Applause November/December

november/december 2014

The

Future of Music BSO musicians mentor Montgomery County instrumental music students through the new program OrchLab

inside: Strathmore

A decade of nurturing musicians

The National Philharmonic Requiem shimmers

Washington Performing Arts Andrรกs Schiff and The Last Sonatas

prelude

Applause at Strathmore november/december 2014

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program notes Nov. 1, 2 22 / The National Philharmonic: Mozart’s Requiem Nov. 6 28 / Strathmore: Vijay Iyer—Music of Transformation Nov. 8 30 / Strathmore: Academy of Ancient Music Nov. 12 32 / Strathmore: Ludovico Einaudi Nov. 13 33 / BSO SuperPops: Classical Mystery Tour Nov. 14 36 / BSO Off the Cuff: Shostakovich—Notes for Stalin Nov. 15 38 / Strathmore: VOCA People Nov. 16 40 / BSO: Rachmaninoff & Shostakovich Nov. 22 44 / BSO: Bernstein & Beethoven Nov. 23 50 / Strathmore: Guitar Passions Nov. 28 52 / Strathmore: Bella Gaia

Nov. 29 54 / Strathmore: Lightwire Theater Nov. 30 56 / Strathmore: George Winston Dec. 5 57 / Strathmore: Classic Albums Live: Led Zeppelin II Dec. 6 58 / BSO: Handel’s Messiah Dec. 9 62 / Strathmore: Dave Koz and Friends Christmas Tour 2014 Dec. 11 64 / BSO: