan Hull Senior Editor Cindy Murphy-Tofig Design Director Maire McArdle Art Director Kelly Martin / kmartindesign.com

Music Director | Baltimore Symphony Orchestra

partners

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

Sales & Marketing Director Sandra Burley Advertising Account Executives Arlis Dellapa, Paula Duggan, Penny Skarupa, LuAnne Spurrell 7768 Woodmont Ave., Suite 204 Bethesda, MD 20814 301-718-7787 Fax: 301-718-1875 Volume 11, 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

Marin Alsop

STRATHMORE

5301 Tuckerman Lane, North Bethesda

calendar NOVEMBER

Stan Engebretson, conductor Danielle Talamantes, soprano Magdalena Wór, mezzo-soprano Robert Baker, tenor Christópheren Nomura, baritone National Philharmonic Chorale

Mozart: Ave Verum Corpus

Exsultate Jubilate

Requiem The National Philharmonic performs the poignant Ave Verum Corpus, the brilliant motet Exsultate Jubilate and the moving Requiem. A free pre-concert lecture will take place at 6:45 p.m.

Nov. 1 and 1:45 p.m. Nov. 2. ➲ THUR., NOV. 6, 8 P.M. Strathmore presents Vijay Iyer—RADHE RADHE: Rites of Holi Vijay Iyer, composer, piano, electronics Prashant Bhargava, directing, editing, design International Contemporary Ensemble (ICE) with: Tyshawn Sorey, Cory Smythe, Miranda Cuckson, Michi Wiancko

Four complete with original arrangements. Note: the BSO does not perform on this program. ➲ FRI., NOV. 14, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff Shostakovich’s Fifth: Notes for Stalin Marin Alsop, conductor Didi Balle, writer and director

Shostakovich: Symphony No. 5 More than 75 years ago, Shostakovich set out to write his now legendary Fifth Symphony. The result was an appealing and triumphant score full of contradictions and hidden messages. ➲ SAT., NOV. 15, 8 P.M. Strathmore presents VOCA People The cast transforms music from Beethoven’s Fifth to Madonna with flawlessly sung a cappella harmonies and amazing beat-box.

➲ SAT., NOV. 8, 8 P.M. Strathmore presents Academy of Ancient Music The Academy of Ancient Music explores the sound-worlds that inspired Bach, Handel and Haydn. ➲ THUR., NOV. 13, 8 P.M. BSO SuperPops Classical Mystery Tour This thrilling Beatles retrospective features chart-topping tunes by the Fab

Israeli pianist and 2013 Queen Elisabeth Competition winner Boris Giltburg performs Rachmaninoff’s First Piano Concerto. ➲ SAT., NOV. 22, 8 P.M. Baltimore Symphony Orchestra Bernstein & Beethoven Marin Alsop, conductor Jennifer Johnson Cano, mezzo-soprano Cathedral Choral Society

Bernstein: Chichester Psalms Bernstein: Symphony No. 1, “Jeremiah” Beethoven: Symphony No. 7 Beethoven’s Seventh Symphony marks the final work performed by the great composer and conductor Leonard Bernstein, Marin Alsop’s mentor.

This film with live music showcases the Indian celebration of Holi and marks the 100th anniversary of Stravinsky’s The Rite of Spring. ➲ FRI., NOV. 7, 8 P.M. Strathmore presents Joan Rivers The iconic comedian brings her sharp wit and scathing humor to the Music Center in her long-awaited return.

Lightwire Theater

➲ SUN., NOV. 23, 4 P.M. Strathmore presents Guitar Passions Sharon Isbin, guitar Stanley Jordan, jazz guitar Romero Lubambo, Brazilian guitar Voca People

➲ SUN., NOV. 16, 3 P.M. Baltimore Symphony Orchestra Rachmaninoff & Shostakovich Marin Alsop, conductor Boris Giltburg, piano

Tchaikovsky: Marche slave Rachmaninoff: Piano Concerto No. 1 Shostakovich: Symphony No. 5

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Sharon Isbin performs with Stanley Jordan, one of the collaborators on her album Guitar Passions, and Romero Lubambo. ➲ FRI., NOV. 28, 8 P.M. Strathmore presents Bella Gaia Bella Gaia illuminates the connections between natural systems and human activities through immersive storytelling threaded by an orbiting flight path from the International Space Station.

voca people photo by kfir bolotin; lightwire theater photo by stephen charles nicholson

➲ SAT., NOV. 1, 8 P.M. ➲ SUN., NOV. 2, 3 P.M. The National Philharmonic Mozart’s Requiem

[November/December]

➲ SAT., NOV. 29, 3 and 8 P.M. Strathmore presents Lightwire Theater: A Very Electric Christmas Lightwire Theater gives “the ancient art of full-body puppetry a magical, luminous update” (New York Post). ➲ SUN., NOV. 30, 3 P.M. Strathmore presents George Winston Pianist George Winston weaves worlds with his playing: hushed forests blanketed in snow, majestic mountains and sunlit streams.

DECEMBER ➲ SAT., DEC. 6, 4 P.M. Baltimore Symphony Orchestra Family Series Concert Duke Ellington’s Nutcracker Ken Lam, conductor

Share in the spirit of the holidays with Duke Ellington’s dazzling reimagining of Tchaikovsky’s The Nutcracker. ➲ SAT., DEC. 6, 8 P.M. Baltimore Symphony Orchestra Handel’s Messiah Edward Polochick, conductor Concert Artists of Baltimore Symphonic Chorale

Handel: Messiah The BSO continues its tradition of ushering in the holiday season with Handel’s powerful and faith-filled Messiah. ➲ TUES., DEC. 9, 8 P.M. Strathmore presents Dave Koz & Friends Christmas Tour

Ted Keegan Courtesy photo

Co-presented with Blues Alley

Saxophonist Dave Koz’s holiday tour includes R&B and gospel star Jonathan Butler, singer-songwriter Christopher Cross and Soul Train award winner Maysa. ➲ THURS., DEC. 11, 8 P.M. Baltimore Symphony Orchestra Holly Jolly Pops Jack Everly, conductor Baltimore Choral Arts Society Debbie Gravitte, vocalist

Ted Keegan, vocalist Carols, classical favorites, sing-alongs and more will get you into the holiday spirit and deliver fun for the whole family. ➲ FRI., DEC. 12, 8 P.M. Strathmore presents The Temptations and The Four Tops The two iconic male vocal groups take the stage for a night of Motown sound and a bit of American pop history. ➲ SAT., DEC. 13, 4 and 8 P.M. Strathmore presents Mannheim Steamroller Filled with spectacular video images, magnificent music and a monumental sound, Mannheim Steamroller’s holiday show thrills audiences of all ages. ➲ FRI., DEC. 19, 8 P.M. Strathmore presents Peabo Bryson: The Colors of Christmas Grammy Award-winning R&B legend Peabo Bryson is joined by gospel superstar CeCe Winans, pop diva Melissa Manchester and “American Idol” winner Ruben Studdard for an evening of pop hits and Christmas favorites.

Ted Keegan

➲ SAT., DEC. 20, 8 P.M. ➲ SUN., DEC. 21, 3 P.M. The National Philharmonic Handel’s Messiah Stan Engebretson, conductor Rosa Lamoreaux, soprano Margaret Mezzacappa, mezzo-soprano Matthew Smith, tenor Kevin Deas, bass National Philharmonic Chorale

Handel: Messiah Begin your holidays with one of the most cherished works in Western choral literature. A free pre-concert lecture will take place at 6:45 p.m. Dec. 20 and 1:45 p.m. Dec. 21.

[beyond the stage] Strathmore

Hartigan retrospective In its most ambitious exhibition in recent memory, Strathmore presents the artwork of abstract expressionist painter Grace Hartigan in Grace Hartigan: A Survey 1966-2007 from Sept. 6 through Nov. 9. The museum-quality exhibition—which includes pieces borrowed from Maryland Arts Place, C. Grimaldis Gallery and the collection of David and Suzi Cordish—opens Strathmore’s 2014-2015 season of fine art programs and is indicative of the increasing curatorial sophistication of its visual arts presence. The exhibition will feature a collection of Hartigan’s drawings, print work and paintings, as well as letters and images from her strong and famous connection with poets Frank O’Hara and Barbara Guest. This is the first exhibition of its caliber presented in the Mansion since 2005, when The Art of Music debuted with 45 musically inspired works from the Baltimore Museum of Art’s collection. applause applause at atStrathmore Strathmore•• september/october 2014 7

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Washington Performing A rts

Washington Performing Arts presents Gil Shaham Friday, Jan. 16, 2015, 8 P.M. 8 applause at Strathmore • september/october 2014

photo by Luke Ratray

Climb Every Mountain

Gil Shaham will scale the “Mount Everest” of violin repertoire—Bach’s complete partitas and sonatas

By Kathleen Wheaton

V

iolinist Gil Shaham smiles as he plays his “Comtesse de Polignac” 1699 Stradivarius as if he were divulging the simple and delightful answer to a riddle. The 43-year-old Israeli-American, whom conductor/composer André Previn has called “quite obviously the violinist of his generation,” first captured the world’s attention at age 17 when he substituted at the last minute for Itzhak Perlman at a London Symphony Orchestra concert. At the time, Shaham was a high school senior at Horace Mann School in Riverdale, N.Y. He was about to be called on in English class to recite lines from The Canterbury Tales, which he’d neglected to memorize. Instead, he was pulled out of class and offered the chance to fly to London to perform in the place of the ailing maestro. As Shaham practiced the Bruch G Minor and Sibelius concertos in a London hotel room, he suddenly became conscious of the fact that concertgoers would be expecting to hear the legendary Perlman. But, he said, “everyone was so supportive that playing in the concerts was the easy part.”

Easy, perhaps, because of the “special kind of humanism” with which Musical America says his performances are imbued. Noted for his glowing, emotionally fluent style, he is also a master of technique, something that will be in full evidence as he tackles the complete Bach sonatas and partitas Jan. 16, 2015, in a single three-hour performance at the Music Center at Strathmore. “Absolutely nothing gives him difficulty,” Previn has said. “He’s incapable of playing out of tune.”

With the modesty and good humor for which he is known, Shaham for his part dismissed the notion that he was a prodigy: “By violinist standards, 17 was practically over the hill,” he said in an interview with New York Magazine. In fact, Shaham did not pick up a violin until the ripe age of 7. He is the son of theoretical physicist Jacob Shaham and Meira Shaham, a cytogeneticist. Both parents were also amateur musicians, and when older brother Shai began piano lessons, 4-year-old Gil asked for violin lessons. His wish would not be granted for three years, however: “Mom and Dad wouldn’t let him because Mom was afraid of the screeching noise that might ensue,” recalled Shaham’s younger sister Orli, herself a noted concert pianist.

Shaham attended the Rubin Academy of Music in Jerusalem, where his gifts were quickly apparent. He made his debut with the Jerusalem Symphony Orchestra at age 10, and at 11, he won first prize in Israel’s prestigious Claremont Competition, though the fiercely competitive nature of the contest dismayed him, and he never entered another. Nevertheless, intense practice became a balm to the awkwardness of adolescence, and he practiced several hours every day. “Playing violin was a sport,” he has said. “I wanted to learn as much music as a I could, and to play as well as I could, just be the best.”

After his London triumph, Shaham simultaneously attended Columbia University and Julliard, where he studied under Dorothy DeLay and Hyo Kang. Shaham was awarded the Avery Fisher Career Grant in 1990, and he later signed a recording contract with

Deutsche Grammophon. In 1994, one of those recordings, the “Winter” movement of Vivaldi’s The Four Seasons was picked up by the Weather Channel and played with footage of a New York snowstorm. The Vivaldi album with its bad-weather cover later sold briskly. Replying to critics who sniffed at the mass marketing of classical music, Shaham said, “Music isn’t about making people feel important and serious ... Mozart and Beethoven went all out to take music to the masses.”

At Julliard Shaham met his future wife, Australian-born violinist Adele Anthony, with whom he sometimes performs, introducing her as, “my favorite violinist, who miraculously agreed to marry me.” The couple lives in New York City and has three children.

Shaham also plays frequently with sister Orli, something their parents discouraged as they were growing up. “They wanted us to find our own path,” he told The Jewish Week “and not be the Jewish Donny and Marie Osmond.” The two have collaborated on several recordings on Shaham’s label, Canary Classics, including a 2011 compilation of Hebrew folk music that the siblings say is a tribute to the music of their childhood, including tunes they recall hearing their grandfather humming around the house.

And though that compilation holds special meaning, performing the Bach pieces at Strathmore marks Shaham’s joyous return to a favorite artist.

“There’s something about a great work of music that’s like a sculpture,” he has said. “It doesn’t matter which angle you choose to look at—you can learn from it.”

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Strathmore presents

strathmore

VIJAY IYER—RADHE RADHE: Rites of Holi Thursday, Nov. 6, 8 P.M.

United Colors of Strathmore Composer Vijay Iyer and filmmaker Prashant Bhargava mark the centennial of Stravinsky’s The Rite of Spring with RADHE RADHE: Rites of Holi. By Chris Slattery

“M

aking art,” Vijay Iyer says, “has to be about giving people an experience that will stay with them.”

The award-winning composer, Harvard professor, jazz pianist, writer and producer is bringing his latest work of collaborative performance art to the Music Center at Strathmore on Nov. 6. Vijay Iyer—RADHE RADHE: Rites of Holi is a film by Prashant Bhargava, a Chicago-born designer and filmmaker, and a good friend of Iyer’s. Together they marked the 100th anniversary of Igor Stravinsky’s The Rite of Spring in a vibrant way by focusing on the northern Indian celebration of Holi.

“It’s a big spiritual festival in India,” explains Georgina Javor, Strathmore’s director of programming. “Prashant went over there and captured these gorgeous images and set them to The Rite of Spring. Vijay added new depth by adding his own composition to the finished work—sort of a counterpoint to Stravinsky. What resulted was an extraordinary film, with the vividness of the colors underscored by this incredibly innovative soundtrack that really has a life of its own.”

Javor sees parallels between Stravinsky’s perspective as an immigrant artist and the outlook of first-generation American artists like Bhargava and Iyer.

“That idea, of two different cultures mixing to create a new style of music, is so meaningful at Strathmore because

Montgomery County is so diverse,” she points out. “There are 134 languages spoken here; we have a huge IndianAmerican population, and we want to present programming that reflects our audience.” Strathmore is a commissioning partner on the project, linking with nationally recognized arts funders such as Carolina Performing Arts at the University of North Carolina at Chapel Hill.

A “rite of spring” in its own right, Holi brings devotees of the Goddess together in a celebration that’s characterized by ecstatic dancing and the ritual splashing of participants with colored powders and potions. “I’d heard about Holi growing up, but culturally it wasn’t part of my upbringing,” says Iyer, who was born in Albany, N.Y., to parents who had emigrated from southern India, where the festival is less prominent. “I didn’t celebrate it until I was a teenager,

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though I was always intrigued by it.”

And just as Bhargava’s film captures the color and joy of Holi celebrants in his film, Iyer’s score matches the rhythm and dynamic of the festival.

Iyer and 13 other musicians, plus a conductor, will perform live as the film is shown on a large screen. In addition, Iyer will perform his acclaimed Mutations I-X, a 10-movement suite written for string quartet, piano and electronically generated sounds.

“The original Rite of Spring was a ballet with an orchestra,” Iyer points out. “There was a lot to look at, but there was also this radical music that had more of an historical impact than the choreography ever could.”

Historical, yes, but also vastly entertaining.

“Music is not meant to teach you something,” Iyer insists. “It’s meant to take you somewhere.”

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strathmore

Funny Business T

here’s something funny going on at Strathmore—and it starts with Wanda Sykes.

“I have some really good memories of growing up in Maryland,” says the comedian, whose Sept. 20 show on the Music Center stage kicks off a fall comedy lineup. “I love coming back, eating crabs, all that good stuff.”

File this under “even more good stuff:” After Sykes slays the crowd in September, NPR darling David Sedaris will do an Oct. 17 show and comedy legend Joan Rivers performs Nov. 7. And though Strathmore may be known for its sophisticated programming, Sykes is known for her no-holdsbarred approach to subjects including race, sex, politics, economics and social convention—and she’s planning to bring her A-game.

“If I ‘go there,’” Wanda Sykes says, “It has to be funny. If I can’t make them laugh, what’s the point?”

Forget about insults: Sykes says that between motherhood, marriage and her recent 50th birthday the comedy just seems to flow.

“My standup is basically what’s going on in my life now; I’m just saying what’s on in my mind,” she explain.

“But I talk about things that’re real.”

That realness is what makes Sykes—a Maryland girl who played drums at Arundel High School, went to Hampton University and got a government job—so successful.

“You know, I tried it,” she explains.

“But I realized it was not what I wanted to do. There had to be more to life.”

Encouraged by her peers, Sykes 12 applause at Strathmore • september/october 2014

SYKES photo by Roger Erickson, rivers photo by William Bush, sedaris photo by Hugh Hamrick

Wanda Sykes, David Sedaris and Joan Rivers will make you laugh more at Strathmore this fall By Chris Slattery entered a stand-up comedy contest and that was it.

“Standup: I love it,” she says. “This is where it all started; this is what got me everything else: the roles in movies and on TV shows. Standup gives me total freedom, and it’s still the most challenging thing I do.

“I’m fortunate to do those other things, sure, but I really love standup.”

Legendary comedian Rivers has shape-shifted over the years, too, from a Brooklyn-born doctor’s daughter with a passion for fashion to a writer, actor, author and host of TV’s “Fashion Police” and the web series “In Bed With Joan.”

“Comedy is funny—that’s it,” she says. “If it’s funny it works; if a woman isn’t successful, she’s not funny.”

Comedians Louis C.K. and Sarah Silverman make Rivers laugh, but she also has respect for the old days, when she helped forge television’s golden age with stints on “Candid Camera” and “Hollywood Squares” and hosted “The Tonight Show” for Johnny Carson. But even at 81, she is as fully present as any comedian half her age.

“I live in the moment,” she says.

“Anyone who thinks otherwise, well, the average age of my audience is 22.7. My agent tells me all the time, I’m relevant.”

And relevance is getting easier. Rivers remains undaunted by any social changes the Internet has wrought: “It’s wonderful,” she says. “You can talk to your audience about absolutely anything now; wherever they are they’ll know all about it. We’re so connected now, and it’s great for comedy.”

And comedy, as it turns out, is great for Strathmore.

“People want to laugh,” says Shelley Brown, Strathmore’s vice president of programming. “In ’06 we had Lily Tomlin for our Gala artist,” she recalls. “That was our first big comedic name, and I

thought that was a good choice because people who follow the arts, the theater world, would be glad to see Lily—and they were.”

Any comic who takes the Music Center stage, Brown reasons, has to meet a certain standard for quality and relevance. This fall she and her team seem confident they’ve hit the trifecta.

“These people have been curated because they, in some way, have significance in the field,” says Brown. “David Sedaris is a comedic genius; he has appeared at Strathmore several times, and it’s sort of his D.C. home away from home.”

Rivers, she points out, is another returnee to Strathmore, renowned for her place in the history of comedy. And Maryland native Sykes got her start doing comedy right here in Washington, D.C. “These are three performers who are absolutely at the top of their game,” says Brown. “We have a sophisticated, welleducated audience, and they don’t have time for the mediocre. They want to see something great. And the simplicity of a comedian performing—all that’s required is their genius plus a microphone and a glass of water— it’s something that helps us underwrite more expensive artistic programs without compromising on quality.”

Any worries that the edginess of Sykes, Sedaris and Rivers might make Music Center regulars uncomfortable?

“There’s a risk with any comedian who’s known for pushing the envelope of subject matter,” she admits. “We’re hoping it’s comedy done in good taste, and that the insults are given out evenhandedly, to everyone.”

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B altimore Symphony ORchestra

Back stories take center stage With Shostakovich’s Fifth: Notes for Stalin, playwright Didi Balle and the Baltimore Symphony Orchestra unravel the Russian composer’s Fifth Symphony By Phyllis McIntosh

I

n 1936, at the height of Stalin’s reign of terror against the Russian people, celebrated composer Dmitri Shostakovich suddenly found himself denounced as an enemy of the people. After seeing Shostakovich’s successful opera, Lady Macbeth of Mtsensk, Stalin had declared it “coarse, primitive and vulgar” and warned that the situation “may end very badly.”

Overnight, the young composer became a pariah. Friends shunned him.

Relatives disappeared in the night.

Shostakovich himself kept a packed suitcase under the bed in anticipation of inevitable arrest. He abruptly canceled rehearsals of his Symphony No. 4, which he feared would seal his fate, and set about to redeem himself with a politically acceptable Fifth Symphony.

Completed in just a few months, Symphony No. 5 premiered in Leningrad in November 1937. On the surface, it seemed to glorify Soviet virtues.

The Russian people, however, heard in

it a message of scorn for a brutal system and despair for the suffering it caused.

This gripping story is the subject of Shostakovich’s Fifth: Notes for Stalin, a symphonic play by Didi Balle, playwright-in-residence with the Baltimore Symphony Orchestra. The BSO will perform the work’s area premiere at the Music Center at Strathmore on Nov. 14 as part of its Off the Cuff series.

A synthesis of classical music and live theater, the symphonic play genre was created by Balle in collaboration with Marin Alsop, music director of the BSO. “As Marin has said, we share a vision of giving audiences deeper access to great artists, personalizing the real-life stories behind the music,” explains Balle. “It’s thrilling, because you have a dynamic triad on stage— a full symphony orchestra, a scripted and interactive conductor and a cast of professional actors— all seamlessly woven together.”

Since 2008, the BSO has commissioned and premiered four of Balle’s

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symphonic plays: CSI: Beethoven; CSI: Mozart; A Composer Fit for a King: Wagner and King Ludwig I; and Analyze This: Mahler & Freud. The orchestra also will present the world premiere of Tchaikovsky: Mad But for Music, about the controversies surrounding his Fifth Symphony, at Strathmore on April 10, 2015. Shostakovich’s Fifth: Notes for Stalin was commissioned and premiered by conductor Yannick Nezet-Seguin and The Philadelphia Orchestra in 2013.

Wherever they have been performed, symphonic plays have resonated with audiences of all ages, says Alsop. “People are really curious about the back story. They want more information, they want to feel educated, they want to feel they’re getting a behind-the-scenes look. With symphonic plays, there are a lot more dimensions to the experience.”

All of the plays explore how composers dealt with conflict and adversity to create some of the most beloved works of music. “Struggle is part of

Baltimore Symphony Orchestra presents Shostakovich’s Fifth: Notes for Stalin Friday, Nov. 14, 8:15 P.M.

DIDI BALLE

all great artists’ lives,” says Alsop. “In Shostakovich’s case, of course, it’s not just personal struggle but also the individual against the political machine, which makes his life story so incredibly compelling.”

Shostakovich’s Fifth: Notes for Stalin focuses on two primary characters, the composer himself and his trusted friend and personal secretary, Isaak Glikman. A third actor plays several roles, including a Soviet party observer and Victor Kubatsky, former principal cellist of the Bolshoi and Shostakovich’s touring partner.

The dramatic story begins as Shostakovich learns that his life and career have been turned upside down. It traces his plight and the difficult choices he must make before writing the Fifth Symphony. When at last the orchestra plays the entire symphony, the audience can appreciate

tony tsendeas

jEred mcLENIGAN

the contradictions and hidden messages that have made the work legendary: “triumphant” marches that parody heroic leadership and merriment that seems forced and shrill.

Free of irony, however, is the mourn-

The fierce march of the finale, Shostakovich later said, represents a forced exultation. In his memoirs, which were smuggled out of Russia after his death, he wrote: “It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’”

After all of Shostakovich’s conflicts, Balle says, “We see at the end that he finds a way through sly brilliance and remarkable spirit to compose music which appears to adhere to Stalin’s directive while subtly weaving a deeper and sardonic musical truth that bears testimony to the despair, the madness and the terror that reigned over his people. His music mirrors not only a personal story but also a universal truth that touches us all. He gives us courage.”

didi balle photo by michael stadler

“His music mirrors not only a personal story but also a universal truth that touches us all. He gives us courage.”

—Didi Balle ful slow movement—sometimes called the most despairing music ever written—that Shostakovich intended as a memorial for victims of Stalin’s purges. Reportedly, many Russians in the premiere audience were moved to tears.

applause at Strathmore • september/october 2014 15

B altimore Symphony ORchestra

Music Director Marin Alsop will conduct all five concerts at the Music Center

By Roger Catlin

O

nce, not so long ago, symphonies were silent on Sundays.

“In the good old days, almost nobody played on Sundays,” says Jack Fishman, vice president of external affairs for Baltimore Symphony Orchestra at The Music Center at Strathmore. “You couldn’t go to the stores on Sunday. Everything was closed.

“Nowadays, with travel and the commuting and workload, and how many hours people work, orchestras around the country are exploring alternatives that might appeal to a broader audience. The BSO has had a string of successful seasons at Strathmore. With the start of our 10th anniversary season, the time was right to expand our programming options and bring our world-class

Baltimore Symphony Orchestra adds

Sunday Matinée Series orchestra to more audiences throughout the greater Washington area.”

So this season, for the first time, an additional option is available to hear the BSO at Strathmore: Sunday matinée concerts. Music Director Marin Alsop will conduct all five Sunday performances, which begin at 3 p.m and last about two hours with one intermission. Unlike other BSO at Strathmore series, there are no pre-concert lectures on Sundays.

“The good news is: we needed more capacity,” Fishman says.

Eileen Andrews, vice president of marketing and communications for the BSO, says Strathmore has enjoyed an especially high percentage of paid capacity over the past several years.

In that time, she adds, “We received

Marin Alsop 16 applause at Strathmore • SEPTEMBER/OCTOBER 2014

a lot of feedback from patrons who were looking for a daytime program—either because they’re older and not comfortable going out at nighttime, or it’s too frantic and unreliable to count on the Beltway to get to a concert on weekday nights.”

Andrews adds, “there is also a segment of our audience who have older children who would like to join their parents and come to a concert, but because of the other days of the week and the time, the experience was just too late.”

“Sunday does something else for us that’s very unique,” Fishman says. “It helps us widen our geographic base.”

While Montgomery County will continue to provide the bulk of Strathmore’s BSO core audience, concerts on Sundays hope to attract those from northern Virginia and northwest D.C. who might have a tough time juggling commutes from work, duties at home and a trip to Strathmore for a midweek concert.

“We know there are new audiences in Montgomery County and beyond that would love to experience Marin Alsop and the BSO,” Fishman says. “We hope the introduction of Sunday matinées will make it easier for them to join us.”

The inaugural BSO Sunday series begins with Ein Heldenleben: A Hero’s Life on Oct. 26 and continues with Rachmaninoff & Shostakovich on Nov. 16, featuring pianist Boris Giltburg; The Rite of Spring on Jan. 11, 2015; Haydn and Ravel March 22, 2015, featuring cellist Sol Gabetta; and Tchaikovsky’s Symphony No. 5 on April 12, 2015.

photo by Grant Leighton

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B altimore Symphony ORchestra

Meet the Musicians

The personalities, interests of individual musicians—including Rene Hernandez and Marcia Kämper—enhance the Baltimore Symphony Orchestra

By Christianna McCausland

enjoys the annual BSO Academy that concludes each season. “The rejuvenation and energy I feel working with the participants is remarkable. When they come to us, they are so excited and hungry to learn about what we do every day.” The experience of playing with avid amateurs also has deepened his passion for sharing music.

Marcia Kämper, second flute

I photo by Mitro Hood

t’s hard to miss the large pop-up posters featuring the likes of concertmaster Jonathan Carney and associate concertmaster Madeline Adkins at The Music Center at Strathmore. The outreach is part of the Baltimore Symphony Orchestra’s “Meet Your Musicians” initiative, begun last year to generate awareness of the individual artists whose singular talents come together to create the symphony.

Now, meet two more gifted musicians.

These artists exemplify the eclectic personalities that make the BSO unique.

Rene Hernandez assistant principal trumpet

Many musicians in the symphony began playing an instrument at a young age, but Rene Hernandez may be the only one whose career began in a Buddhist

marching band. When he was 12, his mother took him to a Buddhist meeting where he met the youth bandleader.

“The following Sunday, I had a trumpet in my hands,” he recalls. “We were constantly performing. I learned how to play in no time.”

From city streets to symphony halls, Hernandez grew up performing, and by 16, he was on tour in Europe. But performing so young is not without its perils. While playing with an orchestra in Spain that was to conclude after a few months’ time with an audition, Hernandez enjoyed Spain’s laidback lifestyle a little too much and practiced too little.

“I learned the hard way that I must always work hard before I can play hard,” he says now.

Hernandez, a father of two who joined the BSO in 2002, particularly

Being a working mother, it’s helpful to have a means to unwind. Marcia Kämper’s two boys, Hiero and Hannes, ages 4 and 2, keep Kämper on her toes, but she has found that a little meditation goes a long way toward relaxing her mind. “I try and take a moment to breathe doing simple things: shower, driving to work, laundry, grocery shopping, looking up at the sky,” says Kämper.

A good long drive is also calming, a throwback to Kämper’s youth when she commuted through the desert from her family’s home in Boulder City to a performing arts high school in Las Vegas.

Kämper played the cello and piano by age 10 before switching to flute.

Of course, rehearsals take plenty of time, but for Kämper, the BSO feels like family. As a student at the Peabody Institute, she attended BSO performances weekly; when she joined the BSO permanently in 2006, Kämper became a part of “the orchestra I grew up with.”

applause at Strathmore • SEPTEMBER/OCTOBER 2014 17

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THE N ationa l P hi l harmonic

The National Philharmonic presents Dvořák’s New World Symphony Saturday, Oct. 18, 8 P.M. and Sunday, Oct. 19, 3 P.M.

ˇ Dvorák’s postcard to the world The National Philharmonic shows how the Czech composer viewed America in season-opening performance of Symphony No. 9 By Roger Catlin

I

chee-yun

has appeared with the National Philharmonic on several occasions. “She is always very well received when she plays with us,” Gajewski says.

For her part, Chee-Yun calls the Sibelius Violin Concerto, “one of the most challenging pieces for the soloist.

It requires a lot of practice.”

The first movement alone is like an endurance race in order to project over the orchestra, she says. “It’s like I just ran a 5K and that’s only the first movement. It’s a good diet piece.”

But the piece overall, she says, “can be incredibly exciting for the audience.

It is profound and moving. When the combination is right, it can be magical.”

Opening the concert will be another magical work—Mendelssohn’s over-

18 applause at Strathmore • SEPTEMBER/OCTOBER 2014

ture to A Midsummer Night’s Dream.

“Obviously inspired by Shakespeare’s play, which he read in German, he was only 17 when he composed it,” Gajewski says. “It’s a youthful, bright piece and a great way to open the season.”

Throughout the season, the National Philharmonic will bring back audience favorites from its first decade at Strathmore, to celebrate how far the Philharmonic has come.

“It’s been a great 10 years,” Gajewski says. “Strathmore is a fantastic concert hall and performing space, and …

I think going forward we will continue to play the music that has been very successful for us, but also probably increasingly look at some adventurous and creative projects.”

photo by Youngho Kang

t was in some ways a new world when the National Philharmonic began its inaugural season at the Music Center at Strathmore 10 years ago. Accordingly, the National Philharmonic will begin its 10th anniversary season here in October with Dvořák’s New World Symphony.

The Symphony No. 9 in E minor, “From the New World,” was composed in 1893 while the Czech composer was directing the National Conservatory of Music of America.

“The symphony was composed by Dvořák while he lived in the United States, premiered at Carnegie Hall and immediately became very, very popular, and performed all over,” says National Philharmonic Music Director and Conductor Piotr Gajewski. “It was composed by an immigrant using his experiences here in America to write, in essence, a postcard to the world of what America was about,” says the Polish-born maestro.

The New World Symphony appears on the 2014-2015 opening program Oct. 18 and 19 alongside another piece of roughly the same vintage, Jean Sibelius’ Violin Concerto in D minor.

The work by the Finnish composer is “more advanced musically than the New World Symphony is,” Gajewski says, “It’s very difficult for the violinist, but over the years has become one of the favorite concertos of violinists and the concert-going public.”

It also provides an opportunity to bring back violinist Chee-Yun, who

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THE N ationa l P hi lharmonic

Colin Sorgi will wear many hats as the National Philharmonic’s new concertmaster

By M.J. McAteer

photo by Kate Lemmon

A

concertmaster for a symphony orchestra is a musical middleman, a liaison between the musicians and their conductor, and that sometimes isn’t an easy job.

“Orchestras can be a contentious bunch,” says National Philharmonic Music Director and Conductor Piotr Gajewski, and a concertmaster must “make sure that everyone is on the same page.”

So, when the National Philharmonic needed a new concertmaster this season, its search committee knew it needed to find a fine musician—the concertmaster is also the first violin— a leader and a diplomat. In the Baltimore-based Colin Sorgi, the panel found what it was looking for.

“We had an embarrassment of riches to choose from,” says Lori Barnet, the National Philharmonic’s principal cellist since its founding in 1985. Through an arduous audition process that required applicants to perform difficult solos and excerpts, the committee winnowed its choices to three finalists. Each finalist then performed several concerts as guest concertmaster under Gajewski, Chorale Artistic Director Stan Engebretson and Associate Conductor Victoria Gau. All three proved to be excellent violinists, but Sorgi had the edge in

Part musician, part diplomat, part leader

dealing with the sometimes emphatic personalities of the Philharmonic.

“Colin is extremely amiable,” Gajewski says. “He is able to persuade with his charm.”

Sorgi, at just 27, is already a seasoned performer and concertmaster. A graduate of the Peabody Conservatory and Indiana University, he made his professional solo debut in 2012 at the Aspen Music Festival, and he since has performed at Carnegie Hall and the Kennedy Center and with marque musicians including pianist Leon Fleisher and violinist/violist Pinchas Zuckerman.

With the Philharmonic, his offstage duties will include originating bowings for all five string sections as well as knowing the music inside and out for the entire orchestra.

“On stage, it will be all about being a leader and a role model,” he says.

During the summer, Sorgi’s duties will extend to the National Philharmonic’s Summer Strings Institutes, where he will help students not all that much younger than himself develop their professional skills.

Being concertmaster is demanding, but Sorgi seems to have no shortage of energy. In his free time, he will continue as artistic director of the Sonar new music ensemble, a contemporary music group he founded in 2007. In addition, he works with the Baltimore Symphony Orchestra’s OrchKids, a music outreach initiative and the country’s largest El Sistema program.

Front and center, though, will be the National Philharmonic.

“I want the musicians to feel I am there for them,” Sorgi says. At the same time, he hopes to forge a tight bond with his conductor.

“I am excited to have the opportunity to work with Piotr,” Sorgi says. “I think we can make a great team.”

applause at Strathmore • SEPTEMBER/OCTOBER 2014 19

Thursday, September 18, 2014, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Beethoven’s Violin Concerto Marin Alsop, conductor Hilary Hahn, violin Tamara Wilson, soprano

The Star-Spangled Banner

Violin Concerto in D Major, Op. 61

Allegro ma non troppo Larghetto

Rondo: Allegro

Hilary Hahn

Symphony No. 4 in G Major Bedächtig, nicht eilen In gemächlicher Bewegung, ohne Hast Ruhevoll (Poco adagio) Sehr behaglich

John Stafford Smith arr. Christopher Theofanidis Ludwig van Beethoven (1770-1827)

INTERMISSION

Gustav Mahler (1860-1911)

Tamara Wilson The concert will end at approximately 10:10 p.m.

Presenting Sponsor: M&T Bank Hilary Hahn appears by arrangement with IMG Artists, 152 W. 57th St., Fifth Floor, N.Y., N.Y., 10019. Ms. Hahn’s recordings are available on Deutsche Grammophon and on Sony Classical/Sony BMG Masterworks.

The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor

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

Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With

her inaugural concerts in September 2007, she became the first woman to head a major American orchestra.

She also holds the title of conductor emeritus at the Bournemouth Symphony Orchestra 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,

20 applause at Strathmore • SEPTEMBER/OCTOBER 2014

and its education and outreach activities.

In the summer of 2014, Alsop served her 23rd 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.”

Hilary Hahn, violin

In the two decades since her professional debut, Hilary Hahn has followed her passion for adventurous programming, delving into core repertoire, contemporary music and less familiar classic compositions with equal commitment, and bringing virtuosity, expansive interpretations and daring repertoire choices to global audiences.

Hahn took her first lessons shortly before her fourth birthday. When she was 5 years old, she met Klara Berkovich, with whom she studied until being admitted to the Curtis Institute of Music at age 10. There, Hahn was a pupil of Jascha Brodsky. She completed her university requirements at Curtis at 16, having already made her solo debuts with the Baltimore and Pittsburgh symphony orchestras, the Philadelphia and Cleveland orchestras, and the New York Philharmonic. By the time Hahn received her bachelor’s degree, she was a full-time touring musician. Hahn’s ever-evolving approach to music-making and her curiosity about the world have made her a fan favorite.

Tamara Wilson, soprano

In the 2014-2015 season, soprano Tamara Wilson will make her role and house debut in the title role of Norma at the Gran Teatre del Liceu in Barcelona. She also will return to Oper

alsop photo by dean alexander, hahn photo by peter miller, wilson photo by aaron gang

THURSDAY, SEPTEMBER 18, 2014, 8 P.M.

Thursday, September 18, 2014, 8 p.m.

Frankfurt for her first performances as the Empress in Die Frau ohne Schatten and for concert performances as Helena in Die Aegyptsiche Helena, which will be recorded by Oehms Classics.

In concert, she returns to the Ravinia Festival as Donna Anna in Don Giovanni under James Conlon and the Chicago Symphony Orchestra, a role she also debuts with Edo de Waart and the Milwaukee Symphony.

Additionally, Wilson debuts with the National Symphony Orchestra in Mendelssohn’s Symphony No. 2, “Lobgesan,” with Matthew Halls.

Wilson’s recent performances were with the Canadian Opera Company in Die Fledermaus (Rosalinde); both Teatro Municipal de Santiago and Teatro de la Maestranza in the title role in Aida; Washington Concert Opera in Il corsaro (Gulnara); Houston Grand Opera in Don Carlos (Elisabeth de Valois); Théâtre du Capitole in Il trovatore (Leonora), Albert Herring (Lady Billows) and I due Foscari (Lucrezia); Ravinia Festival in Idomeneo (Elettra); Washington National Opera in Un ballo in maschera (Amelia); and Los Angeles Opera in The Turn of the Screw (Miss Jessel).

Program Notes Violin Concerto in D Major

Ludwig van Beethoven Born Dec. 16, 1770, in Bonn, Germany; died March 25, 1827, in Vienna, Austria

Although we tend to think that great musical masterpieces—especially when they come from the pen of the fist-shaking Beethoven—should embody tragedy, a struggle against obstacles and perhaps hard-won victory, his Violin Concerto demonstrates that a work can be predominantly conflict-free, serene and joyful in spirit, and still soar to the highest realms of artistic expression.

The period from 1806, when the Violin Concerto was composed, through 1808, when he introduced his Symphonies Nos. 5 and 6, was one

of the most prolific in Beethoven’s career and brought forth a number of works that share the Violin Concerto’s world of sublime happiness: notably the Symphony No. 4 and the “Pastoral” Symphony. The composer had recently completed two years of labor birthing his only opera, Fidelio, and the temporary conclusion of this project apparently released a torrent of creativity for other musical forms.

The Violin Concerto was a gift to Franz Clement, the concertmaster of Vienna’s Theater an der Wien, to be performed at the violinist’s benefit concert there on Dec. 23, 1806. A description of Clement’s playing comes down to us in The Grove Dictionary of Music and Musicians: “His style was not vigorous, nor his tone very powerful: gracefulness and tenderness of expression were its main characteristics. …

His intonation was perfect in the most hazardous passages and his bowing of the greatest dexterity.”

In his concerto for Clement, Beethoven exploited these qualities, beginning with the demanding, cadenza-like passage for the soloist’s entrance, which whips through a thicket of fast figurations before vaulting to an exposed high note. Even Clement found “his” concerto a tough nut—especially since Beethoven finished it so close to the concert, there was no time for a complete rehearsal.

For years afterward, it languished, considered to be “unplayable.” In 1844, the great Joseph Joachim (then a 12-yearold prodigy, later to be the inspiration for Brahms’ Violin Concerto) gave it a brilliant performance in London under the baton of Mendelssohn. Championing the work throughout his career, Joachim established it in the repertoire, where it is now considered the pinnacle of the violinist’s art.

The first movement opens arrestingly with the timpani tapping out a five-note rhythm on the home note of D; between the taps, woodwinds sing a gently undulating theme. The orchestral violins then add spice by tapping on a D-sharp foreign to the key. All subsequent themes follow an optimistic

ascending shape. Prominent among them is the woodwinds’ serenely rising melody over the tapping motive, which, though technically the “second” theme, actually becomes the movement’s most memorable.

The violin makes its belated but unforgettable entrance described earlier.

When the serene second theme reappears, Beethoven won’t let the soloist appropriate it—he has a better idea up his sleeve. The orchestra then reprises most of its exposition and the soloist repeats her grand entrance cadenza before sliding off to a quiet, mysterious development over the tapping motive in various instruments. Here the soloist introduces a tenderly wistful new episode in G minor. For the recapitulation, the full orchestra hammers out the tapping motive. After a solo cadenza, Beethoven plays his trump card: at last letting the violin sing the serene second theme in its softest, sweetest tones.

Donald Francis Tovey calls the Larghetto second movement an example of Beethoven’s “sublime inaction.” A religious, exalted atmosphere reigns as muted strings sing a hymn-like theme, to which the soloist gives soaring, speech-like commentary. This theme, which never leaves the key of G, progresses through several variations, interrupted briefly by a new solo melody, less exalted and more human. A solo cadenza bridges directly into the finale.

The dancing rondo finale transports the lofty serenity of the previous movements into a mood of rejoicing akin to the “Pastoral” Symphony.

Following the last solo cadenza, Beethoven leads the music astray into the key of A-flat. Holding its own against rowdy Beethovenian crossrhythms in the orchestra, the violin soars fleetly to a bold conclusion.

Instrumentation: Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

Symphony No. 4 in G Major

Gustav Mahler Born July 7, 1860, in Kalischt, Bohemia; died May 18, 1911, in Vienna

The imaginative process by which a

applause at Strathmore • SEPTEMBER/OCTOBER 2014 21

Thursday, September 18, 2014, 8 p.m.

composer creates a new work of music is infinitely mysterious, and it often bears little relationship to the circumstances of his daily life, his physical health or even his prevailing psychological mood.

This was certainly the case with Gustav Mahler and his Symphony No. 4: This complicated, highly sensitive genius somehow managed to create his sunniest, most untroubled work at a time when just about everything seemed to be going wrong.

Summers were precious to Mahler, by then the overworked music director of the Vienna State Opera. The rest of the year was devoted to conducting, coping with the day-to-day demands of running a large musical institution and battling the cut-throat cultural politics of turn-of-the-century Vienna. Only during a few weeks each summer did he have the time and peace for sustained work on his growing family of symphonies.

However, the summer of 1899 did not bring that peace. First, Mahler’s original retreat proved impossible, and he had to devote 10 days seeking out a new spot. He finally found it in western Austria’s Salzkammergut lake district, but the denizens of the nearby spa seemed to delight in harassing the reclusive celebrity, and there were also the inescapable sounds of the spa band competing with Mahler’s own internal music. Even the weather wasn’t cooperating: It was freezing cold, and it rained day after day.

Somehow, Mahler found his way out of all this and into the magical, childlike world of his Symphony No. 4. The gateway to this enchanted land was a poem from Des Knaben Wunderhorn (“The Boy’s Magic Horn”), a collection of folk poetry compiled by Clemens Brentano and Achim von Arnim in the early 19th century. The Bavarian poem “Der Himmel hängt voll Geigen” (“Heaven is Hung with Violins”) had inspired Mahler in 1892 to compose a song called “Das Himmlische Leben” (“The Heavenly Life”). Since then, the song with its fanciful, alluring imagery of a child’s

Baltimore Symphony Orchestra Marin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair Jack Everly, Principal Pops Conductor Yuri Temirkanov, Music Director Emeritus Nicholas Hersh, Assistant Conductor

First Violins Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair

Madeline Adkins

Delmar Stewart Jeffrey Stewart Mary Woehr Cellos Dariusz Skoraczewski

Associate Concertmaster, Principal, Joseph and Rebecca Meyerhoff Chair Wilhelmina Hahn Chang Woo Lee Waidner Chair Associate Principal Rui Du Bo Li Acting Assistant Concertmaster Acting Assistant James Boehm Principal

Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto Gregory Mulligan Rebecca Nichols E. Craig Richmond Ellen PendletonTroyer Andrew Wasyluszko

Seth Low Susan Evans Esther Mellon Kristin Ostling Paula Skolnick-Childress Pei Lu**

Second Violins Qing Li

Principal, Willard and Lillian Hackerman Chair

Principal, E. Kirkbride and Ann H. Miller Chair

Ivan Stefanovic

Associate Principal

Angela Lee

Assistant Principal

Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya Minsun Choi** Violas Lisa Steltenpohl

Basses Robert Barney

Hampton Childress Associate Principal

Owen Cummings Mark Huang Jonathan Jensen David Sheets Eric Stahl Flutes Emily Skala

Principal, Dr. Clyde Alvin Clapp Chair

Peter Minkler Sharon Pineo Myer

Assistant Principal

Schuyler Jackson** Contrabassoon David P. Coombs

John Locke Brian Prechtl

Harp Sarah Fuller** Piano Lura Johnson**

Sidney M. and Miriam Friedberg Chair

Horns Philip Munds

Director of Orchestra Personnel Nishi Badhwar

Gabrielle Finck

Assistant Personnel Manager David George

Principal, USF&G Foundation Chair Associate Principal

Lisa Bergman Mary C. Bisson Bruce Moore* Jeanne Getz**

Librarians Mary Carroll Plaine

Trumpets Andrew Balio

Raymond Kreuger Associate

Principal, Harvey M. and Lyn P. Meyerhoff Chair

Principal, Constance A. and Ramon F. Getzov Chair

Todd Price

Melissa Hooper Michael Lisicky English Horn Jane Marvine

Kenneth S. Battye and Legg Mason Chair

heaven—in which everyone lives happily and the saints themselves are gourmet cooks—had rolled around in his creative imagination.

By the end of summer 1899, Mahler had sketched half the symphony. And he had also decided to secure a proper environment for its completion the following summer. He purchased a plot of land on the shores of the beautiful Wörtersee in the Austrian Tyrol and hired an architect to build both a house for the Mahler ménage (he had not yet met his wife, Alma) and a little cottage deep in the woods for his composing.

The new symphony was largely

22 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Bassoons Fei Xie Principal Julie Green Gregorian

Principal, Lucille Schwilck Chair

Nathaniel Hepler

Assistant Principal

Viola Principal Emeritus

E-flat Clarinet Christopher Wolfe

Piccolo Laurie Sokoloff

Karin Brown

Rebekah Newman Richard Field

Percussion Christopher Williams

Stage Personnel Ennis Seibert

Noah Chaves

Assistant Principal

William Jenken

Rene Hernandez

Principal, Robert H. and Ryda H. Levi Chair

Associate Principal

Timpani James Wyman

Principal, Anne Adalman Principal Christopher Williams Goodwin Chair Assistant Principal Christopher Wolfe Assistant Principal

Marcia Kämper

Oboes Principal, Peggy Meyerhoff Katherine Needleman Pearlstone Chair

Clarinets Steven Barta

Assistant Principal

Trombones Aaron LaVere

Principal, Alex Brown & Sons Chair

James Olin

Stage Manager

Assistant Stage Manager

Charles Lamar Audio Engineer

Mario Serruto Electrician

Co-Principal

* On leave ** Guest musician

Bass Trombone Randall S. Campora

The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM.

John Vance

Tuba Seth Horner**

finished by Aug. 6, 1900. Employing a smaller orchestra than Mahler’s previous symphonies and at about 50 minutes the shortest of them, No. 4 is a work of the greatest subtlety and complexity in terms of Mahler’s handling of form, thematic material and orchestration. Seldom does the whole orchestra play en masse; instead Mahler has refined here his concertante style of writing, in which small groups of instruments engage in intimate, ever-changing conversations. This constantly shifting dialogue works hand-in-hand with Mahler’s devotion to continual thematic evolution.

Thursday, September 18, 2014, 8 p.m.

Movement 1: The symphony as a whole might be understood as a fantastic journey to the Heaven of the last movement. This magical journey opens to the enchanting jingle of sleigh bells and flutes. Three major themes unfold.

First comes the violins’ naive, carefree melody. It is succeeded by a very schmaltzy Viennese melody in the cellos. The folk-like, puckish third theme is introduced by the woodwinds.

The development section introduces yet another important theme: a repeated-note melody with a dottedrhythm tail heard high in the flutes.

This theme seems to be associated with the heavenly goal; it will return at the climax of the third movement as the gates of heaven open. As the development rampages forward, we suddenly hear a trumpet call amid the tumult. The orchestra rapidly unravels into total silence. Then the violins saunter back in with the second half of their opening theme to start the recapitulation, and we are back on the road to Heaven.

Movement 2: The C-minor Scherzo presents another risky detour on the journey. Mahler subtitled this movement “Freund Hain spielt auf” or “Friend Hain strikes up [the music].”

Freund Hain is a child’s bogeyman in German folklore. Here he takes the

shape of a devilish fiddler, impersonated by the concertmaster playing a violin tuned a clashing step above his colleagues’ instruments to resemble a scratchy, out-of-tune country fiddle.

This Austrian Ländler dance alternates between dream and nightmare: Everything seems a bit unreal and out of focus. Two trio sections provide rustic contrast: the first introduced by the tipsy-sounding principal clarinet and bassoon, the second—more sentimental in character—by a pair of clarinets.

Movement 3: Having moved past the temptations of Freund Hain, we reach the great G-Major Adagio, the heart of the work and the movement Mahler considered his finest.

Two long themes alternate in the variations process. A plucked ostinato pattern in the basses undergirds the first theme and, passed to other instruments, pervades the movement. The first theme, serene and lovely, rises from the low strings. The yearning second theme is presented by the solo oboe. Near its climax comes a sudden, violent drop of nearly two octaves in the violins; this sounds like a groan of despair—as though Heaven will never be reached. But after moments of earthly pain and struggle, the clouds part on an E Major vision of the heavenly goal. The ecstasy subsides, and

with the violins on high, we hover on Heaven’s threshold.

With the last movement, we finally reach our journey’s destination in the enchanting song that was the symphony’s inspiration. The orchestration is extremely delicate lest it compete with the gentle, childlike tones of the soprano singing of Heaven’s delights.

Although the movement is in strophic form, each strophe is different, again in keeping with Mahler’s evolutionary practices. A poignant minor-mode refrain completes the soprano’s stanzas three times; it is answered by grave, archaic-sounding open-fifths in the orchestra and exuberant reprises of the sleigh bells that opened the symphony.

The final strophe shifts to E-Major—the key of the Adagio’s heavenly apotheosis—but now, with the goal reached, all is quiet and serene. The close of the symphony is as unique as its beginning: bells again, but now the music fades off into eternity to the low tolling of the harp.

Instrumentation: Four flutes, two piccolos, three oboes, English horn, three clarinets, piccolo clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, timpani, percussion, harp and strings.

Notes by Janet E. Bedell ©2014

Symphony No. 4 in G Major text and translation Wir geniessen die himmlischen Freuden We revel in heavenly pleasures, Drum tun wir das Irdische meiden. Leaving all that is earthly behind us.

Kein weltlich’ Getümmel No worldly turmoil Hört man, im Himmel Is heard in heaven, Lebt alles in sanftester Ruh’! We all live in sweetest peace.

Wir führen ein engeliches Leben, We lead an angelic existence, Sind dennoch ganz lustig daneben! And so we are perfectly happy.

Wir tanzen und springen, We dance and leap, Wir hüpfen und singen, And skip and sing; Sankt Peter im Himmel sieht zu!

Saint Peter in Heaven looks on.

Johannes das Lämmlein auslasset, Saint John has let out his little lamb, Der Metzger Herodes drauf passet! the butcher Herod is lurking: Wie führen ein geduldig’s, We lead a patient, Unschuldig geduldigs, Guiltless patient, Ein liebliches Lämmlein zu Tod! Darling little lamb to death.

Sankt Lukas den Ochsen tät schlachten Saint Luke is slaying the oxen, Ohn’ einig’s Bedenken und Achten. Without the least hesitation; Der Wein kost’ kein’ Heller Wine costs not a farthing Im himmlischen Keller, In the Heavenly tavern; Die Engelein, die backen das Brot.

The angels bake the bread.

Gut’ Kräuter von allerhand Arten, Fine sprouts of every description, Die wachsen im himmlischen Garten! Are growing in Heaven’s garden.

Gut’ Spargel, Fisolen, Fine asparagus, fine herbs,

Und was wir nur wollen, And all we desire, Ganze Schüsseln voll sind uns bereit! Huge platefuls for us are prepared.

Gut’ Äpfel, gut’ Birn’ und gut’ Trauben, Fine apples, fine pears and fine grapes, Die Gärtner, die alles erlauben!

The gardeners let us pick freely.

Willst Rehbock, willst Hasen? You want venison, hare?

Auf offener Strassen In the open streets Sie laufen herbei!

They go running around.

Sollt’ ein Festtag etwa kommen, And when there’s a holiday near, Alle Fische gleich mit Freuden All the fishes come joyfully angeschwommen! swimming!

Dort läuft schon Sankt Peter And off runs Saint Peter Mit Netz und mit Köder, With net and with bait, Towards the celestial pond.

Zum himmlischen Weiher hinein.

Sankt Martha die Köchin muss sein!

Saint Martha must be the cook!

Kein’ Musik ist ja nicht auf Erden, There’s no music at all on earth Die uns’rer verglichen kann werden. Which can ever compare with ours.

Elftausend Jungfrauen Eleven thousand virgins Zu tanzen sich trauen! Are set dancing.

Sankt Ursula selbst dazu lacht!

Saint Ursula herself laughs about it!

Cäcilia mit ihren Verwandten Saint Cecilia with her relatives Sind treffliche Hofmusikanten! Are splendid court musicians.

Die engelichen Stimmen The angelic voices Ermuntern die Sinnen, Delight the senses, Dass alles für Freuden erwacht.

For all things awake to joy.

applause at Strathmore • SEPTEMBER/OCTOBER 2014 23

Saturday, September 20, 2014, 8 P.M.

SATURDAY, SEPTEMBER 20, 2014, 8 P.M.

● Strathmore Presents

Wanda Sykes

Wanda Sykes

Wanda Sykes has been called “one of the funniest stand-up comics” by her peers and ranks among Entertainment Weekly’s 25 Funniest People in America. Her smart-witted stand up has sent her career in many different areas.

In 2012 Sykes joined forces with veteran producer Page Hurwitz to form Push It Productions, a production company dedicated to creating quality comedy-based programming for network and cable television outlets. The company’s first set of specials, “Herlarious,” aired in the summer of 2013 and January 2014 on OWN and received a 2014 Gracie Award.

Sykes has been seen on several television shows over the past few years. She can currently be seen on the Amazon Prime show “Alpha House” created by Gary Trudeau about a group of Republican senators who share the same D.C. rental house. She also has appeared in “Curb Your Enthusiasm” and spent five years on CBS’ “The New Adventures of Old Christine.” In 2010 she starred on her own late night talk show on Fox, “The Wanda Sykes Show.” Other TV credits include Fox’s “Wanda at Large,” which she wrote, produced and starred in; “Wanda Does It” on Comedy Central; and “Crank Yankers” as the voice of Gladys Murphy.

Her first HBO comedy special, “Wanda Sykes: Sick and Tired” debuted in October 2006 and was

24 applause at Strathmore • SEPTEMBER/OCTOBER 2014

nominated for a 2007 Primetime Emmy for Outstanding Variety, Music or Comedy Special. She returned to HBO for her second stand-up special “I’ma Be Me,” which was nominated for two 2010 Primetime Emmy Awards: Outstanding Variety, Music or Comedy Special and Outstanding Writing for a Variety, Music or Comedy Special.

She can be heard in many animated feature films, including Ice Age: Continental Drift, Rio, Over the Hedge and The Barnyard.

Sykes was also seen in the feature films Evan Almighty, Monster-In-Law, My Super Ex-Girlfriend, Pootie Tang, The Nutty Professor 2, The Klumps and Down to Earth.

Her first book, Yeah, I Said It, published in September 2004, is a collection of essays touching on life, family and current events.

Sykes also spent five years as a performer and writer on “The Chris Rock Show,” receiving three Primetime Emmy nominations and an Emmy Award for Outstanding Writing for a Variety, Music or Comedy Special. In 2001, she won the American Comedy Award for Outstanding Female Stand Up Comic. She won three more Emmys, in 2002, 2004 and 2005, for her work on “Inside the NFL.” Sykes was born in Portsmouth, Va., and raised in Maryland. She graduated with a bachelor of science degree from Hampton University. Her standup career began at a Coors Light Super Talent Showcase in Washington, D.C., where she performed for the first time in front of a live audience.

In 2010 she won a GLAAD award for promoting a good image of equal rights for gays and lesbians.

photo by Roger Erickson

The Music Center at Strathmore Marriott Concert Stage

Saturday, Thursday, September May27, 1, 2014, 2014, 88 p.m. p.m.

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

SATURDAY, SEPTEMBER 27, 2014, 8 P.M.

●

James Ehnes, violin

Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Rachmaninoff’s Symphony No. 1

Marin Alsop, conductor James Ehnes, violin

blue cathedral Jennifer Higdon

(1962-)

Violin Concerto in D Major, Op. 35 Moderato nobile Romance: Andante Finale: Allegro assai vivace James Ehnes

Erich Korngold (1897-1957)

Theme from Schindler’s List John Williams James Ehnes (1932-)

INTERMISSION Symphony No. 1 in D minor, Op. 13

Grave – Allegro ma non troppo

Allegro animato Larghetto

Allegro con fuoco

Sergei Rachmaninoff (1873-1943)

The concert will end at approximately 9:50 p.m.

The Music Center at Strathmore Marriott Concert Stage

alsop photo by dean alexander; ehnes photo by B. Ealovega

Marin Alsop, conductor

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

Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra.

With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra.

She also holds the title of conductor emeritus at the Bournemouth Symphony Orchestra 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 2014, Alsop served her 23rd season as music director of the acclaimed Cabrillo Festival of Contemporary Music in California. Musical America, which named Alsop the 2009

Known for his virtuosity and probing musicianship, violinist James Ehnes has performed in more than 30 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors.

Upcoming highlights include concerts with the Royal Philharmonic, Danish National, Melbourne, Sydney, NHK, Vienna and Boston symphony orchestras; with the Chamber Music Society of Lincoln Center; and recitals in Prague, London, Toronto, Fort Worth and Montreal. He also performs with the Ehnes Quartet across North America and will lead the winter and summer festivals of the Seattle Chamber Music Society, where he is the artistic director.

His extensive discography of more than 30 recordings has been honored with many international awards and prizes, including a Grammy, a Gramophone and nine Juno Awards.

Ehnes plays the Marsick Stradivarius of 1715.

Program Notes blue cathedral

Jennifer Higdon Born Dec. 31, 1962, in Brooklyn, N.Y.; now living in Philadelphia

Jennifer Higdon’s poignant yet rapturous blue cathedral was born after the most traumatic experience of her life: the death of her beloved younger brother, Andrew Blue Higdon, from melanoma in the spring of 1998. She told Andrew, who was also a musician, that she would write a piece for him and that it would have his middle name, Blue, as part of the title. The next year, Higdon wrote

applause at Strathmore • SEPTEMBER/OCTOBER 2014 25

Thursday, Saturday, May September 1, 2014,27, 8 p.m.

2014, 8 p.m.

her piece for Andrew and named it “blue cathedral.” Her personal favorite of all her compositions, it has become perhaps her most popular work with audiences around the country.

Now a prolific composer in demand for new works by major orchestras and ensembles all over America, Higdon somehow manages to pursue additional careers as a virtuoso flute player, a conductor and a very popular teacher of composition at Philadelphia’s Curtis Institute of Music. Her roots at Curtis run deep, for she earned an artist’s diploma in flute there before moving on to the University of Pennsylvania for master’s and doctoral degrees in composition, studying with prominent composers George Crumb and Ned Rorem. Her vividly emotional and accessible music has been warmly received in Baltimore on several occasions, notably her Concerto 4-3 last season and her Violin Concerto for Hilary Hahn.

Here is Higdon’s own commentary on blue cathedral: “Blue—like the sky.

Where all possibilities soar. Cathedrals—a place of thought, growth, spiritual expression, serving as a symbolic doorway into and out of this world.

Blue represents all potential and the beginning of journeys. Cathedrals represent places of beginnings, endings, solitude, fellowship, contemplation, knowledge and growth. As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church. In my mind’s eye, the listener would enter from the back of the sanctuary, floating along the corridor among giant crystal pillars, moving in a contemplative stance.

The stained glass windows’ figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly moving upward at first and then progressing at a quicker pace, rising toward an immense ceiling that would open to the sky. As the journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted

to create the sensation of contemplation and quiet peace at the beginning, moving toward the feeling of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music.

“These were my thoughts when the Curtis Institute of Music commissioned me to write a work to commemorate its 75th anniversary. … In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialogue. At the end of the work, the two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward progressing journey.”

Instrumentation: Two flutes, piccolo, oboe, English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celeste, prepared piano, strings, crystal goblets and Chinese bells.

Violin Concerto in D Major, Op. 35

Erich Korngold Born May 29, 1897, in Brno, now Czech Republic; died Nov. 29, 1957, in Hollywood, Calif.

Erich Korngold was one of the most gifted composing prodigies in musical history. The Snowman, the ballet he wrote when he was 11 (he received some help in its scoring from his teacher Alexander von Zemlinsky), was produced at the Vienna Court Opera in 1910. By the time he reached 13, he was able to create his own scoring for his concert overture for large orchestra, Der Schauspiel Overture, which was taken up by nearly all the major conductors in Europe including Furtwängler and Mengelberg. None other than Gustav Mahler pronounced him a genius.

But it was in opera that Korngold particularly shone. At 17, he astonished Vienna with his lurid tale of lust and revenge, Violanta, which won Puccini’s praise. And in his early 20s he wrote his masterpiece, the opera

26 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Die tote Stadt (“The Dead City”), which is still in the repertoire.

However, Korngold’s subsequent career did not lead to more triumphs in concert halls and opera houses.

Instead, in 1934 it sent him to Hollywood, where his superb orchestrating skills enhanced the Mendelssohn-based score for Max Reinhardt’s legendary film of A Midsummer Night’s Dream.

Then, for the next decade, Korngold flourished as one of Hollywood’s most sought after score writers, specializing in romantic costume dramas (often starring Errol Flynn) such as Captain Blood, The Adventures of Robin Hood and The Private Lives of Elizabeth and Essex (starring Flynn and Bette Davis).

He won two Academy Awards for his scores (Anthony Adverse in 1936 and The Adventures of Robin Hood in 1938). In fact, his popularity in Hollywood saved his life, for the Jewish Korngold was in California when his native Vienna fell to the Nazis in 1938.

Korngold, now forced to stay in America, paid dearly for his film successes. To his sorrow, the classical world spurned him for selling out to Hollywood. In 1946, at the urging of violinist Bronislaw Huberman, he tried to rehabilitate his career with his sumptuously romantic Violin Concerto. Its 1948 premiere, however, went not to Huberman, but to the great Jascha Heifetz, performing with the Saint Louis Symphony.

As a Heifetz vehicle, this concerto was designed to be a true virtuoso showpiece for the soloist. And interestingly, it also used themes from several of Korngold’s film scores. The yearning principal theme with which the violin opens the first movement comes from Another Dream (1937).

After some playfully quick transitional music, the violin turns to an even more soaring and bittersweet theme; this is from Juarez, a 1939 historical epic starring Davis and Paul Muni.

Korngold’s Oscar-winning score for Anthony Adverse provides the lovely, rather sentimental theme for the slow movement, “Romance.” Here the violinist sings from the heart and shows off

Saturday, September 27, 2014, 8 p.m.

the sweetness of the instrument’s highregister. The luscious orchestral writing conjures nocturnal mystery.

The breathless rondo-form finale calls for the kind of fiery, high-speed playing at which Heifetz excelled. When the violin finally finds time for a real singing theme, it is the title music from The Prince and the Pauper (1937); this also later receives a grand treatment from the orchestra. But mostly this finale is about the soloist’s ability to dazzle us with sheer technique and charisma.

Instrumentation: Two flutes, piccolo, oboe, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, trombone, timpani, percussion, harp, celeste and strings.

Theme from Schindler’s List

John Williams Born Feb. 8, 1932, on Long Island, N.Y.

Steven Spielberg’s 1993 movie Schindler’s List has already been acknowledged as one of the great classics of film history.

It received seven Academy Awards in 1994, including Best Picture, Best Director and Best Score for John Williams’ deeply moving music. Williams was also honored with a Grammy Award for Best Instrumental Composition Written for a Motion Picture or TV. In 2007, the American Film Institute ranked the film as No. 8 on its list of the 100 best American films ever made.

Based on Thomas Keneally’s book Schindler’s Ark, Schindler’s List tells the improbable but true story of Oskar Schindler, a German businessman who came to Krakow, Poland, in 1939 as a war profiteer after Hitler’s conquest. At first, he was indifferent to the plight of the Jewish workers in his factories, hired simply because they were cheaper than others. But the brutal liquidation of the Krakow ghetto shocked his conscience, and he embarked on a risky plot to save not only his employees, but also hundreds of other Jews from the gas chambers of Auschwitz; it is estimated that he was ultimately responsible for the survival of more than 1,000 Polish Jews. With his Jewish assistant, Itzhak Stern, he

drew up a list of Jews who were “skilled workers indispensable to the German war effort” and exhausted his own wealth with copious bribes to the Nazi authorities to keep them safe. Today, Schindler is honored in Israel as a “Righteous Person” among the gentiles and buried in Jerusalem. A tree in the Avenue of the Righteous leading to the Yad Vashem Museum commemorates his heroic rescue effort.

For the film’s score, Spielberg turned to Williams, the dean of American film composers. Williams was initially so overwhelmed by the film’s subject he told the director: “You need a better composer than I am for this film.” Spielberg reportedly replied: “I know. But they’re all dead.” Central to the score is the haunting signature theme that Williams first played to Spielberg on the piano. The director immediately knew who should play it for the film: the Israeli-American violinist Itzhak Perlman, whose soulful playing was then featured throughout the lengthy soundtrack.

Instrumentation: Flute, English horn, three clarinets,bass clarinet, two bassoons, horn, percussion, harp, celeste and strings.

Symphony No. 1 in D minor

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

The young Sergei Rachmaninoff seemed to be Fortune’s favorite child. Prodigiously gifted as a pianist, he graduated early from the Moscow Conservatory in 1892 and was awarded the Great Gold Medal, given only twice before. He had already composed the first version of his Piano Concerto No. 1. In May 1892, his graduation piece, the opera Aleko, received its premiere at the famed Bolshoi Opera, and none other than Tchaikovsky was seen applauding vociferously in the balcony.

But just a few years later, on March 15, 1897, Rachmaninoff’s golden path hit a major obstacle. In January 1895, emboldened by his early successes, he began his Symphony No. 1 and largely

completed it the same year. His doting teacher Sergei Taneyev arranged for it to be premiered in the Great Hall of the Nobles in St. Petersburg with the noted composed Alexander Glazunov as conductor. But that premiere was a disaster, and Glazunov’s sloppy, phlegmatic conducting seems to have been the major culprit. The critical reaction was brutal. Composer César Cui’s was the worst: “If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on ‘The Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task brilliantly and delighted the inmates of Hell.”

Rachmaninoff was devastated. He stopped composing for two years and buried his insulted symphony in a drawer. When he fled to the West in 1917 he left the manuscript behind, and it eventually disappeared. At the close of World War II, Soviet musicologists reconstructed it from the orchestral parts and gave the second performance on October 1945, nearly 50 years after its first. This time it was a triumph. But Rachmaninoff had died in America two years earlier.

Though not as refined as his later opuses, the Symphony No. 1 did not deserve its original fate. It is a powerfully dramatic work on a big scale, and although it bears traces of Tchaikovsky, it already reveals the distinctive voice of Rachmaninoff with many of the characteristics that marked his later works. One of these is the prominent use of the haunting up-and-down chant melody Dies Irae (“Day of Judgment”) from the Roman Catholic mass for the dead. Its appearance here may be related to the Biblical quotation the composer wrote at the head of the score: “‘Vengeance is mine; I will repay,’ saith the Lord” (which also appears at the beginning of Tolstoy’s Anna Karenina). Thus, there may be a hidden program behind this fiery, fatalistic music.

The first movement begins with a somber slow introduction presenting two elements that will pervade the symphony: first a fiercely bristling “turn” or

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Saturday, September 27, 2014, 8 p.m.

spiraling figure in the woodwinds and then the opening notes of the Dies Irae thumped out by low unison strings.

Then with another whirl of the turn motive in the violas, the main Allegro section chugs into action. The Dies Irae now moves up to the solo clarinet and is enlarged into the principal theme.

After this initial fury subsides, the melancholy second theme emerges from the floating high note of the violins. Using the exotic intervals of the gypsy scale and rising to a passionate outburst, this lengthy, multisectional theme finally dies out in a rumble of those turn figures.

With a triple-forte shout, they launch an intense development section, featuring a furious fugal treatment of the Dies Irae theme. This grows into a sonorous trombone chorale in an orchestral setting of militant Slavic brilliance. At its peak, the chugging rhythm announces the recapitulation.

Rachmaninoff paces the closing coda for maximum dramatic effect, reigning in full volume until the every end.

As light as the first movement was massive, the second movement scherzo opens again with the turn figure, now in the violas. A gently swaying version of the Dies Irae appears in the violins. But it is only one of many fleeting whispers and rumors flying around the orchestra.

The middle trio section becomes even more elusive, with a fleet Slavic dance version of Dies Irae in the woodwinds and a solo violin melody created from the whirring turn figures.

Again but more gently, the violas sound the turn motive to generate the Larghetto slow movement. This continues as an accompaniment to the solo clarinet’s sorrowful, gypsy-flavored melody. The mood changes for the central section as horns ominously growl and fragments of the Dies Irae mutter in low strings. The opening melody returns, and as it transfers to the clarinets, it gains a soaring violin countermelody.

The turn motive roars out from the strings and woodwinds yet again to launch the finale, but now it has an

A F IVE S TAR I NDEPENDENT

AND

aggressive rhythm added to it. Blazing trumpet fanfares and snare drums create an imperial military atmosphere for a new version of Dies Irae. After a powerful transition, the violins soar aloft in an early edition of the big, ardently Romantic melody that would become Rachmaninoff’s trademark.

Shifting to a lilting 3/4 beat, the development is surprisingly dreamy for its ultra-dramatic surroundings.

But whirring cellos and basses bring back a reprise, more frenzied than before. A gong sounds, signaling the end game. Over a tremendous drum roll and more gong blows, trombones and low strings repeat the turn motive over and over with implacable force, and the symphony closes in the grip of vengeance repaid.

Instrumentation: Three flutes, picccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.

Notes by Janet E. Bedell ©2014

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28 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Wednesday, Thursday, October May 8, 2014, 1, 2014, 7:308 p.m. p.m.

WEDNESDAY, OCTOBER 8, 2014, 7:30 P.M.

Muhai Tang

●

Strathmore Presents

Belgrade Philharmonic Orchestra Muhai Tang, chief conductor

Masquerade: Suite Aram Khachaturian

Waltz (1903-1978) Nocturne Mazurka Romance Galop

The Legend of Ohrid: Suite No.1 Stevan Hristić

Introduction – Serbian dance (1885-1958)

Greek dance

Janissary dance Turtle-Dove

INTERMISSION

Symphony No. 2 in D Major, Op.43 Jean Sibelius I. Allegretto (1865-1957) II. Andante; ma rubato III. Vivacissimo IV. Finale: Allegro moderato

The Music Center at Strathmore Marriott Concert Stage

The Belgrade Philharmonic Orchestra

Over the course of its 91-year history, the Belgrade Philharmonic Orchestra has established itself as one of the leading regional orchestras on the European continent and in recent times, one of the most innovative.

The chief conductor of the orchestra is Muhai Tang, who has held the position since 2010; Vladimir Kulenović is resident conductor.

This 96-member ensemble has played host to some of the greatest conductors and soloists of the 20th century—such artists as Karl Böhm, Sir John Barbirolli, Yehudi Menuhin, David Oistrakh, Mstislav Rostropovich, Arthur Rubinstein and countless others. It also continues that tradition of excellence in the 21st century, in partnership with today’s greatest interpretive talents—Zubin Mehta, Nelson Freire, Fazil Say, Midori, Krzysztof Penderecki and Sarah Chang among them.

With an active touring schedule throughout Europe, the Belgrade Philharmonic has burnished its reputation as an exceptional interpreter not only of the great masterpieces of the standard repertoire but of new voices in contemporary music as well.

To this breadth of vision the orchestra adds innovative programming concepts, active community engagement and highly imaginative marketing techniques.

The Belgrade Philharmonic initiates actions contributing to social progress, promotion of tolerance and regional and international cooperation, while celebrating ethnic and religious diversity by using the power of music as a universal language. It reaches out to diverse cultural communities within its borders and actively promotes ties with all the Balkan nations, in a series of programs celebrated and supported by the European Union. The orchestra is currently on its first tour of the United States.

Muhai Tang has been the chief conductor of the Belgrade Philharmonic Orchestra since 2010. He also is artistic director of the Shanghai Philharmonic and the Zhenjiang Symphony, and principal guest conductor of the Hamburg Symphony Orchestra.

Son of a famous film director in China, Tang has always been drawn to the musical stage and has conducted opera on several continents, most recently with a highly acclaimed new production of Rossini’s Le Comte Ory in Zurich. He previously held the position of chief conductor of the Finnish National Opera in Helsinki, where he conducted highly successful new productions of Die Frau Ohne Schatten, Turandot, Der Rosenkavalier, Pique Dame, Madame Butterfly, Tosca, La Rondine, Boris Godunov, The Marriage of Figaro, La Traviata, The Barber of Seville and Othello. His ballet performances with the company included Le Sacre du Printemps and Swan Lake. With the Royal Stockholm Philharmonic, he conducted fully staged performances of Tan Dun’s opera Tea. Tang has recently worked with a list of orchestras that includes the NDR Hamburg, Oslo Philharmonic, St. Petersburg Philharmonic, Malaysian Philharmonic, Dresden Philharmonic, the NHK Symphony Orchestra, Royal Flemish Philharmonic, Orchestre National de Lille, the Verdi Orchestra in Milan, Tenerife Symphony, Stuttgart Philharmonic, Bilbao Symphony and the Hong Kong Philharmonic Orchestra. In addition, he performs with the Stuttgart Philharmonic, China Philharmonic and MAV orchestra in Budapest. He also accompanied the Zhenzhang Symphony Orchestra on a European tour of Vienna, Prague, Brussels, Berlin, Stockholm, Gothenburg, Verona and Turin. Tang’s many recordings include the Guitar Concertos by Tan Dun and Christopher Rouse with Sharon Isbin and the Gulbenkian Orchestra, for Teldec.

applause at Strathmore • SEPTEMBER/OCTOBER 2014 29

Thursday, Wednesday, May October 1, 2014,8,82014, p.m. 7:30 p.m.

Program Notes Masquerade: Suite, Op. 48a

Aram Khachaturian Born June 6, 1903, in Kodzhori (now Tbilisi), Georgia; died May 1, 1978, in Moscow

Born and raised in a rich cultural background with strong folklore influence, Armenian composer Aram Khachaturian developed a distinct musical style.

Coming from a former Soviet Republic, his artistic persona evolved in parallel with Prokofiev and Shostakovich.

Even though his style, which is characterized as moderately conservative, did not showcase as much peculiarity, Khachaturian was persecuted by Stalin’s regime just as his two far more eminent contemporaries. His best-known works include the suite Masquerade (1944) and the ballet Gayane (1942), featuring the famous Sabre Dance, followed by the ballet Spartacus (1953), as well as concertos for violin and piano.

Khachaturian was invited to compose the score for the 1941 production of Masquerade by the famous Russian playwright Mikhail Lermontov in Vakhtangov Theatre in Moscow. His former professor of composition Nikolai Myaskovsky offered help by giving him a collection of romances and waltzes from Lermonotov’s time. Even though they did not give him immediate inspiration, these works helped Khachaturian create the appropriate musical style and character. He was also guided by the words of the play’s heroine, Nina: “How beautiful the new waltz is! … Something between sorrow and joy gripped my heart.” This is an accurate description of the music for Masquerade, especially its five movements that he arranged into a symphonic suite in 1944. Khachaturian’s music powerfully supports the play’s story about jealousy and intrigue in the Russian high society. The opening masquerade scene is a defining moment from which the plot unfolds. Hence, the three dances from

this dramatic segment are included in the symphonic suite. The best-known is the first waltz featuring strong rhythms, dark sentiment and elegance covered by the tone of passion.

The Legend of Ohrid, Suite No. 1

Stevan Hristić Born June 19, 1885, in Belgrade, Serbia; died Aug. 21, 1958, in Belgrade

The best-known Serbian ballet and one of the most frequently performed Serbian musical pieces in the world is The Legend of Ohrid by Stevan Hristić, the founder, first artistic director and chief conductor of the Belgrade Philharmonic Orchestra.

Hristić worked on this crucial piece for more than 20 years, from the birth of initial ideas in 1924 to 1947, when the author conducted the ballet premiere in the Belgrade Opera with choreography by Margarita Froman, set design by Vladimir Žedrinski and costumes by Milica Babić.

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The musical language was guided by Hristić’s desire to create a work that is clear and understandable to a wide audience; hence, the late Romantic style with a strong folklore influence and impressionist elements proved to be an excellent approach. The Serbian version of the story of Ruslan and Lyudmila is set in the time of Ottoman rule over Serbian territories and depicts

the search of Marko, a young enamored man, for Biljana, a girl who has been abducted by Turkish soldiers­—janissaries. Four acts of the ballet serve as the basis for four symphonic suites comprised of numbers from various ballet acts. The first movement of Suite No. 1 is dominated by the motif of Biljana’s father and Serbian Dance (a wedding dance). The second movement is Greek Dance, a woeful dance by a slave girl in harem, followed by Janissary Dance. The final movement is TurtleDove, the most popular number from this musical stage piece.

In tune with the dramaturgy of the piece, the musical language is quite appealing, featuring plenty of motifs from Serbian music folklore, the most striking aspect being the lavish orchestration that gives this national piece its special radiance.

The composer used quotations from folk poems, as well as artistic music with folklore associations composed by the progenitor of Serbian music, Stevan Mokranjac—Pušči me (Let Me Go) and Biljana platno beleše (Biljana Whitening the Linen).

Symphony No. 2 in D Major, Op. 43

Jean Sibelius Born Dec. 8, 1865, Hämeenlinna, Finland; died Sept. 20, 1957, in Järvenpää, Finland

Wednesday, October 8, 2014, 7:30 p.m.

Belgrade Philharmonic Orchestra U.S. TOUR 2014

First Violins Milošević Tijana, Concertmaster Pavlović Miroslav, Concertmaster Aleksić Sladjana Dragnić Jelena Jokanović Ana Kovačević Petar Lončar Vladan Milanović Aleksandra Novaković Danilo Peković Jasmina Petaković Dragan Petrović-Balint Tea Popović Materni Miljana Stančev-Radovanović Svetlana Uzelac Goran Žikic Predrag Second Violins Jovanović Milovan Veljković Vladimir Čavić Katarina Dimitrijević Aleksandra Ilić Vera Jakovljević Selena Mirković Mila Mladenović Dušica Pantić Ljubica Perić Slavica Ranković Nataša Stajević Dušica Stefanović Nataša Živkovic Tamara Viola Brezovac Boris Miletić Zoran Blagojević Konstantin

Bobić Uroš Feruh Zoran Kovač Igor Kurilić Aleksandra Marinković Tamara Stanić Aleksandra Popin-Stanošević Jelena Popović Vladimir Uzelac Ivana Cello Latković Aleksandar Stanković Nemanja Kočišević Dušan Lišanin Nataša Marković Julijana Mrdjenović Goran Mrdjenović Nebojša Neženceva Natalija Stanković Katarina Timotijević Dejan Double Bass Lazić Ljubinko Savić Filip Dragićević Aleksandar Djordjević Srdjan Kulenović Saša Miletić Zoran Stošić Boban Oboe Pešić Bojan Romić Sanja Marinković Nenad Vucelić Petar Flute Krstajić Stana Nenadović Marina Bogdanović Radić Ana Pavićević Snježana

Symphony No. 2 in D major, Op. 43

by Finnish composer Jean Sibelius (1865–1957) was composed in 1902 and was premiered in the same year

by Helsinki Philharmonic Orchestra conducted by the author. After the premiere, the composer revised some parts and the final version of the symphony was performed in Stockholm in late 1903. In Finland, this popular piece has been linked to the country’s struggle for independence, and is often called the “Symphony of Independence,” given that it was written in the time of Russian sanctions against the Finnish language and culture. The heroic and optimistic character of the first and fourth movements is just what the Finnish public needed in the midst of the Russian repression.

Sibelius’ reaction to these comments drew much attention: some claimed that he had no intention of sending any kind of patriotic message, while others believed that he had written the piece thinking of the independence of the Finnish nation. The first public

Clarinet Klenkovski Veljko Popović Ognjen Nedeljković Predrag Samoran Mihailo Bassoon Djurić Sava Janković Nenad Petrović Dušan Popović Aleksandar Trumpet Celevski Dragan Solunac Aleksandar Bajić Slobodan Savić Jovan Trombone Balint Tibor Draškoci Bodin Radosavljević Dejan Ranković Igor French Horn Bodor Krisztian Stojnić Gordana Marić Mirko Milošević Miloš Roknić Siniša Vasić Nenad Tuba Papišta Kornel Timpani Marjanović Ivan Percussion Radulović Aleksandar Krasnjuk Nikola Vasojević Mladen Vesić Miloš

Harp Zaric Milana Staff Krstić Darko, Acting General Manager Šćepanović Miloš, Production Management Coordinator Andrejić Aleksandar, Production Manager Maksimović Danica, Program Manager Milašinovic Jelena, PR Manager Radonjić Asja, Program Manager Vasilev Jelena, Marketing Manager Urošević Blagojević Ivana, Librarian Janković Marko, Stage Technician Mitrović Milomir, Stage Technician Djoković Marko, Photographer Savić Mihajlo, Videographer For Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Irene Lönnblad, Associate, Touring Division

rendition of Symphony No. 2 positioned Sibelius as a national hero, and soon afterwards the composition was performed abroad with great success.

In accordance with Sibelius’ philosophy of the “art of symphony,” the piece almost organically grows from one motif displayed in the very beginning. This initial motif, which reappears in various forms throughout the symphony and serves as the basis for most of the composition’s thematic material, also forms the grand dramatic finale theme. Symphony No. 2, the most popular and most recorded of all seven Sibelius’ symphonies, does not reflect the Slavic atmosphere that characterizes Symphony No. 1, but is closer to the European musical models. Thus the author slowly moves away from the tradition of Tchaikovsky, in both formal and stylistic terms, and comes closer to Brahms’ symphonies.

Written by Danica Maksimović and Asja Radonjić

applause at Strathmore • SEPTEMBER/OCTOBER 2014 31

Thursday, October 9, 2014, 8 p.m.

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

presents

Broadway Standing Ovations!

Jack Everly, conductor featuring Christina Bianco, Ben Crawford, Ted Keegan and Ron Remke

Broadway Divas Overture arr. Jack Everly

“This Is the Moment” Frank Wildhorn and Leslie Bricusse from Jekyll and Hyde

Ben Crawford

“Maria” from West Side Story Leonard Bernstein Ted Keegan and Stephen Sondheim Love Duets Medley arr. Wayne Barker Christina Bianco, Ben Crawford, Ted Keegan and Ron Remke

“Seventy-Six Trombones” Meredith Willson,

from The Music Man arr: Richard Hayman

“Defying Gravity” from Wicked Christina Bianco

Stephen Schwartz, arr. Barton

Leading Men Medley arr. Everly Christina Bianco, Ben Crawford, Ted Keegan and Ron Remke

INTERMISSION

West Side Story Overture Leonard Bernstein,

arr. Maurice Peress

Broadway Diva Impressions arr. Barton Christina Bianco

Chicago Medley John Kander and Fred Ebb,

arr. Michael Gibson “Falling Slowly” from Once Glen Hansard and Marketa Irglová

Christina Bianco and Ben Crawford

“The Music of the Night” from The Phantom of the Opera

Ted Keegan

Andrew Lloyd Webber and Charles Hart

Les Misérables Medley Claude-Michel Schönberg Christina Bianco, Ben Crawford, and Alain Boublil, Ted Keegan and Ron Remke arr. Barker Male Chorus The Music Center at Strathmore Marriott Concert Stage

32 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Jack Everly, conductor

Jack Everly is the principal pops conductor of the Indianapolis and Baltimore symphony orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl and The New York Pops at Carnegie Hall, and appears regularly with The Cleveland Orchestra at Blossom Music Center. This season, Everly will conduct over 90 performances in more than 20 North American cities.

As music director of the National Memorial Day Concert and “A Capitol Fourth” on PBS, Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers and are some of the very highest rated programming on PBS television.

Originally appointed by Mikhail Baryshnikov, Everly was music director of the American Ballet Theatre for 14 years. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

Everly, a graduate of the Jacobs School of Music at Indiana University, holds an honorary doctorate of arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for more than 12 years and when not on the podium you can find Everly at home with his family, which includes Max the wonder dog.

Ben Crawford

Ben Crawford’s New York and Broadway credits include Les Misérables, Shrek

everly photo by michael tammaro

THURSDAY, OCTOBER 9, 2014, 8 P.M.

Thursday, October 9, 2014, 8 p.m.

the Musical, Big Fish, Merrily…Encores!, 35MM and Jasper in Deadland.

His regional credits include Next to Normal, Guys and Dolls, South Pacific, Titanic, Carousel, White Christmas, A New Brain and Anna in the Tropics.

Crawford also has performed concerts with the Indianapolis, Pittsburgh, Rochester, Naples, Cleveland and Ottawa symphony orchestras.

Christina Bianco

Drama Desk and MAC Award nominated actress, singer and impressionist Christina Bianco has become a YouTube sensation with her diva impression videos going viral.

In New York, Bianco recently starred Off-Broadway in Newsical the Musical and Forbidden Broadway Goes

to Rehab (Drama Desk Award nomination). She can be heard on both original cast recordings. Bianco originated the role of Dora in the long-running national tour of Dora the Explorer Live.

Other New York credits include Raffi on Broadway (Gershwin Theatre), Forbidden Broadway Dances With the Stars and Tony and Tina’s Wedding.

Ted Keegan

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

Las Vegas Spectacular.

Keegan has performed unpublished Gershwin at the opening of the George and Ira Gershwin Room at the National Archives in Washington,

D.C. He also has appeared as a soloist at Lincoln Center’s Avery Fisher Hall, singing Unheard Bernstein.

Ron Remke

Ron Remke previously performed with the Baltimore Symphony Orchestra in All That Jazz: A Symphonic Celebration of Kander & Ebb. He was a featured soloist with the 12 Irish Tenors and is a frequent guest artist with symphonies.

His credits include Lead Tenor in The Producers (Westchester Broadway Theater, Pioneer Theater), Hugo in Aspects of Love and Captain Tarnitz in The Student Prince (Media Theater). He also has served as dance captain of Kiss Me, Kate (national tour).

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Friday, October 10, 2014, 8 p.m.

● Strathmore Presents

California Guitar Trio + Montreal Guitar Trio The Music Center at Strathmore Marriott Concert Stage

California Guitar Trio

The California Guitar Trio’s multigenre explorations have driven 14 albums and nearly 1,500 gigs across its 22-year career. Composed of Bert Lams of Affligem, Belgium; Hideyo Moriya of Chiba, Japan; and Paul Richards of Utah, the group crisscrosses the universes of rock, jazz, world music, surf music and classical music.

The trio’s most recent album, Masterworks, focuses exclusively on classical music, featuring works by Bach, Beethoven, Arvo Pärt, Schubert and Vivaldi. Accompanying the trio on the project are Tony Levin on upright bass and cello, and Fareed Haque on classical guitar.

The trio met while participating in Robert Fripp’s Guitar Craft courses in 1987. The members first toured together as part of Fripp’s League of Crafty Guitarists, an orchestra of acoustic players that served as exponents of the King Crimson founder’s teachings, compositions

and performance approach. In 1991, they founded the California Guitar Trio, which initially gained notoriety opening for King Crimson, John McLaughlin and David Sylvian.

In recent years the group has been working with the Montreal Guitar Trio.

The acts perform both independently and in a dazzling six-guitar format. They play arrangements of each other’s material, as well as innovative takes on rock standards. The collaboration has also yielded the concert recording +Live.

Montreal Guitar Trio

For more than 14 years, Montreal Guitar Trio’s virtuosity, rigor, creativity and dynamic stage presence have been winning applause around the world.

The trio won the 2011 Opus Prize for concert of the year in the Jazz/World Music category. It has given hundreds of concerts in prestigious venues in North America, Europe, New Zealand and Australia, including the BB King

34 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Blues Club in New York, the Rundetårnet in Copenhagen and the legendary Concertgebouw in Amsterdam.

Montreal Guitar Trio is made up of guitarists Glenn Lévesque, Marc Morin and Sébastien Dufour. The ensemble released its fourth CD, Cambria, after four years of international touring. The product of a long period of musical introspection and the trio’s most accomplished and personal work yet, this album contains six original tracks and three covers — including the legendary “While My Guitar Gently Weeps” by George Harrison and “The Mexican” by Babe Ruth.

Cambria takes listeners on a journey through the world’s many cultures.

Strains of flamenco and Argentinean tango blend with Cuban music. Nordic music mixes with Brazilian samba and progressive rock. The sounds of the Orient subtly blend with those of Californian surf guitar and modern pop. Once again, Montreal Guitar Trio sails past the boundaries that usually limit guitar trios, while capturing hearts of seasoned critics and ever-expanding audiences.

About CGT+MG3

CGT+MG3 features all six virtuoso guitarists from California Guitar Trio and Montreal Guitar Trio. Representing four countries, the guitarists fuse more than 40 years of combined performing experience into one ensemble. California Guitar Trio’s steel stringed-guitars blend naturally with Montreal Guitar Trio’s nylon-stringed guitars as each trio’s fret boards chase the other’s original compositions and new arrangements of progressive rock, world, jazz and classical music.

Inspired in 2010 by an impromptu studio session together in Montreal, California Guitar Trio and Montreal Guitar Trio have released a live recording and frequently tour together throughout North America.

The members of the ensembles also appear in a variety of configurations to lead guitar-oriented workshops, school performances, master classes and demonstrations for musicians and aspiring musicians.

photo by pierre larue

FRIDAY, OCTOBER 10, 2014, 8 P.M.

D Y N A M I C E V E N T S • FA S C I N AT I N G P E O P L E • C A P T I V AT I N G S T O R I E S

HIGHLIGHTS FROM OUR NEW SEASON!

Oct 8 CHASING RIVERS: FROM

Wed • 7:30 PM

TALK

THE COLORADO TO THE GANGES

Photographer and Freshwater Hero Pete McBride advocates for great rivers worldwide.

Oct 10 DJ SPOOKY’S ARCTIC

Fri • 7:30 PM

MULTIMEDIA CONCERT

RHYTHMS

Join legendary hip-hop artist Paul D. Miller for an evocative multimedia trip to the Arctic.

Oct 15 LEAVING TIME:

Wed • 7:30 PM

CONVERSATION

AN EVENING WITH JODI PICOULT

Acclaimed writer Jodi Picoult discusses her latest novel, featuring a plot that reads like a story in National Geographic.

Nov 4 THE ART OF THE MATTER

Tue • 7:30 PM

TALK

Boundary-pushing artist Asher Jay unveils her multimedia project to combat wildlife trafficking and protect the planet.

Nov 7-8 TWO NIGHTS IN TELLURIDE

Fri/Sat • 7 PM

FILM FESTIVAL

Experience the best of this year’s festival right here in DC. Check nglive.org/telluride for details.

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GUIDED TASTING

BEER, WINE, & STINKY CHEESE

Steve Jenkins Cheesemonger Joshua Wesson Sommelier Garrett Oliver Brewmaster

Dec 6 MOYA BRENNAN: AN IRISH CHRISTMAS

Sat • 3 & 7 PM CONCERT

Celebrate an Emerald Isle holiday with the voice of Clannad.

Dec 10 SUFFERFEST

Wed • 7:30 PM

TALK

Climbers Alex Honnold and Cedar Wright share stories from their latest adventure.

Dec 11 OCEAN WILD

Thu • 7:30 PM

TALK

Underwater photographer Brian Skerry reveals mysteries from beneath the waves.

Dec 12 HOLIDAY FIESTA WITH CAMBALACHE

Fri • 7:30 PM

CONCERT

Celebrate the holidays with music and dance Veracruz style.

Explore the rest of the season at nglive.org/dc

Nov 15 OKEE DOKEE BROTHERS: Sat • 3 PM

FAMILY CONCERT

A MUSICAL ADVENTURE

Enjoy a musical celebration of the natural world with this Americana folk-inspired concert.

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Wednesday, October 15, 2014, and Thursday, October 16, 2014, 8 p.m.

WEDNESDAY, OCTOBER 15, 2014 AND THURSDAY, OCTOBER 16, 2014, 8 P.M.

● Strathmore Presents

Frankie Valli and The Four Seasons Robby Robinson, music director, keyboards Brad Sharp, singer, dancer Brian Brigham, singer, dancer Todd Fournier, singer, dancer Brandon Brigham, singer, dancer Craig Pilo, drums John Menzano, bass Jamie Arent, guitar Rick Keller, saxophone, percussion Robbie Angelucci, guitar The Music Center at Strathmore Marriott Concert Stage

Frankie Valli and The Four Seasons

Frankie Valli came to fame in 1962 as the lead singer of The Four Seasons.

Thanks to the success of the Tony-winning musical Jersey Boys, which chronicles the life and times of Valli and his legendary group, such classic songs as “Big Girls Don’t Cry,” “Walk Like a Man,” “Rag Doll” and “Can’t Take My Eyes Off You” are all the rage again.

This excitement prompted Valli to salute the 1960s with his first new studio album in 15 years. Romancing the ’60s includes new versions of “Spanish Harlem,” “Call Me” and “Take Good Care of My Baby.”

Born Francis Castelluccio on May 3, 1934, Valli grew up in a public housing project in Newark, N.J. When he was 7, Valli’s mother took him to New York City’s Paramount Theater to see

36 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Frank Sinatra. “I saw Sinatra coming out on stage,” Valli recalls, “and the way he was lit up, it was like he had an aura around him. I decided then and there that’s what I was going to do—be a successful singer.”

Musician Tommy DeVito headed a group called the Variety Trio, and one night he invited young Valli on stage to sing “I Can’t Give You Anything But Love.” In 1953, he caught the eye of music publisher Paul Kapp, who helped Valli make his first record, My Mother’s Eyes. He rechristened himself Frankie Valley (later Italianized to Valli), borrowing the name from friend and fellow performer Texas Jean Valley.

A bit of national attention didn’t come until 1956, when Frankie was in a group called the Four Lovers with Tommy, his brother Nick DeVito and Hank Majewski. They had a minor hit with “You’re the Apple of My Eye,” cut an album called Joyride and appeared on “The Ed Sullivan Show.”

The big success of the group—which took the name of a bowling alley cocktail lounger and renamed itself The Four Seasons—came in 1962, when it performed “Sherry” on “American Bandstand.” The No. 1 hits “Big Girls Don’t Cry” and “Walk Like a Man” quickly followed, The group continued to release one hit after another in 1964 and 1965: “Dawn (Go Away),” “Ronnie,” “Rag Doll,” “Save It for Me,” “Big Man in Town” and “Bye Bye Baby (Baby, Goodbye).”

Valli’s solo hit, “Can’t Take My Eyes Off You,” came in 1967, followed by “I Make a Fool of Myself” and “To Give (the Reason I Live).” He had a No. 1 hit in 1975 with “My Eyes Adored You,” plus hits with “Swearin’ to God” and a cover of “Our Day Will Come.”

A new iteration of The Four Seasons, led by Valli, later recorded the hits “Who Loves You” and “December 1963 (Oh, What a Night).”

From 1962 to 1978, Frankie Valli and the Four Seasons sold more than 100 million records. In 1990 Valli and the original Four Seasons were inducted into the Rock and Roll Hall of Fame.

Friday, October 17, 2014, 8 p.m.

FRIDAY, OCTOBER 17, 2014, 8 P.M.

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Strathmore Presents

An Evening with David Sedaris The Music Center at Strathmore Marriott Concert Stage

David Sedaris

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers.The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.

David Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, When You Are Engulfed in Flames, and his most recent book, Let’s Explore Diabetes with Owls.

The audio version of Let’s Explore Diabetes With Owls was nominated for a Grammy for Best Spoken Word Album.

He is the author of the New York Times-bestselling collection of fables Squirrel Seeks Chipmunk: A Modest Bestiary. He was also the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories.

Sedaris’ pieces appear regularly in The New Yorker and have twice been included in “The Best American Essays.” Seven million copies of his books are in print and they have been translated into 25 languages.

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He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written a half dozen plays, including Stump the Host, Stitches, One Woman Shoe—which received an Obie Award—Incident at Cobbler’s Knob and The Book of Liz. David Sedaris’ original radio pieces can often be heard on the public radio show This American Life. He also has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio recording of new stories (recorded live) is “David Sedaris: Live for Your Listening Pleasure” (November 2009). A feature film adaptation of his story C.O.G. was released after a premier at the Sundance Film Festival in 2013.

Says Whitney Pastorek of Entertainment Weekly: “Sedaris ain’t the pre-eminent humorist of his generation by accident.” The sentiment is echoed by the Chicago Tribune, which states that “Sedaris’ droll assessment of the mundane and the eccentrics who inhabit the world’s crevices make him one of the greatest humorists writing today.” Lastly, the San Francisco Chronicle writes that “Sedaris belongs on any list of people writing in English at the moment who are revising our ideas about what’s funny.”

photo by hugh hamrick

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Saturday, October 18, 2014, 8 p.m., and Sunday, October 19, 2014, 3 p.m.

●

The National Philharmonic Piotr Gajewski, Music Director and Conductor

presents

ˇ Dvorák’s New World Symphony

Piotr Gajewski, conductor Chee-Yun, violin A Midsummer Night’s Felix Mendelssohn Dream Overture, Op. 61 (1809-1847) Concerto for Violin and Orchestra Jean Sibelius in D minor, Op. 47 (1865-1957) Allegro moderato Adagio di molto Allegro ma non tanto

INTERMISSION Symphony No. 9 in E minor, Op. 95

Antonín Dvořák (“From the New World”) (1841-1904)

Adagio; Allegro molto Largo

Scherzo: Molto vivace

Allegro con fuoco

Weekend Concerts Sponsor: Ameriprise Financial Sunday Concert Sponsor: Ingleside at King Farm All Kids, All Free, All The Time is sponsored by The Gazette and the Dieneke Johnson Fund The Music Center at Strathmore Marriott Concert Stage

Piotr Gajewski, conductor

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

In addition to his appearances with the National Philharmonic, Gajewski is much in demand as a guest conductor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liverpool Philharmonic in England, the Karlovy Vary Symphony in the Czech

Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States.

Gajewski attended Carleton College and the University of Cincinnati, College-Conservatory of Music, where he earned bachelor’s and master’s degrees 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

40 applause at Strathmore • SEPTEMBER/OCTOBER 2014

and, in 2006, Montgomery County’s Comcast Excellence in the Arts and Humanities Achievement Award.

Chee-Yun, violin

Since her first public performance at age 8 in her native Seoul, violinist CheeYun has enraptured audiences on five continents with her flawless technique, dazzling tone and compelling artistry.

Since winning the Young Concert Artists International Auditions in 1989, she has performed regularly with the world’s foremost orchestras, including the Philadelphia Orchestra, the London Philharmonic, and the Toronto, Houston, Seattle, Pittsburgh, Atlanta and National symphony orchestras. She also has performed with distinguished conductors such as Hans Graf, Michael Tilson Thomas, Jaap van Zweden, Krzysztof Penderecki, Neeme Järvi, Pinchas Zukerman and Manfred Honeck.

Her orchestral highlights include a concert with the Seoul Philharmonic conducted by Myung-Whun Chung that was broadcast on national network television, a benefit for UNESCO with the Orchestra of St. Luke’s at Avery Fisher Hall, and her tour of the U.S. with the San Francisco Symphony.

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

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

When Mendelssohn was 17, he and his sister Fanny used to sit in the garden of their Berlin home on warm, summer days, reading aloud the German translations of Shakespeare’s plays. Young Felix was especially captivated by A Midsummer Night’s Dream and would often act out some of the roles. In July 1826, he thought of writing a descriptive piece he planned to call A Midsummer Night’s Dream Overture, and in August he completed it. He and Fanny played it for friends as a piano duet in November, and before the year was out, he orchestrated it. The overture had its first public performance in February 1827.

photo by michael ventura

SATURDAY, OCTOBER 18, 2014, 8 P.M. SUNDAY, OCTOBER 19, 2014, 3 P.M.

Saturday, October 18, 2014, 8 p.m., and Sunday, October 19, 2014, 3 p.m.

The overture was dedicated to the crown prince of Prussia. In 1843, when the prince had become King Friedrich Wilhelm IV, he asked Mendelssohn to write some incidental music for a production of A Midsummer Night’s Dream in the theater of his new palace in Potsdam.

The first performance of A Midsummer Night’s Dream with Mendelssohn’s incidental music took place on Oct. 14, 1843 and pleased the Court.

The Overture magically creates a sense of Shakespeare’s fairyland in a piece that is rich in melody and in musical “events.” A Midsummer Night’s Dream Overture, is, like Mendelssohn’s Hebrides Overture, formally based on classical sonata principles— including an exposition, development and recapitulation—yet here Mendelssohn adds some distinctive and unusual touches to the traditional sonata model, such as moving from the initial tonic key of E major to E minor after only seven measures to introduce the first subject. Also, the structure of the piece depends on three appearances of the wind and horn chords that begin the work. There are subtle changes in each of the chords, displaying Mendelssohn’s knack for orchestration, which constitutes a major factor in the work’s charm.

Mendelssohn achieves, above all, a musical interpretation of the play’s themes and characters through a variety of means. He begins with highpitched opening chords, and then the hushed, scurrying sound of the strings of the first subject evoke the flurry and beating of the fairies’ wings.

Later, repeated descending pizzicato lines provide an aura of suspense as the listener becomes unclear about where the music is going tonally. A directly obvious moment where characterization is definitely evident is in the accented leaps in the violins and clarinets as they give a hilarious impersonation of Bottom, the ass, and his hee-haw donkey brays.

In this work, Mendelssohn interestingly enough included the ophecleide, a forerunner to the saxophone that was used then primarily in military

Chee-Yun

bands. Otherwise, his orchestra for A Midsummer Night’s Dream includes two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets, ophecleide, three trombones, kettledrums, triangle, cymbals and strings.

Concerto for Violin and Orchestra, in D minor, Op. 47

Jean Sibelius Born Dec. 8, 1865, in Tavastehus, Finland; died Sept. 20, 1957, in Jarvenpää, Finland

Jean Sibelius is one of the few Scandinavian composers who gained international fame. He studied in Berlin and Vienna and made concert tours to the principal cities of Europe as well as England, where his works were very popular. He taught for a while at the New England Conservatory of Music and was awarded an honorary degree by Yale University. In the last 30 years of his life, (he lived until he was 91) he did not compose any music and withdrew into solitude.

By 1903, when he was composing the Violin Concerto, Sibelius had already composed several major works: Finlandia, the Karelia Suite, the four Lemminkäinen Legends (including The Swan of Tuonela) and his first two symphonies, works that established his international reputation. He was flooded with excellent ideas at that period of his life and wrote for many hours each day, but he was also worried that problems with his ear and throat ailment signaled that his lifetime would be limited. Luckily, his concerns about his health were put to rest when,

in 1908, a benign tumor was discovered to have been the source of his pain.

Sibelius had other troubles that plagued him: he was in constant financial distress as his compositions did not yield a big enough income to support his growing family. He frequently confided in his brother, a physician in Germany, about the difficulty of making a decent living as a serious composer.

Sibelius had a habit of frequenting the local drinking establishments, and his uncomplaining wife often experienced absences of several days when he went on a spree. Only once did she need to locate him, and that was when the conclusion of this concerto had to be finalized and the parts to be copied in readiness for the first performance.

Sibelius completed his Violin Concerto in 1903; it premiered in Helsinki in 1904, but he was dissatisfied with the work and revised it completely in 1905. In its new form, its first performance was in Berlin in 1905, with Karl Halir as soloist and the orchestra conducted by Richard Strauss.

Coming as it does between his Second and Third Symphonies, Sibelius’ Concerto for Violin presents an effect­ive amalgam of romantic elements with the composer’s novel ideas of form and development. Throughout the concerto, the solo violinist and the orchestra are partners. The first movement, Allegro moderato, in sonata form, is brooding and dramatic and includes three groups of themes, one sad melody, one yearning and one

applause at Strathmore • SEPTEMBER/OCTOBER 2014 41

Saturday, October 18, 2014, 8 p.m., and Sunday, October 19, 2014, 3 p.m.

National Philharmonic Orchestra and Chorale First Violins Colin Sorgi*

Derek Smith Tam Tran

Jody Gatwood

Cellos Lori Barnet*, Principal Todd Thiel* Kerry Van Laanen* Barbara Brown April Chisholm Danielle Cho Ken Ding Catherine Francis Andrew Hesse Beth Peterson Kristen Wojcik

Concertmaster

Concertmaster emeritus

Benjamin Scott* Olga Yanovich* Leslie Silverfine* Mayumi Pawel* Brenda Anna Eva Cappelletti-Chao Maureen Conlon-Dorosh Laura Tait Chang Claudia Chudacoff Lisa Cridge Lysiane Gravel-Lacombe Jennifer Kim Regino Madrid Kim Miller Jennifer Rickard Chaerim Smith Second Violins Henry Flory* Principal

Arminé Graham* Katherine Budner* Jennifer Shannon* Cathy Stewart* Doug Dubé Justin Gopal June Huang Karin Kelleher Alexandra Mikhlin Laura Miller Joanna Owen Jean Provine Rachel Schenker Ning Ma Shi Rachael Stockton Violas Julius Wirth*, Principal Judy Silverman* Associate Principal emeritus

Leonora Karasina* Mark Pfannschmidt* Phyllis Freeman Stephanie Knutsen Margaret Lang Jennifer Rende Chris Shieh

Basses Robert Kurz* Principal

Shawn Alger Kelly Ali 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

Katherine Jones Sandra Sisk

bold and march-like. The development section is replaced by a cadenza for the soloist. In the second movement, Adagio di molto, a romance, the solo violin predominates. This movement is one of Sibelius’ most Romantic music. Sibelius described the finale, Allegro ma non tanto, as a kind of danse macabre. The renowned musical analyst, Sir Donald Francis Tovey, jokingly called this exciting, strongly rhythmic movement “a polonaise for polar bears.”

The concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

Contrabassoon Nicholas Cohen

Nancy A. Coleman Eileen S. DeMarco Lauren Drinkwater French Horns Alejandra Durán-Böhme Michael Hall*, Principal Lisa Edgley Mark Wakefield* Daniela Fiore Justin Drew Meg Flanagan David Smith Sarah B. Forman Margaret Tung Caitlin A. Garry** Denise R. Harding Trumpets Bailey Kerr Chris Gekker* Robyn Kleiner Principal Joanna Lam Robert Birch* Carolyn Rodda Lincoln Robert & Margaret Hazen Maria Lostoski Chair Kaelyn Lowmaster John Abbracciamento Sharon Majchrzak-Hong Brent Madsen Anaelise Martinez Kathryn McKinley Trombones Sara W. Moses David Sciannella* Katherine Principal Nelson-Tracey* James Armstrong Mary Beth Nolan Jeffrey Cortazzo Gloria Nutzhorn Juliana S. O’Neill Tuba Lynette Posorske Willie Clark Maggie Rheinstein Timpani & Carlotta Richard Percussion Lisa Romano Tom Maloy*, Principal Theresa Roys Aubrey Adams Katherine Schnorrenberg Curt Duer Robin Steitz Robert Jenkins Carolyn J. Sullivan Bill Richards Cathlin Tully Ellen van Valkenburgh Harp Susanne Villemarette Rebecca Smith Lynne Woods Elizabeth Blakeslee Sara Zoeller Keyboard Altos William Neil Helen R. Altman Jeffery Watson Toni Barrett Theodore Guerrant Carol Bruno Erlinda C. Dancer Sopranos Sandra L. Daughton Marietta R. Balaan Deirdre Feehan Mary Bentley* Robin Fillmore Jocelyn Bond Shannon Finnegan Cheryl Branham Elissa Frankle Rosalind Breslow Francesca Frey-Kim Kristin Brown Maria A. Friedman Rebecca Carlson** Julia C. Friend Cheryl Castner Andrea Frisch Talia Chicherio Anne P. Claysmith

Symphony No. 9, in E minor, Op. 95, “From the New World”

Antonín Dvořák

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

Dvořák came to New York in 1892, when he already had worldwide fame.

Soon after his arrival here, he began the “New World” Symphony and quickly completed it. In December 1893, the New York Philharmonic premiered it. In a letter to his publisher in Berlin, Dvořák said, “The symphony was a splendid success. The newspapers say that no composer has ever had such a triumph. I was in a box and [Carnegie]

42 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Elizabeth Bishop Gemoets Jeanette Ghatan Sarah Gilchrist Lois J. Goodstein Jacque Grenning Stacey A. Henning Jean Hochron Sara M. Josey* Marilyn Katz Irene M. Kirkpatrick Martha J. Krieger** Melissa J. Lieberman* Corinne Loertscher Julie S. MacCartee Nansy Mathews Susan E. Murray Daryl Newhouse Martha Newman Patricia Pillsbury Beryl M. Rothman Lisa Rovin Jan Schiavone Deborah F. Silberman Lori J. Sommerfield Carol A. Stern Pattie Sullivan Bonnie S. Temple Virginia Van Brunt Christine Vocke Sarah Jane Wagoner** Wendy J. Weinberg Tenors Kenneth Bailes J.I. Canizares Colin Church Paul J. DeMarco Ian Elder Ruth W. Faison* Don Jansky Curt Jordan Tyler A. Loertscher Jane Lyle Chantal McHale Eleanor McIntire Wayne Meyer** Tom Milke Rolf Moeckel Tom Nessinger Steve Nguyen Joe Richter Dennis Vander Tuig

Basses Russell Bowers Albert Bradford Ronald Cappelletti Pete Chang Stephen Cook Clark V. Cooper Bopper Deyton J. William Gadzuk Robert Gerard Mike Hilton Luke Hlavin Chun-Hsien Huang John Iobst William W. Josey** Peter Kadeli Allan K. Kirkpatrick Ian Kyle Jack Legler Larry Maloney Ian Matthews Alan E. Mayers Dugald McConnell David J. McGoff Richard McMillan David G. Medland Kent Mikkelsen* John Milberg** Oliver Moles Mark Nelson Leif Neve Anthony Radich Harry Ransom, Jr. Edward Rejuney* Frank Roys Charles Serpan Carey W. Smith Jason James Smoker Charles Sturrock Alun Thomas Donald A. Trayer Roberto Villeda Wayne R. Williams Theodore Guerrant

Accompanist, Theodore M. Guerrant Chair * section leader ** assistant section leader

Hall was filled with the best people in New York. They applauded so much that I felt like a king.”

Despite, or perhaps because of its success, the symphony became the subject of great controversy. Some said it was based almost entirely on folk songs of the “American Black and Indian” peoples, while others found it typically Czech. Modern opinion asserts that Dvořák intended it to set an example for American composers of how to use American themes without quoting folk songs. Dvořák only borrowed the spirit of American folk melodies.

Unquestionably, America had made an impact on Dvořák. One of the most

Saturday, October 18, 2014, 8 p.m., and Sunday, October 19, 2014, 3 p.m.

gifted of the eager young people who flocked to his classes was the AfricanAmerican musician Henry Thacker Burleigh (1866-1949), who became a composer and singer. Burleigh spent many hours with Dvořák, singing spirituals that completely captivated the composer and becoming an important part of Dvořák’s inspiration for the symphony. Shortly before the premiere, Dvořák said, “I am satisfied that the future music of this country must be founded upon what are called the Negro melodies. These can be the basis of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are American. They are the folk songs of America, and your composers must turn to them. All the great musicians have borrowed from the songs of the common people. In the Negro melodies of America I discover all that is needed for a great and noble school of music.”

Dvořák did not directly quote such

songs in the symphony and explained, “I only tried to write in the spirit of those national American melodies.”

What escaped notice is that despite their differing, distant origins, the folk music of Czech peasantry, of African-Americans, and of some Native Americans all shared certain musical characteristics: it was the folk element that always fascinated Dvořák.

“Omit the nonsense about my having made use of ‘Indian’ and ‘American’ motives,” he said. “That is a lie. I tried to write only in the spirit of those national American melodies.”

The first movement has a slow introduction, Adagio, before an Allegro molto. The flute and oboe play the first theme, a melancholy dance, and the flute introduces the second theme, based on “Swing Low, Sweet Chariot.” The principal theme of the nostalgic second movement, Largo, is a haunting melody for English horn that Dvořák originally sketched for a work he never wrote that was to be based on Longfellow’s lengthy

narrative poem, Hiawatha. Dvořák explained that a transitional passage in the Largo reflects an Indian girl’s sobbing as she bids Hiawatha farewell. Although Dvořák evidently thought that the music was Native American in character, it later became popular as an imitation spiritual called “Goin’ Home.”

A sprightly dance-like movement, Scherzo, Molto vivace, which has been compared to a Native American dance with chanting, follows. After the finale’s introduction, the horns and trumpets introduce the first theme, Allegro con fuoco. The clarinet intones the gentle second theme against strings’ tremolos; then themes of earlier movements reappear, giving the last movement a rich pattern of connecting motives.

The score calls for piccolo and two flutes, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, triangle, cymbals and strings. ©Susan Halpern, 2014

It’s music to my ears.

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

We know the only way to build stronger communities for tomorrow is to invest our time and energy today. We call it our insurance plan for the future, and it’s a policy we’re proud of.

geico.com | 1-800-947-AUTO (2886) Some discounts, coverages, payment plans and features are not available in all states or all GEICO companies. GEICO is a registered service mark of Government Employees Insurance Company, Washington, D.C. 20076; a Berkshire Hathaway Inc. subsidiary. GEICO Gecko image © 1999-2014. © 2014 GEICO

applause at Strathmore • SEPTEMBER/OCTOBER 2014 43

Friday, October 24, 2014, 8:15 p.m.

FRIDAY, OCTOBER 24, 2014, 8:15 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Off the Cuff Ein Heldenleben: A Hero’s Life

BE IN THE KNOW

BETHESDA BETHESDA MAGAZINE’S DAILY NEWS DISPATCH

MAGAZINE.COM

Marin Alsop, conductor

Ein Heldenleben, Op. 40 Richard Strauss Jonathan Carney, violin (1864-1949) The concert will end at approximately 9:30 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

44 applause at Strathmore • SEPTEMBER/OCTOBER 2014

Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra.

She also holds the title of conductor emeritus at the Bournemouth Symphony Orchestra in the United Kingdom, where she served as the principal conductor from 2002 to 2008.

Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry.

Additionally, her success was recognized when, in 2013, her tenure was extended to the 2020-2021 season.

Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, recording ventures, and its education and outreach activities.

In the summer of 2014, Alsop served her 23rd 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.”

Sunday, October 26, 2014, 3 p.m.

sunDAY, OCTOBER 26, 2014, 3 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Ein Heldenleben: A Hero’s Life Marin Alsop, conductor

Rapture Christopher Rouse

(1949-)

Symphony No. 4, The Poem of Ecstasy, Op. 54

Alexander Scriabin (1872-1915)

INTERMISSION

Ein Heldenleben, Op. 40 Richard Strauss Jonathan Carney, violin (1864-1949) The concert will end at approximately 4:50 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. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra.

She also holds the title of conductor emeritus at the Bournemouth Symphony Orchestra in the United Kingdom, where she served as the principal conductor from 2002 to 2008.

Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry. Additionally, her success was recognized

when, in 2013, her tenure was extended to the 2020-2021 season.

Alsop took up the post of chief conductor of the São Paulo Symphony Orchestra in 2012, where she steers the orchestra in its artistic and creative programming, recording ventures, and its education and outreach activities.

In the summer of 2014, Alsop served her 23rd 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.”

Program Notes Rapture

Christopher Rouse Born Feb. 15,1949, in Baltimore, Md.; now living in Baltimore

Since 1985 when The Infernal Machine introduced him in Baltimore and the three seasons of 1986–89

when he served as the BSO’s composer-in-residence, Christopher Rouse has become a creative voice that Baltimore audience members know well.

Or at least we think we do because Rouse has continually shown a great capacity to grow, change and surprise us with his music.

Early in his career, he was renowned for writing very fast, intricate, dissonant and often extremely loud music, such as The Infernal Machine and Gorgon— what he called his “wild style.”

With his Symphony No. 1, commissioned by the BSO and winner of the prestigious 1988 Kennedy Center Friedheim Award, there was a shift to much slower and more serious music. For a time, Rouse’s dark, anguished works made him the contemporary singer of the tragedy of human existence.

In the 1990s, many of today’s leading virtuosos began commissioning concertos from him, producing a series of varied and exceptional works: a Cello Concerto for Yo-Yo Ma; Violin Concerto for Cho-Liang Lin; Flute Concerto for Carol Wincenc; and the Wagner-inspired Percussion Concerto, Der gerettete Alberich, for Evelyn Glennie that the BSO premiered in 1998. Rouse’s Trombone Concerto for the New York Philharmonic and its principal trombonist won the 1993 Pulitzer Prize for Music.

If BSO audiences expect to hear a shocking, dissonant or grim-visaged work in Rapture, they are in for a wonderful surprise. This score, completed in January 2000 for the Pittsburgh Symphony and its music director Mariss Jansons, shows a remarkable lightening of Rouse’s musical mood, as he explains in his note: “It should be noted that the title of this score is not ‘The Rapture’; the piece is not connected to any specific religious source. Rather, I used the word ‘Rapture’ to convey a sense of spiritual bliss, religious or otherwise.

With the exception of my Christmas

applause at Strathmore • SEPTEMBER/OCTOBER 2014 45

Thursday, Sunday, October May 1, 2014, 26, 2014, 8 p.m.

3 p.m.

work, Karolju [premiered by the BSO in 1992], this is the most unabashedly tonal music I have composed. I wished to depict a progression to an ever-more blinding ecstasy, but the entire work inhabits a world devoid of darkness—hence the almost complete lack of sustained dissonance.

Rapture is also an exercise in gradually increasing tempi. It begins quite slowly, but throughout its 11-minute duration proceeds to speed up incrementally until the breakneck tempo of the final moments is reached.

Although much of my music is associated with grief and despair, Rapture is one of a series of more recent scores ... to look ‘toward the light.’”

As well as being an ecstatic spiritual experience, Rapture is a glorious 21stcentury celebration of the orchestra, utilizing every instrument and family with superb dramatic impact. Besides following a progressive acceleration of tempo, it also builds—with some ebb and flow—a steady crescendo from the almost inaudible beginning to its exultant ffff conclusion.

Instrumentation: Three flutes, three oboes, three clarinets, three bassoons, four horns, four trumpets, four trombones, tuba, timpani, percussion, harp and strings.

Symphony No. 4, The Poem of Ecstasy, Op. 54

Alexander Scriabin Born Jan. 6, 1872, in Moscow; died April 27, 1915, in Moscow

From the outset of his career, Alexander Scriabin was an original in every way. A fellow pupil of Sergei Rachmaninoff’s at the Moscow Conservatory in the 1880s and ’90s, Scriabin had to be content to come second to him at graduation because his composition teacher Anton Arensky disliked his already unorthodox creations. Physically diminutive, effete in manner and a dandy in his dress, he usually wore gloves to ward off germs and avoid the contamination of directly handling money. For him,

music was always something much more than notes: “The purpose of music is revelation,” he said.

Mysticism, whether religious or occult in nature, was sweeping Russia in the years immediately before the Revolution, but Scriabin was exceptional in the degree to which his mystical beliefs dominated his life and creative work. In time, he began to see himself as a messianic figure who would bring in a new age for humankind through his music.

Hinduism, Nietzsche and Theosophy all contributed to his personal philosophy.

Many thought Scriabin mad, but most were willing to admit that, as a musician, he possessed genius. Scriabin was a radical who eventually left traditional tonality behind in his late works. He saw musical tones as colors—a phenomenon known as synaesthesia—and he dreamed of uniting all the senses in his works— hearing, sight, taste and smell— though the unperformed color score for his late orchestral tone poem “Prometheus” was as far as he realized these ideas.

Although Scriabin was predominantly a composer of piano works— he wrote about 200 of them—his creation of a Piano Concerto in 1896 unleashed a fascination with the orchestra. Having already written three symphonies, in late 1904 he began to conceive of a fourth, but after three years of work, it would turn into something quite different: a massive one-movement tone poem, The Poem of Ecstasy (Le poème de l’extase).

Before he began putting notes on paper, Scriabin, however, began his creative work by writing a lengthy poem in Russian initially called “Orgiastic Poem.” Not intended as a script for his musical composition, it was rather a parallel expression in another medium of his conception of ecstasy, which mingles equally spiritual and sensual fulfillment. It opens: “Spirit,/Winged with

46 applause at Strathmore • SEPTEMBER/OCTOBER 2014

thirst for life,/Is drawn into flight On the summits of negation./There, under the rays of its dream,/Emerges a magical world/Of heavenly forms and feelings ...” The poem is an effusion of mystical late-Romantic language, and though Scriabin loved it, it is hard going for the modern reader. But it worked to prime Scriabin’s creative pump, and the sumptuous musical work that followed is much more universally appealing.

However, the first audience that heard it—on Dec. 10, 1908, in New York City played by the visiting Russian Symphony Orchestra—didn’t know what to make of it, and the critics were cruel. Much more successful were its first performances in St. Petersburg and Moscow a few weeks later, where audiences, more attuned to Scriabin’s style and philosophical leanings, were warmly enthusiastic.

In The Poem of Ecstasy, Scriabin reveals his powerfully original lateperiod musical language, which bears no resemblance to the Russian nationalist style his contemporaries like Rimsky-Korsakov or even the young Stravinsky were espousing.

His harmonies are wildly chromatic, chosen for their colors rather than for their relationship to traditional tonalities. His formal structures are free, dictated by the trajectory of his emotional expression. And his use of a hugely oversize orchestra is spectacularly daring, even by the standards of his contemporary Richard Strauss. The orchestra for Ecstasy calls for eight horns and five trumpets in the brass section and two harps, celesta, bells, tam-tam (gong) and organ among the percussion, all used with virtuosic assurance.

Delicately scored, the slow introductory section is marked Languido and revolves around a lazily undulating theme representing Languor in the flutes and solo violin.

It is succeeded by a sparkling Allegro volando: music of Flight. After a return to Languor, the tempo again accelerates, and we hear the

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Did Richard Strauss really intend to portray himself as the hero in his eighth tone poem, Ein Heldenleben (“A Hero’s Life”), written in 1897– 8? If so, critics of his day were right to call this work an outrageous display of musical megalomania. That it is one of the most stunning, viscerally exciting display pieces for a very large orchestra in the repertoire is beyond dispute.

Strauss himself was evasive on the subject. At one point he did boast to his friend, the writer Romain Rolland: “I do not see why I should not compose a work about myself.

I find myself quite as interesting as Napoleon or Alexander.” But he

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Ein Heldenleben

also told his father he wanted to express “a more general and free ideal of great and manly heroism”— a late-Romantic response to Beethoven’s “Eroica” Symphony, with which this tone poem shares the key of E-flat Major. Indeed, he didn’t strike his friends as a heroic personality, no matter how bold and extravagant his musical creations. Bland and mild-tempered, Strauss was easily manipulated by his strong-willed wife, Pauline, throughout their 55-year marriage.

In fact, it is the capricious Pauline who is faithfully portrayed in Ein Heldenleben in the guise of a highly virtuosic solo violin. Frau Strauss’ somewhat maddening, but to her husband always alluring, personality can be deduced from the instructions the composer gives to the soloist: “angry,” “loving,” “flippant,” “a little sentimental,” “nagging,” “exuberantly playful.” In his next tone poem, Symphonia domestica of 1903, the composer actually gave a detailed portrait of a day in the Strauss household, with wailing baby, a lively husbandand-wife spat and an even livelier making-up love scene.

Ein Heldenleben is in six sections that flow together continuously. The eight horns—they are the hero’s signature instruments—proclaim “The Hero’s” principal theme: a great striding melody surging upward through a three-octave range. This theme paints an exuberant picture of a young, optimistic hero; companion themes suggest his playful nature while a pulsing ostinato rhythm demonstrates his unstoppable resolve.

“The Hero’s Adversaries” respond in the acid, mean-spirited tones of woodwinds and the fat, complacent drone of tuba. Strauss didn’t deny that these represented the carping music critics of the day, and he doesn’t paint a pretty picture of them (though he does invent wonderfully characterful music for the woodwinds to play). Strangely, as

Bethesda

work’s principal theme rising upward in vigorous little bursts in muted trumpets; this theme represents Affirmation.

Dominated by the trumpets’ Affirmation theme, the music gradually rises to a first enormous climax. The tempo then slows for a reprise of the opening sections of Languor and Flight. This rises inexorably to yet a greater climax.

A quiet epilogue led by trilling flutes follows. As the music surges over the Affirmation theme, it is marked “with voluptuousness and more and more ecstatic.” Swelled by the organ, the gigantic tolling climax, after so many harmonic adventures, finally comes to rest in plain, glorious C Major. The final words of Scriabin’s poem: “And thus the universe resounds/With joyful cry/I AM!” Instrumentation: Three flutes, piccolo, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tuba, timpani, percussion, two harps, celeste, organ and strings.

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applause at Strathmore • SEPTEMBER/OCTOBER 2014 47

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Strauss biographer Michael Kennedy points out, Strauss didn’t receive nearly as much negative press as most of his contemporaries.

Now we meet “The Hero’s Companion,” in an extended concertolike violin solo. In dark brass tones, we hear the hero’s somewhat grudging response to her blandishments, but this soon turns to ardor in one of Strauss’ most sensuous and lushly scored love scenes. A tender upwardclimbing melody in the violin expresses the couple’s devotion.

“The Hero’s Battlefield”: The nattering critics and then a chorus of offstage trumpets summon the hero from his marital bed. With his signature rising theme, supported by his wife’s downward-sliding melody, he strides off to do battle with his enemies. Rolland called this “the best battle music in the entire literature.” So violent are its sounds, so tonally unhinged its harmonies, that for a time this was

considered the most daring passage of orchestral modernism. But Stravinsky’s The Rite of Spring soon trumped it. The adversaries vanquished, we hear a reprise of the hero’s opening music, solidly back in E-flat, as he leaves the field in triumph.

“The Hero’s Works of Peace”: At the climax of this music, horns hurl out a famous heroic theme from Strauss’ first great success, Don Juan.

“The only way I could express works of peace was through quoting works of my own,” Strauss wrote years later. Here he contrapuntally weaves together a series of themes from earlier works: Zarathustra, Till Eulenspiegel, Don Quixote, Death and Transfiguration and even his first, failed opera, Guntram. Strauss buffs can play “name that tune,” but it is more rewarding simply to enjoy the subtle artistry of this lovely respite from the battlefield.

“The Hero’s Escape from the World and His Fulfillment”: In

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this sublime closing coda, the hero roughly dismisses his critics and withdraws to a peaceful, pastoral retirement. The English horn, yodeling a variant of his theme, prophecies the rural retreat Strauss would build years later at Garmisch-Partenkirchen in the Bavarian Alps. The music now enters a state of serenity and tonal stability, led by the hero’s solo horn and his companion’s violin. The last measures, with the violin rising to its highest E-flat while the horn descends to a deeper one, is one of the most beautiful conclusions Strauss ever devised.

Instrumentation: Three flutes, piccolo, four oboes, English horn, two clarinets, piccolo clarinet, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, two tubas, timpani, percussion, two harps and strings.

Notes by Janet E. Bedell, ©2014

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

Thursday, October 30, 2014, 8 p.m.

THURSDAY, OCTOBER 30, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

presents

Brahms’ Symphony No. 2 Hannu Lintu, conductor Conrad Tao, piano Andrew Balio, trumpet

Leonore Overture No. 3, Op. 72b Ludwig van Beethoven (1770-1827) Dmitri Shostakovich Piano Concerto No. 1 in C minor, Op. 35

Allegro moderato (1906-1975)

Lento Moderato Allegro brio

Conrad Tao Andrew Balio

INTERMISSION

Symphony No. 2 in D Major, Op. 73

Allegro non troppo

Adagio non troppo Allegretto grazioso (Quasi andantino)

Allegro con spirito

Johannes Brahms (1833-1897)

The concert will end at approximately 9:50 p.m.

Conrad Tao appears by arrangement with IMG Artists, 152 W. 57th St., Fifth Floor, N.Y., N.Y., 10019.

Mr. Tao records exclusively for Warner Classics. Conrad Tao is a Steinway Artist.

More information can be found at www.conradtao.com.

The Music Center at Strathmore • Marriott Concert Stage

lintu photo by Heikki Tuuli

Hannu Lintu, conductor

Highlights of Hannu Lintu’s 2014-2015 season include appearances with the BBC Scottish Symphony, Warsaw Philharmonic and Lahti symphony orchestras, and the Hallé; WDR Sinfonieorchester Köln, Orquestra Simfonica de Barcelona, Tokyo Metropolitan Symphony Orchestra and the Malaysian Philharmonic Orchestra. In the U.S., he returns to the Baltimore and Saint Louis symphony orchestras and will make his debut with the Detroit and Minnesota symphony orchestras.

Last season marked Lintu’s first

season as chief conductor of the Finnish Radio Symphony Orchestra. Until summer 2013, he held the positions of artistic director and chief conductor of the Tampere Philharmonic Orchestra and principal guest conductor with the RTÉ National Symphony Orchestra in Dublin. He has previously held artistic director positions with the Helsingborg Symphony and Turku Philharmonic orchestras.

Lintu has made several recordings for Ondine, Naxos and Hyperion, and has received several prizes for his recordings, including a Grammy nomination in the Best Opera CD category in 2011.

Conrad Tao, piano

Dubbed a musician of “probing intellect and open-hearted vision” by The New York Times, Conrad Tao has appeared

worldwide as a pianist and composer.

In June 2011, the White House Commission on Presidential Scholars and the DepartCONRAD TAO ment of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a Young Arts gold medal in music.

Later that year, Tao was named a Gilmore Young Artist, an honor awarded every two years to the most promising American pianists. In May 2012, he was awarded the Avery Fisher Career Grant.

During the 2014-2015 season, Tao will perform with the Dallas, San Diego and Toronto symphony orchestras, among others. In Europe, he will be returning to perform with the Swedish Radio Symphony Orchestra in Stockholm and the Bern Symphony in Switzerland. He also will perform recitals in Europe and throughout the U.S. with repertoire ranging from Bach to Toru Takemitsu to Julia Wolfe.

Andrew Balio, trumpet

Wisconsin-native Andrew Balio was appointed principal trumpet of the Baltimore Symphony Orchestra in 2001

by Yuri Temirkanov. Prior orchestral appointments include principal trumpet of the Israel Philharmonic Orchestra under Zubin Mehta and the Orquesta Sinfónica del Estado de Mexico. Starting in September 2014, he begins a oneyear appointment as principal trumpet of the Oslo Philharmonic Orchestra.

His solo debut was at age 15 with the Milwaukee Symphony Orchestra, playing the Haydn Concerto, and he made his Carnegie Hall solo debut in 2013 with the Moscow Chamber Orchestra. His teachers included Charles Schlueter, Adoph Herseth, Roger Voisin and Gene Young.

Balio has appeared as a soloist throughout Europe and South America under such conductors as Mehta, Nicholas McGegan, Temirkanov, Gennady Rozhdestvensky and Günther Herbig.

applause at Strathmore • SEPTEMBER/OCTOBER 2014 49

Thursday, October 30, 2014, 8 p.m.

andrew balio

In 2006 Balio founded Future Symphony Institute, a think tank that brings together the best minds to solve orchestras’ challenges to be financially viable while preserving their artistic mission.

Program Notes Leonore Overture No. 3

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

Beethoven wrote just one opera, Fidelio, but it probably cost him more effort than all nine of his symphonies combined. Unsatisfied with his creation, he composed three versions over the decade 1804–1814 and wrote four overtures for it, all of which are now in the symphonic repertoire. The most famous and surely the greatest of them is Leonore No. 3 (the opera was originally called Leonore), which Beethoven composed for the premiere of the opera’s second version in 1806.

Based on a French drama, Jean Nicolas Bouilly’s Leonore or Conjugal Love, the story was drawn from real incidents during the French Revolution. It tells of the plight of Florestan, unjustly thrown in prison by a political rival Don Pizarro.

Florestan’s resourceful wife, Leonore, discovers where he has been hidden and, disguising herself as a young man, becomes a trusty at the prison. At gunpoint, she faces down the evil Pizarro, and her heroism is rewarded by the sound of a distant trumpet, signaling the arrival of the minister of justice, Don Fernando. Fernando frees Florestan and the other political prisoners, and they join in a triumphant chorus hailing their freedom and Leonore’s courageous love.

Essentially, the Leonore Overture No. 3 tells this whole story in music before the curtain even goes up, and that is exactly why Beethoven finally rejected it for the shorter, lighter Fidelio Overture. With the two trumpet calls heralding Don Fernando’s timely arrival embedded in the music and the concluding victory coda, the opera’s denouement has already been given

away! But if it fails as a curtain raiser, Leonore No. 3 triumphs as a concert piece. The slow introduction paints a vivid picture of Florestan in his dungeon cell, and the wistful melody sung immediately by clarinets and bassoons comes from his despairing Act II aria, recalling his past joys with Leonore. When the music quickens to Allegro, Leonore, with all her courage and determination, appears before us. The middle development section becomes a struggle between the forces of good and evil, ended by the offstage trumpet calls. After a hymn of hope and thanksgiving, the work ends in a mighty dance of victory.

Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets (one of which is offstage), three trombones, timpani and strings.

Piano Concerto No. 1, Op. 35

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

Dmitri Shostakovich began his career as famous for his skills as a pianist as for his composing. After the success of his Symphony No. 1 in 1926, written when he was only 19, he was off to Warsaw the next year to compete in the renowned International Chopin Competition for pianists. Winning only an honorable mention there was a blow that stung him for many years afterward.

By 1930, Shostakovich had virtually given up his solo career; high-strung and

50 applause at Strathmore • SEPTEMBER/OCTOBER 2014

sensitive to a fault, he suffered agonies before each performance. Such refined sensitivity was far better suited to a creative than a recreative career.

However, Shostakovich’s successes as a composer in the early 1930s brought renewed demand for live appearances. Putting hours into regaining his technical facility, in 1933 he composed two new works to show it off: the 24 Piano Preludes, Op. 34 and his Piano Concerto No. 1, Op. 35. Brilliant and playful, the concerto was warmly received at its first performance on Oct. 4, 1933, with the Leningrad Philharmonic Orchestra led by the great Yevgeny Mravinsky backing the composer-soloist.

In Elizabeth Wilson’s biography of the composer, his friend and fellow pianist Mikhail Druskin gave a vivid portrait of the young Shostakovich’s mercurial temperament, which is mirrored throughout this Concerto. “From his adolescent years, he was very observant and showed curiosity for all sides of life. He had a keen eye for the ridiculous. ... He loved satirical literature. ... Shostakovich was unpredictable and given to sudden vacillations of mood; at one moment, jolly and easy, the next pensive; then suddenly he would switch off altogether. ... And does not this mass of varying moods also exist in his music ... and the unexpected twists in the unfolding of its drama?”

During the early years of Stalin’s rule, creative artists in Leningrad still lived on the edge, unafraid to take risks. Russian scholar Boris Schwarz believes that Shostakovich’s Piano Concerto No. 1 was an example of this: “a challenge to the traditional Russian concerto style.” Scored for an orchestra of strings and an often satirical-sounding trumpet part nearly as prominent as the piano’s, it provocatively unites virtuosity with a madcap, irreverent spirit.

In the first movement, the pianist is immediately confronted with an impudent rival: the trumpet taunting his fleet scales. Nevertheless, he launches an initially sober principal theme in Bachian contrapuntal style.

However, when the pianist introduces the ascending second theme, it is not

Thursday, Thursday, October May30, 1, 2014, 2014, 88 p.m. p.m.

Romantic and melodious as a good Russian second theme should be, but thoroughly comical; the violins shriek with laughter and the trumpet plays along. The development section is a whirlwind of crazy comic energy.

For the slow movement, Shostakovich temporarily replaces comedy with melancholy. A sad waltz in 3/4 time, it begins with the violins playing a plaintive, tear-stained melody. Gradually, the pianist leads the way to a great declamatory climax of passionate scales in octaves. When the opening music returns, the long-silent trumpet, playing with a mute snarling its tone, becomes the soloist.

Though listed as a separate movement, number three is really a grave prelude to the finale. Between another edition of Bach-style counterpoint for the piano, the orchestra interjects dark, brooding music. But the light suddenly switches on as the comic finale begins, in which everyone cuts loose in a display of clownish pranks.

As Schwarz reminds us: “In Shostakovich’s musical makeup, Bach and Offenbach had always been friendly neighbors.” Here the trumpet aspires to push the pianist out of the spotlight, and in the end—with a series of manic fanfares—he succeeds in that quest: Shostakovich the composer finally defeating Shostakovich the pianist.

Instrumentation: Trumpet and strings.

Symphony No. 2 in D Major

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

Johannes Brahms’ composing retreat during the summer of 1877 played an important role in the character of his richly melodious Symphony No. 2.

This was the picturesque mountain resort of Pörtschach on the Wörtersee Lake in southern Austria. By the time he reached middle age, Brahms—busy the rest of the year in Vienna with performances and editing and publishing

his music—did most of his composing during the summer months. Finding a place conducive to creativity became all-important to him; in Pörtschach he discovered an oasis so ideal he spent three summers there, the next summer (1878) composing the Violin Concerto.

Many commentators, comparing Brahms’ pairing of a heroic symphony in C minor and a lighter successor symphony with Beethoven’s similarly contrasting No. 5 (also in C minor) and No. 6 symphonies, have called the Brahms’ No. 2 “Pastoral”: a nature symphony full of “sunshine.” But such comparisons can be misleading. Although it has Brahms’ most joyous finale, Symphony No. 2 is still a densely constructed, rather serious work with a strong undercurrent of introspection and melancholy, especially in its first two movements.

First movement: The symphony grows like a mighty oak from the seeds of its first three notes—D dropping a half step to C-sharp and returning to D—heard in the cellos and basses. From

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applause at Strathmore • SEPTEMBER/OCTOBER 2014 51

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this seed motive, and its inverted form dance episodes led by strings in playful half-smile of a coda. with the middle note rising a step, heard between; despite their different meters But immediately the music darkens a few measures later in the horn melody, again for the brooding B-major second and fast tempos, they are actually variawill sprout many of the themes in all tions of the oboes’ melody. movement with its magnificent long four movements. The warm, Romantic The finale’s mysterious, rhythmically melody for the cellos, full of yearning for timbre of the horns lends the opening vague opening hardly prepares us for the some unattainable happiness, a mood theme an autumnal glow. More ardent is so characteristic of Brahms’ music. The WCWCW true mood this movement, it soon hasofmoved to Bethesda!but Now an arching, soaring melody for the vioexplodes in on a fortissimo meter then switches to 12/8 for a rhyth-centrally located Rockledgeblaze Driveofinsound. lins built from the three-note seed. But The second themeand is another mellow mically halting, frustrated theme for theBethesda, Dr. Hookman her associates this movement’s most famous tune— fullnew of mature woodwinds. A turbulent developmen- haveBrahmsian settled into melody, a beautiful space conand the one that reminds us that it is in tentment, offered byconvenience the strings in tal section subsides into reveries of the designed for comfort and fortheir 3/4 waltz-time—is the “second subject” deepest, register.

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Thursday, October 30, 2014, 8 p.m.

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Since 2006, concierge doctors Aimee Seidman and Marcia Goldmark have limited the number of patients they see to about 20 percent of a traditional practice. That provides each with much more time to invest in patient care and develop a meaningful one-on-one relationship with each patient.

“Our goal with each patient is for them to achieve and maintain optimal health, vitality and longevity,” says Dr. Seidman.

As internal medicine physicians, the doctors treat adults of all ages. Both are medical directors at Asbury Methodist Village in Gaithersburg and volunteer their services in the community.

52 applause at Strathmore 312 September/October 2014• SEPTEMBER/OCTOBER | Bethesda Magazine2014 HEALTH

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With their patient-centered approach, the doctors offer preventive care and personalized wellness plans in addition to sick care.

Practice programs include prevention of heart disease, osteoporosis, smoking cessation, weight loss, etc.

Music Center at

Strathmore important information

please contact the Ticket Office for replacements.

patrons. Both main entrances have power- assisted doors.

CHILDREN

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

GROUP SALES, FUNDRAISERS

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others.

Some presenters do not allow children under the age of six years to non-family concerts. As always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. Contact the Ticket Office at (301) 581-5100 for additional information.

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

PARKING FACILITIES

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

TICKET OFFICE HOURS Monday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m.

Wednesday 10 a.m. – 9 p.m.

Saturday 10 a.m. – 2 p.m.

Sixty minutes prior to each performance in the Music Center through intermission.

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.

All tickets are prepaid and non-refundable.

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

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,

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.

PUBLIC TRANSPORTATION 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.

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 2014 61

Strathmore Hall Foundation, Inc. Board of Directors OFFICERS Dale S. Rosenthal Chair Robert G. Brewer, Jr., Esq. Vice Chair William R. Ford Treasurer Carolyn P. Leonard Secretary and Parliamentarian Joseph F. Beach Cathy Bernard Dickie S. Carter David M.W. Denton Hope B. Eastman, Esq. Suzanne Brennan Firstenberg The Honorable Nancy Floreen

Barbara Goldberg Goldman Sol Graham Nancy E. Hardwick Paul L. Hatchett Steven P. Hollman, Esq. Sachiko Kuno Delia K. Lang Karen R. Lefkowitz The Honorable Laurence Levitan J. Alberto Martinez, M.D. Ann L. McDaniel Kenneth O’ Brien DeRionne P. Pollard Donna Rattley Washington Graciela Rivera-Oven Mary K. Sturtevant Raymond D. Tetz

Donors Strathmore thanks the individuals and organizations who have made contributions between July 1, 2013 and June 30, 2014.

Their support of at least $500 and continued commitment enables us to offer the affordable, accessible, quality programming that has become our hallmark.

$250,000+ Arts and Humanities Council of Montgomery County Maryland State Arts Council $100,000+ Hogan Lovells (in-kind) Post-Newsweek Media, Inc. (includes in-kind) $50,000+ Booz Allen Hamilton Delia and Marvin Lang Lockheed Martin Corporation The Morris and Gwendolyn Cafritz Foundation $25,000+ Asbury Methodist Village Federal Realty Investment Trust GEICO Glenstone Foundation Yanqiu He and Kenneth O’Brien Carolyn and Jeffrey Leonard Paul M. Angell Family Foundation PEPCO TD Bank Carol Trawick $15,000+ Cathy Bernard Fondazione Bracco Nancy Hardwick Elizabeth and Joel Helke Lyle and Cecilia Jaeger (in-kind) MARPAT Foundation, Inc. Effie and John Macklin Montgomery County Department of Economic Development National Endowment for the Arts S&R Foundation

$10,000+ Abramson Family Foundation Inc. Adventist Healthcare Bank of America Capital One Services Inc. Jonita and Richard S. Carter Clark Construction Group, LLC Comcast Elizabeth W. Culp Suzanne and Douglas Firstenberg Giant Food LLC Ellen and Michael Gold Dorothy and Sol Graham Graham Holdings Company Janet L. Mahaney Mid Atlantic Arts Foundation Natelli Communities LP Janine and Phillip O’Brien Emily and Mitchell Rales Della and William Robertson Symphony Park LLC $5,000+ Agmus Ventures Inc. Mary and Greg Bruch Frances and Leonard Burka Dallas Morse Coors Foundation for the Performing Arts Carolyn Degroot EagleBank Carl M. Freeman Foundation Elizabeth and Peter Forster Friends of Jennie Forehand Jane Elizabeth Cohen Foundation Julie and John Hamre Allen Kronstadt Sachiko Kuno and Ryuji Ueno Tina and Arthur Lazerow Lerch, Early & Brewer, Chartered (includes in-kind)

62 Applause at Strathmore • september/october 2014

Strathmore CEO Eliot Pfanstiehl with guest artist Julio Iglesias, center-left, and board members Dickie S. Carter, Dale Rosenthal, Gracie Rivera-Oven and Kenny O’Brien at Strathmore’s Spring Gala.

Sharon and David Lockwood Constance Lohse and Robert Brewer J. Alberto Martinez Minkoff Development Corporation Patricia and Roscoe Moore Paley, Rothman, Goldstein, Rosenberg, Eig & Cooper Chtd Dale S. Rosenthal Carol Salzman and Michael Mann John Sherman, in memory of Deane Sherman Meredith Weiser and Michael Rosenbaum WGL Holdings, Inc. Ellen and Bernard Young $2,500+ Anonymous Marie and Fritz Allen Louise Appell Alison Cole and Jan Peterson Community Foundation for Montgomery County Margaret and James Conley Carin and Bruce Cooper CORT Business Services DonnaKaran Co. Marietta Ethier and John McGarry Starr and Fred Ezra Barbara Goldberg Goldman Carolyn Goldman and Sydney Polakoff Lana Halpern Diana and Paul Hatchett Monica Jeffries Hazangeles and John Hazangeles Cheryl and Richard Hoffman A. Eileen Horan Igersheim Family Foundation Alexine Jackson Robert Jeffers Peter S. Kimmel, in memory of Martin S. Kimmel John M. and Teri Hanna Knowles Judie and Harry Linowes Jill and Jim Lipton Florentina Mehta Cynthia Samaha Melki and Toufic Melki Katharine and John Pan Carol and Jerry Perone Mindy and Charles Postal Randy Hostetler Living Room Fund Cheryl and William Reidy Lorraine and Barry Rogstad Karen Rosenthal and M. Alexander Stiffman Barbara and Ted Rothstein Janet and Michael Rowan Katherine Rumbaugh and Diana Downey Phyllis and J. Kenneth Schwartz Mary Kay Shartle-Galotto and Jack Galotto Leon and Deborah Snead Tanya and Stephen Spano

Annie S. Totah Susan Wellman Anne Witkowsky and John Barker Paul A. and Peggy L. Young, NOVA Research Company $1,000+ Anonymous Mary Kay and Dave Almy Doris and David Aronson Benita and Eric Bailey Dena Baker and Terry Jacobs Margaret and Craig Bash Barbara Benson Carol and Scott Brewer Vicki Britt and Robert Selzer Lucie and Guy Campbell Eleanor and Oscar Caroglanian Linda Chatman Thomsen and Steuart Thomsen Alexandra Davies and George Javor Mary Denison and John Clark III Hope Eastman Jamie and Timothy Evankovich Marcia Feuerstein and Ronald Schwarz Dorothy Fitzgerald Marlies and Karl Flicker Robert Fogarty Theresa and William Ford Marijane and Terry Forde Senator Jennie Forehand and William E. Forehand, Jr. Susan and C. Allen Foster Sandra and Victor Frattali Noreen and Michael Friedman Suzanne and Mark Friis Juan Gaddis Nita and Patrick Garrett Evan Goldman Luis Gonzalez Grace Creek Advisors, Robert Atlas and Gloria Paul Susan and Allan Greenberg Greene-Milstein Family Foundation Linda and John Hanson Boots Harris Sara and James A. Harris, Jr. Vicki Hawkins-Jones and Michael Jones Louisa and Steven Hollman Wilma and Arthur Holmes Jr. Linda and I. Robert Horowitz Linda and Van Hubbard Joan and Howard Katz Dianne Kay Paula and Malik Khan Kathleen Knepper Carole and Robert Kurman Susan and Gary Labovich Harriet Lesser Barbara and The Honorable Laurence Levitan Jacqueline and Paul London Sandy and M. Gerald Loubier

Discover Strathmore, an annual free family-friendly open house full of music and dance performances, artistic demonstrations and hands-on art activities, was sponsored by Dede and Marvin Lang.

Cidalia Luis-Akbar and Masud Akbar Sandra and Charles Lyons Jacqueline and J. Thomas Manger Marianne and Aris Mardirossian Virginia and Robert McCloskey Jesse I. Miller, by spouse Ann Miller Mocho, LLC Victoria B. Muth Michelle Newberry Esther and Stuart Newman Susan Nordeen Dale and Anthony Pappas Margie Pearson and Richard Lampl Susan and Brian Penfield Cynthia and Eliot Pfanstiehl Potomac Valley Alumnae Chapter Jane and Paul (deceased) Rice Karen Rinta-Spinner and Joseph Spinner Grace Rivera-Oven and Mark Oven Marylouise and Harold Roach Kitty and Glenn Roberts Sally Sachar and Robert Muller Charlotte and Hank Schlosberg Lenore Seliger and Richard Alperstein Allan Sherman Terry Sherman Christine Shreve and Thomas Bowersox Fran and Richard Silbert Ryan Snow Mary Sturtevant Marilyn and Mark Tenenbaum Myra Turoff and Ken Weiner Roslyn and Paul Weinstein Judy Whalley and Henry Otto Jean and Jerry Whiddon Irene and Steven White Vicki and Steve Willmann $500+ Allen E. Neyman Architecture, LLC Anonymous Judy and Joseph Antonucci Odita and Hector Asuncion Laura Baptiste and Brian Kildee Susan and Brian Bayly Deborah Berkowitz and Geoff Garin Christina and James Bradley James Brady Jeff Broadhurst Eileen Cahill Trish and Timothy Carrico Kathy and C. Bennett Chamberlin Frank Conner Jr. Ken Defontes David Denton Judith Doctor Shoshanah Drake The Emmes Corporation Sue and Howard Feibus Linda Finkelman and Leo Millstein Joyce Fisher Winifred and Anthony Fitzpatrick Gail Fleder Gregory Flowers

Joanne and Vance Fort Gertrude and Michael Frenz Carol Fromboluti Nancy and Peter Gallo Pamela Gates and Robert Schultz Loreen and Thomas Gehl Mr. and Mrs. Alan Gourley Ellie and John Hagner Sue Hains and Brian Eaton Gerri Hall and David Nickels Patricia Harris Carol and Larry Horn Jane and David Fairweather Foundation JD and JDK Foundation Richard Joss Henrietta and Christopher Keller Deloise and Lewis Kellert KHS America, Inc. Richard Klinkner Patricia and James Krzyminski Jennifer and Chuck Lawson Catherine and The Honorable Isiah Leggett Ellen and Stuart Lessans Susan Shaskan Luse and Eric Luse Richard Marlo Janice McCall Nancy McGinness and Thomas Tarabrella Sabrina and Patrick McGowan Viji and Dan Melnick Marilyn and Douglas Mitchell Ann Morales and Rice Odell Katie Murphy Ellen and Jim Myerberg Jackie and Franklin Paulson Mary Pedigo and Daniel Washburn Manual Perez Charla and David Phillips Yolanda Pruitt Barbara and Mark Rabin William Ritchie Imogene Schneider Estelle Schwalb Betty Scott and Jim McMullen Gail Scott-Parizer and Michael Parizer Bob Sheldon Donald Simonds Judi and Richard Sugarman Chris Syllaba Aurelie Thiele Marion and Dennis Torchia Heather VanKeuren Benjamin Vaughan Kevin Vigilante Linda and Irving Weinberg Jean and Robert Wirth Irene and Alan Wurtzel Susan and Jack Yanovski

Michael Rosenbaum, Louise Appell, Scott Stoner and Meredith Weiser at Strathmore’s Circles Dinner.

Con Brio Society Securing the future of Strathmore through a planned gift.

Anonymous Louise Appell John Cahill Jonita and Richard S. Carter Irene Cooperman Trudie Cushing and Neil Beskin Julie and John Hamre Yanqiu He and Kenneth O’Brien A. Eileen Horan Vivian and Peter Hsueh Tina and Arthur Lazerow Chiu and Melody Lin STRATHMORE STAFF Eliot Pfanstiehl Chief Executive Officer Monica Jeffries Hazangeles President Julie Lockwood Executive Assistant to the CEO & President Mary Kay Almy Executive Board Assistant

DEVELOPMENT

Bianca Beckham VP of Development Bill Carey Director of Donor and Community Relations Erin M. Phillips Manager of Patron Engagement Julie Hamre Development Associate

PROGRAMMING

Shelley Brown VP/Artistic Director Georgina Javor Senior Director of Programming Phoebe Anderson Dana Artist Services Coordinator Harriet Lesser Visual Arts Curator Kaleigh Bryant Visual Arts Coordinator

EDUCATION

Lauren Campbell Director of Education Betty Scott Artist in Residence and Education Coordinator

OPERATIONS

Mark J. Grabowski Executive VP of Operations Miriam Teitel Director of Operations Allen V. McCallum, Jr. Director of Patron Services Marco Vasquez

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

THE SHOPS AT STRATHMORE

Charlene McClelland Director of Retail Merchandising Lorie Wickert Director of Retail Operations and Online Sales

MARKETING AND COMMUNICATIONS

Alaina Sadick VP Marketing and Communications Jenn German Marketing Manager Julia Allal Member and Group Services Manager Michael Fila Associate Director of PR and Marketing

STRATHMORE TEA ROOM Mary Mendoza Godbout Tea Room Manager

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Baltimore Symphony Orchestra

Board of directors OFFICERS

Barbara M. Bozzuto*, 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 Constance R. Caplan Robert B. Coutts Alan S. Edelman* Sandy Feldman+, President, Baltimore Symphony Associates Sandra Levi Gerstung Michael G. Hansen* Denise Hargrove^, Governing Member Co-Chair Stephen M. Lans Ava Lias-Booker, Esq. Howard Majev, Esq. Liddy Manson Hilary B. Miller* E. Albert Reece, M.D. Ann L. Rosenberg Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr. Solomon H. Snyder, M.D. * Andrew A. Stern* Gregory W. Tucker Amy Webb Jeffrey Zoller^, BSYO Chair

LIFE DIRECTORS

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

DIRECTORS EMERITI

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

CHAIRMAN LAUREATE

Michael G. Bronfein Kenneth W. DeFontes, Jr. Calman J. Zamoiski, Jr.

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST

Benjamin H. Griswold, IV, Chairman Terry Meyerhoff Rubenstein, Secretary Barbara M. Bozzuto Michael G. Bronfein 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 funded by an operating grant from the Maryland State Arts Council, and from Montgomery County government and the Arts and Humanities Council of Montgomery County.

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 March 26, 2013 through June 26, 2014

LEADERSHIP CIRCLE

Arts and Humanities Council of Montgomery County Lori Laitman and Bruce Rosenblum The Andrew W. Mellon Foundation The Maryland State Arts Council National Endowment for the Arts PNC Whiting-Turner Contracting Company

CHAIRMAN’S CIRCLE PARTNERS

($25,000 and above) The Bozzuto Family Charitable Fund The Morris and Gwendolyn Cafritz Foundation The Citizens of Baltimore County The Hearst Foundation, Inc. Howard County Arts Council Mr. and Mrs. Stephen M. Lans Mayor and City Council of Baltimore City M&T Bank Sylvan/Laureate Foundation VOCUS

MAESTRA’S CIRCLE

($10,000 - $24,999) Mr. and Mrs. A. G. W. Biddle, III Charlotte A. Cameron/Dan Cameron Family Foundation Michael Hansen and Nancy Randa The Hearst Foundation, Inc. Joel and Liz Helke

Macy’s In memory of James Gavin Manson Hilary B. Miller and Dr. Katherine N. Bent Mr. and Mrs. Arnold Polinger Shugoll Research Total Wine & More

GOVERNING MEMBERS GOLD ($5,000 - $9,999) The Charles Delmar Foundation Susan Fisher David Leckrone and Marlene Berlin Dr. James and Jill Lipton Susan Liss and Family Jan S. Peterson and Alison E. Cole Ms. Janet L. Mahaney William B. and Sandra B. Rogers Mike and Janet Rowan Daniel and Sybil Silver John and Susan Warshawsky Clark Winchcole Foundation

GOVERNING MEMBERS SILVER

($3,000-$4,999) Anonymous (2) Alan V Asay and Mary K Sturtevant Lt Gen (Ret) Frank B. and Karen Campbell Geri and David Cohen Jane C. Corrigan Kari Peterson and Benito R. and Ben De Leon Marcia Diehl and Julie Kurland

64 Applause at Strathmore • september/october 2014

Ms. Marietta Ethier J. Fainberg Sherry and Bruce Feldman Georgetown Paper Stock of Rockville S. Kann Sons Company Foundation, Amelie and Bernei Burgunder Christopher and Henrietta Keller Kiplinger Foundation Marc E. Lackritz and Mary DeOreo Burt and Karen Leete Mr. and Mrs. Howard Lehrer June Linowitz and Howard Eisner Dr. Diana Locke and Mr. Robert E. Toense Mr. James Lynch Howard and Linda Martin The Meisel Group Mr. and Mrs. Humayun Mirza Dr. William W. Mullins David Nickels and Gerri Hall Ms. Diane M. Perin Martin and Henriette Poretsky Bill and Shirley Rooker Patricia Smith and Dr. Frances Lussier Mr. Alan Strasser and Ms. Patricia Hartge John and Susan Warshawsky Dr. Edward Whitman Sylvia and Peter Winik Ms. Deborah Wise / Edith and Herbert Lehman Foundation, Inc. ($2,500-$2,999) Dr. Nancy D. Bridges Don Spero and Nancy Chasen Paul A. and Peggy L. Young, NOVA Research Company

SYMPHONY SOCIETY GOLD

($2,000-$2,999) Anonymous Leonard and Gabriela Bebchick Mr. and Mrs. Kenneth R. Feinberg John and Meg Hauge Mr. and Mrs. Gerald Hoefler Fran and Bill Holmes Dr. Phyllis R. Kaplan Marie Lerch and Jeff Kolb Roger and Barbara Schwarz Jennifer Kosh Stern and William H. Turner

SYMPHONY SOCIETY SILVER

($1,200-$2,000) Anonymous (3) Mr. and Mrs. Anthony Abell Charles Alston and Susan Dentzer Mr. William J. Baer and Ms. Nancy H. Hendry Ms. Franca B Barton and Mr. George G. Clarke Mrs. Elaine Belman Mr. and Mrs. Alan and Lynn Berkeley Sherry and David Berz Drs. Lawrence and Deborah Blank Gilbert and Madeleine Bloom Hon. and Mrs. Anthony Borwick Mr. Richard H. Broun and Ms. Karen E. Daly Gordon F. Brown Frances and Leonard Burka Cecil Chen and Betsy Haanes Dr. Mark Cinnamon and Ms. Doreen Kelly Mr. Harvey A. Cohen and Mr. Michael R. Tardif Jane E. Cohen Joan de Pontet Mr. John C. Driscoll Chuck Fax and Michele Weil Dr. Edward Finn Anthony and Wyn Fitzpatrick Catoctin Breeze Vineyard Mr. and Mrs. Arthur P. Floor Mr. and Mrs. Roberto B. Friedman Mary Martin Gant Mary and Bill Gibb Peter Gil Dr. and Mrs. Sanford Glazer George and Joni Gold Dr. and Mrs. Harvey R. Gold Joanne and Alan Goldberg Drs. Joseph Gootenberg and Susan Leibenhaut David and Anne Grizzle Mark and Lynne Groban Joan and Norman Gurevich

Mr. and Mrs. John Hanson Sara and James A. Harris, Jr. Mr. Fred Hart and Ms. Elizabeth Knight Keith and Linda Hartman Esther and Gene Herman Ellen and Herb Herscowitz David A. and Barbara L. Heywood Madeleine and Joseph Jacobs Betty W. Jensen Virginia and Dale Kiesewetter Ms. Kristine Kingery Ms. Kathleen Knepper Darrell Lemke and Maryellen Trautman Drs. David and Sharon Lockwood Dr. and Mrs. Peter C. Luchsinger Mr. Winton Matthews Marie McCormack David and Kay McGoff David and Anne Menotti Dr. and Mrs. Stanley R. Milstein Ms. Zareen T. Mirza Mr. and Mrs. Glenn Miyamoto Douglas and Barbara Norland Mr. and Mrs. Ellis Parker Evelyn and Peter Philipps Thomas Plotz and Catherine Klion Herb and Rita Posner Richard and Melba Reichard Dr. and Mrs. Gerald Rogell Mr. and Mrs. Barry Rogstad Estelle D. Schwalb Mrs. Phyllis Seidelson Laura H. Selby Donald M. Simonds Dr. and Mrs. Jeffrey R. Singer Marshall and Deborah Sluyter Mr. and Mrs. Richard D. Spero Mr. and Mrs. Richard Swerdlow Mr. and Mrs. Richard Tullos Donna and Leonard Wartofsky David Wellman and Marjorie Coombs Wellman Dr. Ann M. Willis H. Alan Young and Sharon Bob Young, Ph.D. ($1,000-$1,199) Phebe W. Bauer Mr. Kurt Thomas Brintzenhofe Bruce and Deborah Broder Mr. and Mrs. John Carr Mr. Vincent Castellano Mr. and Mrs. John Ford Dimick Foundation Mr. and Mrs. Roberto B. Friedman Mr. and Mrs. Frank Goldstein Ms. Lana Halpern Michael and Judy Mael Marcia and John Rounsaville Allyson Slater Margot and Phil Sunshine Ms. Susan Wellman Marc and Amy Wish

BRITTEN LEVEL MEMBERS

($500 - $1299) Anonymous Ms. Judith Agard Ellen Apatov and Linda Clark Donald Baker Mr. Gilbert Bloom Ms. Marcia D. Bond Judy and Peter Braham Ms. Sharon Phyllis Brown Mr. Stephen Buckingham Louis and June Carr Bradley Christmas and Tara Flynn Barbara and John Clary Mr. and Mrs. James C. Cooper Mr. and Mrs. Robert Fauver Drs. Charles and Cynthia Field Wendy and Fred Goldberg Ms. Alisa Goldstein Mr. Robert Green Frank and Susan Grefsheim Ms. Melanie Grishman and Mr. Herman Flay, MD Drs. Marlene and Bill Haffner Ms. Haesoon Hahn Keith and Linda Hartman Mr. Jeff D. Harvell and Mr. Ken Montgomery

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 www.BSOmusic.org.

Governing Members David Nickels, Gerri Hall, Janet Rowan and Mike Rowan with BSO Assistant Principal Trumpet Rene Hernandez

Mr. Lloyd Haugh Ms. Marilyn Henderson and Mr. Paul Henderson Mr. and Mrs. William L. Hickman Mr. and Mrs. Howard Iams Ms. Daryl Kaufman Dr. Birgit Kovacs Ms. Delia Lang Ulrike Lichti and Stephen Leppla Harry and Carolyn Lincoln Mr. Christopher Loveless R. Mahon Mr. Mark Mattucci Mr. and Mrs. Martin McLean Merle and Thelma Meyer Ellen G. Miles and Neil R. Greene Mr. and Mrs. Walter Miller William and Patricia Morgan Mr. Koji Mukai Amanda and Robert Ogren Mr. Joseph O’Hare Mr. and Mrs. Philip Padgett Dr. and Mrs. J. Misha Petkevich Mr. and Mrs. Peter Philipps Thomas Plotz and Catherine Klion Marie Pogozelski and Richard Belle Andrew and Melissa Polott Mr. and Ms. Donald Regnell Ms. Marjorie Roher Harold Rosen Henry Roth Linda S. Roth Ms. Ellen Rye Lois and David Sacks Mr. Allen Shaw and Ms. Tina Chisena Dr. Janet Shaw Donna and Steven Shriver Ms. Terry Shuch and Mr. Neal Meiselman Ms. Sonja Soleng Mr. Peter Thomson Mr. and Mrs. Richard Tullos Mr. and Mrs. Duncan and Adelaide Whitaker Allan and Wendy Williams Mr. David M. Wilson Robert and Jean Wirth Ms. MaryAnn Zamula

BRAHMS LEVEL MEMBERS

($250 - $499) Anonymous (2) Ms. Judith Agard Rhoda and Herman Alderman Dr. Don D. Anderson Mr. Bill Apter Pearl and Maurice Axelrad Mr. and Mrs. James Bailey Mr. Paul Balabanis Mr. and Mrs. John W. Barrett Mariv and Rachel Becker Mr. and Mrs. John W. Beckwith Melvin Bell Mr. and Mrs. Robert Benna Alan Bergstein and Carol Joffe Mr. Donald Berlin Mr. Neal Bien Drs. Ernst and Nancy Scher Billig Ms. Ruth Bird Mr. Harold Black Nancy and Don Bliss Ms. Marjory Blumenthal Ms. Monica M. Bradford Dr. Chris H. and James D. Bridgeman Mr. and Mrs. Serefino Cambareri Mr. and Mrs. Nicholas Carrera Ms. Patsy Clark Mr. Herbert Cohen Ms. June Colilla Dr. and Mrs. Eleanor Condliffe Marion Fitch Connell Mr. and Mrs. Herbert Cooper

BSO Music Director Marin Alsop and A Midsummer Night’s Dream Director Ed Berkeley with Lynn and Alan Berkeley

Mr. and Mrs. Charles Davenport Dr. and Mrs. James R. David Mr. David S. Davidson Anne and Arthur Delibert Ms. Sandra Kay Dusing Drs. Stephen and Irene Eckstrand Ms. Brenda K. Edwards Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Mr. and Mrs. Robert Fauver Claudia and Eliot Feldman Mr. Michael Finkelstein Dr. and Mrs. David Firestone Mr. and Ms. Clifford and Betty Fishman Robert and Carole Fontenrose Mr. and Mrs. Michael Scott Friedman Lucian and Lynn M. Furrow Roberta Geier Bernard A. Gelb Irwin Gerduk Mr. and Mrs. Stephen Giddings John Glenn and Blair Reid Ellen and Michael Gold Edward G. Griffin Dr. Marlene Haffner Brian and Mary Ann Harris Mrs. Jean N. Hayes Marylyn Heindl Mr. John C. Hendricks Mr. Robert Henry Ms. Patricia Hernandez Jeff Herring Joel and Linda Hertz Mr. and Mrs. William L. Hickman Ms. Linda Lurie Hirsch Mr. Frank Hopkins Mr. Thomas Hormby Dr. and Mrs. Robert Horowitz Mr. John Howes Mr. and Mrs. Paul Hyman Ms. Susan Irwin Ms. Katharine Jones Mrs. Lauri Joseph Mr. and Mrs. Norman Kamerow Mr. Peter Kaplan Dr. and Mrs. Robert W. Karp Lawrence and Jean Katz Mr. and Mrs. Robert Katz James and Tomoko Kempf Mr. William Kenety and Ms. Christine Kenety Ms. Jennifer Kimball Fred King Dr. Richard D. Guerin and Dr. Linda Kohn Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Mr. Stephen Kramer Dr. Arlin J. Krueger Mr. and Mrs. Eugene Lambert Robert Lanza Ms. Joanne LaPorte Michael Lazar and Sharon Fischman Ms. Flora Lee Mr. Myles R. Levin Alan and Judith Lewis Ms. Julie E. Limric Dr. Richard E. and Susan Papp Lippman Jacqueline London Andrea MacKay Frank Maddox and Glenda Finley Mr. James Magno Ms. Donna Malarkey Mr. David Marcos Mr. Michael Mccollum and Ms. Jennfier Ricks Anna Therese McGowan Mrs. Margit Meissner Sandra and Paul Meltzer Mr. Steve Metalitz Mr. Gary Metz Mrs. Rita Meyers Dr. and Mrs. Arve Michelsen Ms. Barbara Miles

BSO donors with former Assistant Concertmaster Igor Yuzefovich and Principal Cellist Dariusz Skoraczewski at the annual Donor Appreciation Concert

Naomi Miller Mr. Jose Muniz Mr. and Mrs. Robert and Mary Nisbet Ms. Caren Novick Dr. and Mrs. John R. Nuckols Dr. Jon Oberg Mr. Joseph O’Hare Mr. Thomas O’Rourke and Ms. Jeanine O’Rourke Ms. Mary Padgett Mr. and Mrs. James Palmer Mr. Kevin Parker John and Maureen Pelosi Ms. Johanna Pleijsier Mr. and Mrs. Edward Portner Mr. and Mrs. Stanley Rabin Thomas Raslear and Lois Keck Mr. Samuel G. Reel Jr. Dr. and Mrs. Bernard Reich Linn Rhomberg Dr. Joan Rittenhouse and Mr. Jack Rittenhouse Mr. William Robertson Ms. Ellen Rye Lois and David Sacks Mr. and Mrs. Robert Sandler Ms. Beatrice Schiff Ronald Schlesinger David and Louise Schmeltzer Hanita and Morry Schreiber Norman and Virginia Schultz Mr. J. Kenneth Schwartz

Mr. Paul Seidman Ms. Debra Shapiro Dr. Janet Shaw Mr. and Mrs. Larry Shulman Mr.and Mrs. Donald A. Sillers Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith Gloria and David Solomon Mr. Andrew Sonner Mr. Howard Spira Bill Grossman Fund of the Isidore Grossman Foundation Mr. and Mrs. Charles Steinecke III Erica Summers John and Susan Symons Dr. Andrew Tangborn Mr. Alan Thomas Alan and Diane Thompson Mr. and Mrs. Robert Thompson Mr. John Townsley Dr. and Ms. George Urban Mr. Mallory Walker Mr. and Mrs. Matthew Waugaman Mr. and Mrs. Robert Wein Ms. Roslyn Weinstein Mr. and Mrs. Elliot and Esther Wilner Mr. David M. Wilson Mrs. Janet Wolfe Eileen and Lee Woods Mrs. Sandra Wool Dr. and Mrs. Richard N. Wright

Baltimore symphony Orchestra STAFF Paul Meecham, President & CEO John Verdon, Vice President and CFO Leilani Uttenreither, Executive Assistant Eileen Andrews, Vice President of Marketing and Communications Carol Bogash, Vice President of Education and Community Engagement Jack Fishman, Vice President of External Affairs, BSO at Strathmore Dale Hedding, Vice President of Development Matthew Spivey, Vice President of Artistic Operations ARTISTIC OPERATIONS Nishi Badhwar, Director of Orchestra Personnel Toby Blumenthal, Manager of Facility Sales Tiffany Bryan, Manager of Front of House Patrick Chamberlain, Artistic Coordinator David George, Assistant Personnel Manager Tabitha Pfleger, Director of Operations and Facilities Evan Rogers, Operations Manager Meg Sippey, Artistic Planning Manager and Assistant to the Music Director eDUCATION Nicholas Cohen, Director of Community Engagement Annemarie Guzy, Director of Education Nick Skinner, OrchKids Director of Operations Larry Townsend, Education Assistant Dan Trahey, OrchKids Artistic Director DEVELOPMENT Jessica Abel, Grants Program Manager Jordan Allen, Institutional Giving Coordinator Megan Beck, Manager of Donor Engagement and Special Events Kate Caldwell, Director of Philanthropic Services Stephanie Johnson, Manager of Annual Giving, BSO at Strathmore Stephanie Kissinger, Development Operations and Membership Coordinator Emily Montano, Annual Fund Assistant Stephanie Moore, Manager of the Annual Fund Joanne M. Rosenthal, Director of Major Gifts, Planned Giving and Government Relations

Alice H. Simons, Director of Institutional Giving Richard Spero, Community Liaison for BSO at Strathmore Janie Szybist, Research & Campaign Associate Sarah Weintraub, Executive Assistant and Office Manger FACILITIES OPERATIONS Shirley Caudle, Housekeeper Bertha Jones, Senior Housekeeper Curtis Jones, Building Services Manager FINANCE AND INFORMATION TECHNOLOGY Sarah Beckwith, Director of Accounting Sophia Jacobs, Senior Accountant Janice Johnson, Senior Accountant Evinz Leigh, Administration Associate Chris Vallette, Database and Web Administrator Donna Waring, Payroll Accountant Jeff Wright, Director of Information Technology MARKETING AND PUBLIC RELATIONS Derek Chavis, Marketing Coordinator Justin Gillies, Graphic Designer Derek A. Johnson, Senior Marketing Manager Theresa Kopasek, Marketing and PR Associate Bryan Joseph Lee, Marketing and PR Manager, BSO at Strathmore Erin Ouslander, Senior Graphic Designer Alyssa Porambo, Public Relations and Social Media Manager Adeline Sutter, Group Sales Manager Rika Dixon White, Director of Marketing & Sales TICKET SERVICES Amy Bruce, Director of Ticket Services Timothy Lidard, Manager of VIP Ticketing Juliana Marin, Senior Ticket Agent for Strathmore Peter Murphy, Ticket Services Manager Michael Schultz, Senior Ticket Agent, Special Events Thomas Treasure, Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht, Symphony Store Volunteer Manager Louise Reiner, Office Manager

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GIFTS OF $15,000+ Patricia Haywood Moore and Roscoe M. Moore, Jr. for the Guest Artist Fund Dieneke Johnson for the All Kids Free Fund Misbin Family Student Performance Fund Dr. Kenneth P. Moritsugu, Emily Moritsugu & Ms. Lisa R. Kory, includes match by Johnson & Johnson Paul & Robin Perito for the Guest Artist Vocal Fund

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

Sally Sternbach Dr. Charles Toner Elzbieta Vande Sande

BOARD OFFICERS

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

BOARD OF ADVISORS

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

*Executive Committee

As of August 1, 2014

SUPPORTERS OF THE NATIONAL PHILHARMONIC The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the Philharmonic’s ambitious plans possible through their generous contributions.

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

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

ORGANIZATIONS

BENEFACTOR CIRCLE Rockville Christian Church, for donation of space SUSTAINER CIRCLE American Federation of Musicians, DC Local 161-170 Bank of America Dimick Foundation Lucas-Spindletop Foundation Target

MAESTRO CIRCLE Ameriprise Financial Paul M. Angell Family Foundation Arts and Humanities Council of Montgomery County Morris and Gwendolyn Cafritz Foundation Ingleside at King Farm Maryland State Arts Council Montgomery County, MD Montgomery County Public Schools Musician Performance Trust Fund Schiff Hardin, LLP The State of Maryland

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

CONCERTMASTER CIRCLE Clark-Winchcole Foundation Embassy of Poland The Gazette

INDIVIDUALS

PRINCIPAL CIRCLE Executive Ball for the Arts Ann and Gordon Getty Foundation Jim and Carol Trawick Foundation, Inc. PHILHARMONIC CIRCLE Exxon Mobil Foundation Johnson & Johnson National Philharmonic/MCYO Educational Partnership The Washington Post Company

CONTRIBUTOR Brobst Violin Shop Violin House of Weaver GIFTS OF $50,000+ Ms. Anne Claysmith* for the Chorale Chair-Soprano II Fund Robert & Margaret Hazen for the Second Chair Trumpet Fund Mrs. Margaret Makris GIFTS OF $25,000+ Jean & Paul Dudek for the Pre-Concert Lecture Series Fund Ann & Todd Eskelsen for the Chorale Music Fund Tanya & Albert Lampert for the Guest Artist Fund

66 Applause at Strathmore • september/october 2014

MAESTRO CIRCLE Anonymous Robert B. Anderson Estate The Jacob & Malka Goldfarb Charitable Foundation, Inc. Dr. & Mrs. Val G. Hemming Daniel Nir & Jill Braufman Family Foundation Laszlo N. Tauber Family Foundation, Inc. PRINCIPAL CIRCLE Anonymous Dr. Paul Jay Fink Dr. Ryszard Gajewski Mr. Arthur Langerman PHILHARMONIC CIRCLE Mrs. Ruth Berman Mr. Edward Brinker & Ms. Jane Liu Dale Collinson Family * Dr. & Mrs. John V. Evans J. William & Anita Gadzuk * Dr. Robert Gerard * & Ms. Carol Goldberg Mr. & Mrs. Joseph Hamer Mr. & Mrs. Ken Hurwitz Mr. William A. Lascelle & Ms. Blanche Johnson Mr. & Mrs. Kent Mikkelsen * Drs. Charles and Cecile Toner Ms. Elzbieta Vande Sande, in memory of George Vande Sande, Esq. BENEFACTOR CIRCLE Mrs. Rachel Abraham Dr. Lawrence Deyton * & Dr. Jeffrey Levi Mr. & Mrs. John L. Donaldson Mr. Greg Lawson & Mr. Sai Cheung, includes match by UBS Financial Services Mr. Robert Misbin Michael & Janet Rowan Ms. Aida Sanchez * Sternbach Family Fund Mr. & Mrs. Royce Watson SUSTAINER CIRCLE Anonymous (3) Mr. & Mrs. Joel Alper Fred & Helen Altman * Ms. Nurit Bar-Josef John & Marjorie Bleiweis Dr. Etsuko Hoshino-Browne Dr. Ronald Cappelletti * Dr. Mark Cinnamon & Ms. Doreen Kelly Ms. Nancy Coleman * Mr. Steven C. Decker & Ms. Deborah W. Davis Paul J. & Eileen S. DeMarco * Mr. & Mrs. Robert Dollison Ms. Justine D. Englert Mr. William E. Fogle & Ms. Marilyn Wun-Fogle Dr. Maria A. Friedman * Darren & Elizabeth Gemoets * Ms. Sarah Gilchrist * Mr. Barry Goldberg Dr. Joseph Gootenberg & Dr. Susan Leibenhaut Dr. Stacey Henning * Mr. David Hofstad Mr. & Mrs. Joseph A. Hunt Mr. & Mrs. Bill Iwig Drs. William & Shelby Jakoby Mr. Philip M. John William W. * & Sara M. Josey * Sarah Liron & Sheldon Kahn Ms. Joanna Lam, in memory of Mr. Chin-Man Lam Mr. & Mrs. John R. Larue, includes match

by IBM Mrs. Joan M. Levenson Mr. Pardee Lowe, Jr. Mr. Larry Maloney *

Mr. Winton Matthews Mrs. Eleanor D. McIntire * Dr. Wayne Meyer * Mr. & Mrs. David Mosher Mr. & Mrs. Raymond Mountain Susan & Jim Murray * Mr. & Mrs. Charles Naftalin Mr. Thomas Nessinger * Ms. Martha Newman * David Nickels & Gerri Hall Dr. & Mrs. Goetz Oertel Mr. & Mrs. William Pairo Mr. & Mrs. Ellis Parker Dr. and Mrs. Edward Perl Mr. & Mrs. Jerome Pinson, includes match by GE Foundation Ms. Phyllis Rattey Mr. & Mrs. Peter Ryan Mrs. Jan Schiavone * Mr. & Mrs. Steven Seelig Ms. Kathryn Senn, in honor of Dieneke Johnson Mr. & Mrs. Gerald Stempler Ms. Carol A. Stern * Dr. & Mrs. Robert Temple * Ms. Ellen van Valkenburgh * Mr. & Mrs. Robert Vocke * Ms. Carla Wheeler Dr. Jack & Susan Yanovski Mr. & Mrs. Bernard J. Young Paul A. & Peggy L. Young Mr. & Mrs. Walter Zachariasiewicz PATRON Mr. & Mrs. Richard Azrael, in honor of Mary Azrael and Janice Hamer Mr. David E. Kleiner & Ms. Mary Bentley * Mr. Philip Bjorlo Richard Okreglak & Dr. Edwarda Buda Rabbi & Mrs. Leonard Cahan Susan Linn & Clifford Craine Mr. & Mrs. Norman Doctor Mr. John Eklund Dr. Stan Engebretson David & Berdie Firestone Dr. & Mrs. Arnold Fridland Mr. & Mrs. Mayo Friedlis Mr. Steven Gerber Mr. & Mrs. William Hickman Mr. Michael Lame Ms. May Lesar Mr. & Mrs. Eliot Lieberman * Ms. Judy Lieberman Ms. Jane Lyle * Mr. John McGarry & Ms. Marietta Ethier Ms. Florentina Mehta Dr. Hanna Siwiec & Mr. Spencer Meyer Mr. & Mrs. Richard Michalski Mr. Stephen Mucchetti National Philharmonic Chorale Mr. Larz Pearson & Mr. Rick Trevino Mr. & Mrs. Don Regnell Ms. Kari Wallace & Dr. Michael Sapko Silvan S. Schweber & Snait B. Gissis Ms. Lori J. Sommerfield * & Mr. Dennis Dollinger Mr. and Mrs. John F. Wing CONTRIBUTOR Anonymous (2) Ms. Ann Albertson Mr. & Mrs. Byron Alsop Mr. Robert B. Anderson Mrs. Marietta Balaan * Mike & Cecilia Ballentine Mr. & Mrs. Richard Bender Ms. Michelle Beneke, in honor of Jeff Levi & Bopper Deyton Mr. & Mrs. Gilbert Bloom Mr. John H. Caldwell, in memory of Dale Collinson Mr. John Choi Mrs. Patsy Clark Ms. Irene Cooperman Mr. & Mrs. J. Steed Edwards Ms. Linda Edwards Ms. Kimberly Elliott Mr. & Mrs. Dwight Ellis, in memory of Dale Collinson Claudia & Eliot Feldman Ms. Shannon Finnegan Mr. Philip Fleming Mr. & Mrs. William Gibb

National Philharmonic violist Judy Silverman with Ruth Berman, Sarah Fort and David Landsman in the Comcast Lounge.

Mr. & Mrs. Paul Goldstein Dr. William & Dr. Marlene Haffner Ms. Jacqueline Havener Dr. & Mrs. John Helmsen Mr. & Mrs. Robert Henry Mr. & Mrs. James Hochron * Mr. Myron Hoffmann Ms. Katharine Cox Jones Mr. & Mrs. Allan Kirkpatrick * Dr. Mark & Dr. Cathy Knepper Mr. & Mrs. William Kominers Ms. Martha Jacoby Krieger * Cherie & Ron Krug Mr. Steven Lainoff, in memory of Dale Collinson Ms. Rachel Leiton Dr. Marcia D. Litwack Dr. & Mrs. David Lockwood Dr. Susan Lotarski Mr. Kevin MacKenzie Mr. Jerald Maddox Mr. David E. Malloy & Mr. John P. Crockett * Mrs. Julie Mannes & Dr. Andrew Mannes Mr. & Mrs. James Mason Mr. David McGoff * Dr. & Mrs. Oliver Moles, Jr. * Ms. Martha E. Moore Ms. Cecilia Muñoz & Mr. Amit Pandya Dr. Stamatios Mylonakis Mr. & Mrs. Harvey Nathan Dr. Ruth S. Newhouse Mrs. Jeanne Noel Ms. Anne O’Brien Mr. and Mrs. Kenneth A. Oldham, Jr. Ms. Victoria J. Perkins Evelyn & Peter Philipps Mr. & Mrs. William Pitt Dr. & Mrs. Manuel Porres Mrs. Dorothy Prats Mr. Mark Price, in memory of Dale Collinson Drs. Dena & Jerome Puskin Mr. Jacques Rosenberg Ms. Beryl Rothman * Ms. Lisa Rovin * Mr. J. Michael Rowe & Ms. Nancy Chesser Mr. Ronald Saunders Mr. Ronald Sekura Dr. & Mrs. Kevin Shannon Mr. & Mrs. Robert Smith Mr. John I. Stewart & Ms. Sharon S. Stoliaroff Mr. & Mrs. Grant Thompson Ms. Katherine Nelson-Tracey Gen. & Mrs. William Usher Tom & Bobbie Wolf Dr. & Mrs. Richard Wright MEMBER Anonymous Mr. Dan Abbott Mr. Jose Apud Mr. Robert Barash Mrs. Barbara Botsford Ms. Cheryl A. Branham Mr. & Mrs. Herman Branson Mr. & Mrs. Jerome Breslow Mr. & Mrs. Frederick Brown Mrs. Dolores J. Bryan John & Rosemary Buckley Ms. Patricia Bulhack

National Philharmonic Board member Dieneke Johnson with guest artist Nurit Bar-Josef and Veronica Soriano.

Dr. John Caldwell Dr. F. Lawrence Clare Dr. & Mrs. Gordon M. Cragg Mr. Alan T. Crane Ms. Louise Crane Mr. & Mrs. J.R. Crout Deborah Curtiss Ms. Margaret E. Cusack Mr. & Mrs. David Dancer * Mr. & Mrs. Mike Davidson Mr. Carl DeVore Mr. & Mrs. Bruce Dickson Ms. Terri Dobbins Mr. & Mrs. Paul Dragoumis Mr. & Mrs. Tom Dunlap F.W. England Mr. & Mrs. Lionel Epstein Dr. & Mrs. Joseph Fainberg Mr. & Mrs. Elliott Fein Dr. John Ferguson Mr. & Mrs. Frank Forman Mr. John Francis Mr. Harold Freeman Mr. Bruce French Mr. Bernard Gelb Mr. & Mrs. Richard O. Gilbert Mr. & Mrs. Mitch Green Ms. Melanie Grishman Ms. Lucy Hamacheck Ms. Lisa Helms Mr. & Mrs. Rue Helsel Dr. & Mrs. Terrell Hoffeld Mr. & Mrs. Waldemar Izdebski Mr. & Mrs. Doug Jacobson Mr. & Mrs. Jerome Jaffe Mr. & Mrs. Donald Jansky Mr. & Mrs. Barbara Jarzynski Mrs. Harriett G. Jenkins Dr. Elke Jordan Mr. & Mrs. Gerald Kaiz Ms. Kari Keaton Ms. Elizabeth King Ms. Martha 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. Harald Leuba Ms. Elizabeth Levin Dr. & Mrs. David Lockwood Mr. & Mrs. Forbes Maner Dr. Lorenzo Marcolin Ms. Jean A. Martin Mrs. Nancy C. May Mr. Alan E. Mayers * Mr. & Mrs. Robert McGuire Mr. & Mrs. Curtis Menyuk Mr. & Mrs. Michael Merchlinsky Mr. & Mrs. David Miller Mr. & Mrs. Edward Mills Mr. & Mrs. Thaddeus Mirecki Mr. & Mrs. David Mitchell Ms. Stephanie Murphy Mrs. Gillian Nave Mr. Leif Neve *, includes match by Aquilent Mr. Stephen Nordlinger Mr. James Norris Dr. Sammy S. Noumbissi

Mr. & Mrs. Kenneth Oldham Dr. & Mrs. David Pawel Mr. & Mrs. Alan Peterkofsky Anton Pierce Mr. & Mrs. Robert Pirie Mr. Charles O’Connor & Ms. Susan Plaeger Mr. & Mrs. Paul Plotz Mr. Luke Popovich Mr. & Mrs. James Render Mr. & Mrs. Richard Riegel Mr. & Mrs. Clark Rheinstein * Mrs. Diane H. Runyan Ms. Sandi Saville Mr. & Mrs. Joel Schenk Dr. Walter Schimmerling Mr. John Schnorrenberg Mrs. Helen Kavanaugh & Mr. John Schultz Gabriela & Dennis Scott Mr. & Mrs. John Shorb Mr. & Mrs. Charles L. Short, Jr. Dr. & Mrs. Paul Silverman

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

Mr. Victor Steiger Ms. Priscilla Stevens Ms. Sarah Thomas Mr. & Mrs. Carl Tretter Ms. Maureen Turman Ms. Virginia W. Van Brunt * Mr. & Mrs. Gerald Vogel Mr. & Mrs. William Wadsworth Mr. David B. Ward Ms. Krystyna Wasserman Mr. Stephen Welsh Ms. Joan Wikstrom Mr. Robert E. Williams Ms. Claire Winestock Dr. & Mrs. Kevin Woods * Mr. Hans Wyss Ms. Katherine Yoder * Chorale members

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

Heritage Society The Heritage Society at the National Philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National Philharmonic through the provision of a bequest in their wills or through other estate gifts.

For more information about the National Philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112.

Mr. David Abraham* Mrs. Rachel Abraham Mr. Joel Alper Robert B. Anderson* Ms. Ruth Berman Ms. Anne Claysmith Dale Collinson Family Mr. Todd Eskelsen Mrs. Wendy Hoffman, in honor of Leslie Silverfine

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

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

Leanne Ferfolia, Director of Development Katie Tukey, Manager of Development Operations Amy Salsbury, Graphic Designer Lauren Aycock, Graphic Designer William E. Doar Jr. Public Charter School for the Performing Arts Staff Dr. Scarlett Zirkle, Music Director

Isaac Bell, Music Instructor Chris Sanchez, Suzuki Instructor

Applause at Strathmore • september/octobeR 2014 67

Board of directors Reginald Van Lee, Chairman* (c) James J. Sandman, Vice Chair* (c) David Marventano, Vice Chair* 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 Josephine S. Cooper Debbie Dingell Pamela Farr Robert Feinberg* Norma Lee Funger Bruce Gates* Felecia Love Greer, Esq. Jay M. Hammer* (c) Brian Hardie Grace Hobelman (c) Patricia Howell Jake Jones* David Kamenetzky* Edmond Lelo

Tony Otten Rachel Tinsley Pearson* Elaine Rose* Irene Roth Ambassador Arturo Sarukhan Charlotte Schlosberg Samuel A. Schreiber Peter Shields Roberta Sims Ruth Sorenson* (c) Veronica Valencia-Sarukhan Mary Jo Veverka* Carol W. Wilner Carol Wolfe-Ralph

HONORARY DIRECTORS

Nancy G. Barnum Roselyn Payne Epps, M.D. Michelle Cross Fenty Sophie P. Fleming Eric R. Fox Peter Ladd Gilsey † Barbara W. Gordon France K. Graage James M. Harkless, Esq. ViCurtis G. Hinton † Sherman E. Katz Marvin C. Korengold, M.D. Peter L. Kreeger Robert G. Liberatore Dennis G. Lyons Gilbert D. Mead † Gerson Nordlinger † John F. Olson, Esq. (c) Susan Porter Frank H. Rich John Sedmak 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, 15, 2014

WaShington performing arts Annual Fund Washington Performing Arts gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of Aug. 15, 2014) $100,000 and above Altria Group The Morris & Gwendolyn Cafritz Foundation Mr. and Mrs. Joseph F. Horning, The Horning Family Fund Dr. Gary Mather and Ms. Christina Co Mather Daimler D.C. Commission on the Arts and Humanities Betsy and Robert Feinberg Mars, Incorporated Ms. Jacqueline Badger Mars Dr. Paul G. Stern Mr. Reginald Van Lee $50,000-$99,999 Abramson Family Foundation

Dallas Morse Coors Foundation for the Performing Arts EventsDC Fluor Corporation Estate of Ms. Doris H. McClory (W) National Arts and Cultural Affairs Program/The Commission of Fine Arts Park Foundation, Inc. Dr. Nathaniel G. Pitts Mr. Bruce Rosenblum and Ms. Lori Laitman The Van Auken Private Foundation 35,000-$49,999 Anonymous Anonymous Ruth and Arne Sorenson

$25,000-$34,999 Airlines For America Ambassador and Mrs. Tom Anderson BB&T Private Financial Services Billy Rose Foundation Mr. and Mrs. Arturo E. Brillembourg Mr. and Mrs. Lloyd Howell Jr. National Endowment for the Arts Mr. Gerson Nordlinger III Pfizer Inc. United Therapeutics Corporation $15,000-$24,999 Anonymous Arcana Foundation AT&T Services Diane and Norman Bernstein

68 Applause at Strathmore • september/october 2014

Embassy of South Africa, His Excellency Ebrahim Rasool Ms. Pamela Farr FedEx Corporation Mr. and Mrs. Jose Figueroa Mr. and Mrs. Morton Funger Mr. and Mrs. Jay M. Hammer Mr. and Mrs. Steven Kaplan Kiplinger Foundation Inc. Judith A. Lee, Esq. (L) Linda and Isaac Stern Charitable Foundation The Meredith Foundation Mid Atlantic Arts Foundation Mr. and Mrs. Herbert S. Miller Dr. Irene Roth Mr. James J. Sandman and Ms. Elizabeth D. Mullin (L) Mr. and Mrs. Hubert M. Schlosberg (L) (W) NoraLee and Jon Sedmak Time Warner Inc. Mr. and Mrs. Stefan F. Tucker (L) Verizon Washington, D.C. Versar Ms. Mary Jo Veverka Wells Fargo Bank $10,000-$14,999 Mr. James H. Berkson+ BET Networks Booz Allen Hamilton Clear Channel Communications Mrs. Ryna Cohen Comcast Edison Electric Institute Graham Holdings Company J. Willard and Alice S. Marriott Foundation Robert P. and Arlene R. Kogod Family Foundation Macy’s Foundation Mr. and Mrs. John Marshall Dan Cameron Family Foundation, Inc. Mr. and Mrs. Michael Marshall Mr. and Mrs. Herbert Milstein Nancy Peery Marriott Foundation, Inc. John F. Olson, Esq. (L) Ms. Janice J. Kim and Mr. Anthony L. Otten Pennsylvania Performing Arts on Tour PEPCO PricewaterhouseCoopers LLP Ms. Wendy Thompson-Marquez Washington Gas Light Company George Wasserman Family Foundation, Inc. Wiley Rein LLP Mr. and Mrs. Bernard Young $7,500-$9,999 Anonymous Centric TV Mr. Eric Collins and Mr. Michael Prokopow Ernst & Young Mr. and Mrs. Burton J. Fishman Dr. Maria J. Hankerson, Systems Assessment & Research Hilton Worldwide Carl D. † and Grace P. Hobelman June and Jerry Libin (L) New England Foundation for the Arts Ms. Rachel Tinsley Pearson

Adam Clayton Powell III and Irene M. Solet Prince Charitable Trusts Mr. Peter Shields Mr. and Mrs. Daniel Simpkins $5,000-$7,499 Dr. and Mrs. Clement C. Alpert Capitol Tax Partners Bob and Jennifer Feinstein Mr. and Mrs. Rolf Graage Mr. and Mrs. Stephen Graham Ms. Susan B. Hepner Ms. Pamela Joyner Mr. and Mrs. David Marventano Mr. and Mrs. David O. Maxwell Microsoft Corporation Dr. Robert Misbin Mr. and Mrs. John Pohanka Mr. and Mrs. Tom Portman Ms. Monica Scott Mr. and Mrs. John V. Thomas Venable Foundation Mr. Marvin F. Weissberg and Ms. Judith Morris † $2,500-$4,999 Anonymous Anonymous Mr. Peter Buscemi and Ms. Judith Miller Mr. and Mrs. William N. Cafritz Ms. Karen I. Campbell Mrs. Dolly Chapin The Charles Delmar Foundation Ms. Nadine Cohodas Mr. Carl Colby and Ms. Dorothy Browning Mr. and Mrs. Brian Coulter Mr. and Mrs. J. Bradley Davis Dr. Morgan Delaney and Mr. Osborne P. Mackie Mr. and Mrs. Thomas Dungan Mr. and Mrs. Glenn Epstein Linda R. Fannin, Esq. (L) James A. Feldman and Natalie Wexler Mr. and Mrs. Russell Fletcher Mr. Gregory I. Flowers Mr. and Mrs. Wayne Gibbens Dr. and Mrs. Michael S. Gold Mr. James R. Golden James McConnell Harkless, Esq. Alexine and Aaron † Jackson (W) Mr. and Mrs. Joseph Jacobs Drs. Frederick Jacobsen and Lillian Comas-Diaz Mr. and Mrs. Merritt Jones David and Anna-Lena Kamenetzky Ms. Danielle Kazmier and Mr. Ronald M. Bradley Mr. and Mrs. David T. Kenney Arleen and Edward Kessler (W) Mr. Daniel L. Korengold and Ms. Martha Dippell Mrs. Stephen K. Kwass Mr. and Mrs. Steve Lans Ms. Sandy Lerner Mr. and Mrs. Dale Lindsay Mr. and Mrs. Harry M. Linowes Ms. Jacqueline Rosenberg London and Mr. Paul London James and Barbara Loots (L) Mr. James Lynch Mr. and Mrs. Christoph E. Mahle Mr. and Mrs. Ralph Manaker Marshall B. Coyne Foundation Mr. Scott Martin

Mark and Terry McLeod Mr. Larry L. Mitchell Dr. William Mullins and Dr. Patricia Petrick Ms. Michelle Newberry Mr. and Mrs. Michael Niakani Dr. Gerald Perman Ms. Nicky Perry and Mr. Andrew Stifler The Honorable and Mrs. Stephen Porter Mr. Trevor Potter and Mr. Dana Westring Dr. and Mrs. Douglas Rathbun Mrs. Lynn Rhomberg Mr. and Mrs. Peter Rich Mr. Ken Rietz and Ms. Ursula Landsrath Mr. and Mrs. David Roux Ms. Christine C. Ryan and Mr. Tom Graham Lena Ingegerd Scott and Lennart Lundh Mr. and Mrs. Mike Stevens Ms. Mary Sturtevant and Mr. Alan Asay Mr. and Mrs. George R. Thompson Jr. Mrs. Holli P. Thompson Mr. and Mrs. Brian Tommer Mr. John Warren McGarry and Ms. Marietta Ethier, Esq. Dr. Sidney Werkman and Ms. Nancy Folger Mr. Richard Wilhelm and Mrs. Shelly Porges Dr. and Mrs. William B. Wolf $1,500-$2,499 Anonymous Anonymous Anonymous Ms. Lisa Abeel Mr. and Mrs. J.W. Abel Smith Mr. John B. Adams The Amphion Foundation, Inc. Mr. and Mrs. Barry Barbash Lisa and James Baugh Robert and Arlene Bein Mr. and Mrs. Robert S. Bennett Jane C. Bergner, Esq. (L) Mr. and Mrs. Boris Brevnov Mr. and Mrs. Hans Bruland Mr. and Mrs. Leonard Burka Dr. C. Wayne Callaway and Ms. Jackie Chalkley Mr. and Mrs. Jordan Casteel Dr. and Mrs. Abe Cherrick Drs. Judith and Thomas Chused Dr. Mark Cinnamon and Ms. Doreen Kelly Ms. Josephine S. Cooper Mr. Paul D. Cronin Dr. and Mrs. Joseph H. Danks Mr. and Mrs. Guy O. Dove III Mrs. John G. Esswein Friday Morning Music Club, Inc. Mr. Tom Gallagher The Honorable Ruth Bader Ginsburg David and Lorna Gladstone Mrs. Paula Seigle Goldman (W) Mrs. Barbara Goldmuntz Dr. and Mrs. Joseph E. Harris (W) Mr. and Mrs. James Harris, Jr. Ms. Leslie Hazel Ms. Gertraud Hechl Ms. Tatjana Hendry Mrs. Enid T. Johnson (W)

Dr. and Mrs. Elliott Kagan Mr. E. Scott Kasprowicz Ms. Betsy Scott Kleeblatt Mr. and Mrs. Steven Lamb Mr. and Mrs. Gene Lange (L) Mrs. Gail Matheson Ms. Katherine G. McLeod The Honorable Mary V. Mochary and Dr. Philip E. Wine Mr. and Mrs. Robert Monk Ms. Maureen B. Murphy Lt. Gen. and Mrs. Michael A. Nelson The Nora Roberts Foundation Mr. and Mrs. John Oberdorfer Mr. and Mrs. Jack H. Olender Ms. Jean Perin Mr. and Mrs. Robert Ramsay Mr. James Rich Ms. Mary B. Schwab Mrs. Nadia Stanfield Mr. Eric Steiner Mr. and Mrs. Aaron Tomares Mr. and Mrs. J. Christopher Turner Ms. Loki van Roijen Ms. Viviane Warren Drs. Anthony and Gladys Watkins (W) A. Duncan Whitaker, Esq. (L)

Ms. Jacqui Michel Mr. and Mrs. Glenn A. Mitchell Mr. and Mrs. Thomas Moorman Mr. and Mrs. Adrian L. Morchower (W) Mr. Richard Moxley Ms. Catherine Nelson Mr. and Mrs. Lawrence C. Nussdorf Tom and Thea Papoian with Mr. Smoochy Mr. and Mrs. Arnold Polinger Renah Blair Rietzke Family and Community Foundation Reznick Group Daniel and Sybil Silver Mr. and Mrs. Sanford Slavin Mr. and Mrs. Albert H. Small Mr. and Mrs. Larry Somerville Mr. and Mrs. Thomas Strong Mr. Wesley Thomas and Mr. Eric Jones J. Haddock and Hector Torres Mrs. Annie Totah G. Duane Vieth, Esq. (L) Mr. and Mrs. George Walker Drs. Irene and John White Kathe and Edwin D. Williamson Mr. and Mrs. Robert H. Winter Mr. James Yap

$1,000-$1,499 Anonymous Anonymous Anonymous Ruth and Henry Aaron Mrs. Rachel Abraham Mr. Jeffrey Abramson Mr. and Mrs. Edward Adams (W) Mr. and Mrs. James B. Adler Mr. and Mrs. Dave Aldrich Mr. and Mrs. Rand Allen Anonymous Ann and Russel Bantham The Honorable and Mrs. John W. Barnum S. Kann Sons Company Fdn. Inc. Amelie and Bernei Burgunder, Directors Ms. Beverly J. Burke Ludmila and Conrad Cafritz Sally and Edison W. Dick (L) Mr. and Mrs. Sidney Dickstein Mr. and Mrs. Paul Dinte Ms. Nancy Ruyle Dodge Mr. John Driscoll DyalCompass Mr. and Mrs. Melvin Eagle (L) Ms. Lisa Egbuonu-Davis Mr. and Mrs. Kenneth R. Feinberg Mr. Juan Gaddis Mr. Donald and Mrs. Irene Gavin Gelman, Rosenberg & Freedman Mr. and Mrs. Richard Goldstein Mrs. Robert A. Harper Mr. and Mrs. Carl F. Hicks, Jr. Mr. Charles E. Hoyt and Ms. Deborah Weinberger (L) Mr. and Mrs. Bill Jarvis Mrs. Lois Jones Ms. Annette Kerlin Dr. Marvin C. Korengold Simeon M. Kriesberg and Martha L. Kahn Sandra and James Lafond Mr. and Mrs. Richard F. Larkin Dr. and Mrs. Lee V. Leak (W) The Honorable and Mrs. Jan Lodal The Honorable and Mrs. Rafat Mahmood

START HERE $500-$999 Anonymous Anonymous Anonymous Mr. Andrew Adair Ms. Carolyn S. Alper Miss Lucile E. Beaver Mr. Don Blanchon and Ms. Sarah Ducich Ms. Patricia N. Bonds (W) Ms. Francesca Britton (W) Mrs. Elsie Bryant (W) Mr. William Cavanaugh Ms. Johnnetta B. Cole Mr. John W. Cook Dr. and Mrs. Milton Corn Dr. and Mrs. Chester W. De Long Mr. and Mrs. James B. Deerin (W) Ms. Mary DesJardins Ms. Sayre E. Dykes Mrs. Yoko Eguchi Mrs. Rhona Wolfe Friedman and Mr. Don Friedman Dr. Melvin Gaskins Mr. and Mrs. William L. Goldman (W) Mrs. Barbara W. Gordon (W) Jack E. Hairston Jr. Ms. June Hajjar Dr. and Mrs. Harry Handelsman (W) Jack and Janis Hanson Mr. and Mrs. Brian J. Hardie Mr. Lloyd Haugh Mr. and Mrs. James D. Hurwitz Dr. Charlene Drew Jarvis Ralph N. Johanson, Jr., Esq. (L) Ms. Anna F. Jones (W) Ms. Janet Kaufman (W) Mr. Michael Kerst Dr. Allan Kolker Mr. and Mrs. John Koskinen Ms. Albertina D. Lane (W) Mr. William Lascelle and Blanche Johnson The Honorable Cheryl M. Long (W) Mr. and Mrs. David Maginnes (W) Nancie G. Marzulla, Esq. (L)

Ms. Hope McGowan Mr. & Mrs. Rufus W. McKinney (W) Dr. and Mrs. Larry Medsker Ms. Angela Messer Dr. Jeanne-Marie A. Miller Ms. Rachel Mondl Ms. Trixie Moser Mrs. Rita Posner Mr. Leonard Ralston Mr. and Mrs. Hunter Rawlings Mr. Spencer K. Raymond Ms. Denise Rollins Mr. Lincoln Ross & Changamire (W) Mr. and Mrs. Henry Roth Mr. Burton Rothleder Anne & Henry Reich Family Foundation Lee G. Rubenstein, Co-President Mr. and Mrs. David Sacks Ms. Helen Santoro Mr. and Mrs. Michael Schultz in memory of Mr. H. Marc Moyens Mrs. Zelda Segal (W) Peter and Jennifer Seka Dr. Deborah Sewell (W) Mrs. Madelyn Shapiro (W) Dr. Deborah J. Sherrill Virginia Sloss (W) Mr. and Mrs. Stephen Smith Prof. and Dr. Valery Soyfer Dr. and Mrs. Ronald Spooner Mr. and Mrs. David Sulser Mr. Akio Tagawa Mr. Joseph D. Tartaglione Mr. Peter Threadgill Mr. and Mrs. John Veilleux (W)

Maria Voultsides and Thomas Chisnell, II Dr. and Mrs. Allan Weingold Ms. Maggalean W. Weston Dr. June Whaun and Dr. Pauline Ting Mr. and Mrs. John Wilner Mr. and Mrs. James D. Wilson (W) Ms. Julia S. Winton Ms. Christina Witsberger Dr. Saul Yanovich Paul Yarowsky and Kathryn Grumbach IN-KIND DONORS Booz Allen Hamilton Mr. and Mrs. Charles Both Embassy of Japan Embassy of Spain JamalFelder Music Productions LLC The Hay-Adams Hotel Mr. Daniel L. Korengold and Ms. Martha Dippell Dr. and Mrs. Marc E. Leland The Honorable and Mrs. Jan Lodal Mars, Incorporated Mr. Neale Perl St. Gregory Luxury Hotels & Suites Mr. Anthony Williams Kathe and Edwin D. Williamson Elizabeth and Bill Wolf KEY: (W) Women’s Committee (L) Lawyers’ Committee † Deceased

Washington Performing Arts Staff Jenny Bilfield President & CEO Douglas H. Wheeler President Emeritus Allen Lassinger Chief Administrative Officer Murray Horwitz Director of Special Projects Leah Manning Administrative Assistant Development Mitchell Bassion Director of Development Meiyu Tsung Director of Individual Giving Daren Thomas Director of Leadership Gifts Roger Whyte II Director of Special Events June Yang Assistant Director of Institutional Giving Helen Aberger Development Coordinator Catherine Trobich Development Associate Education Michelle Hoffmann Director of Education Katheryn R. Brewington Assistant Director of Education/ Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate

Finance and Administration Erica Hogan Accounting Manager Rebecca Tailsman Accounting Associate Robert Ferguson Database Administrator Marketing and Communications 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 Amanda Sweet Press and Media Relations Amanda Bourne Marketing Intern Programming Samantha Pollack Director of Programming Torrey Butler Production Manager Rachael Patton Programming and Production Coordinator Shay Stevens Mars Urban Arts Curator Stanley J. Thurston Artistic Director, WPAS Gospel Choirs Ticket Services Office Folashade Oyegbola Ticket Services Manager Edward Kerrick Group Sales Coordinator

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

Washington performing arts Legacy Society Legacy Society members appreciate the vital role the performing arts play in the community, as well as in their own lives. By remembering Washington Performing Arts in their will or estate plans, members enhance our endowment fund and help make it possible for the next generations to enjoy the same quality and diversity of presentations both on stages and in our schools.

Mrs. Shirley and Mr. Albert H. Small, Honorary Chairs Mr. Stefan F. Tucker, Chair Anonymous (6) Mr. David G.† and Mrs. Rachel Abraham Dr. and Mrs. Clement C. Alpert Mr. and Mrs. George A. Avery Mr. James H. Berkson † Ms. Lorna Bridenstine † Ms. Christina Co Mather Mr. and Mrs. Douglas Cook Mr. and Mrs. F. Robert Cook Ms. Josephine Cooper Mr. and Mrs. James Deerin Mrs. Luna E. Diamond † Mr. Edison W. Dick and Mrs. Sally N. Dick Mr. and Mrs. Sidney Dickstein Ms. Carol M. Dreher

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

Music & Arts su pports your local schoo ls!

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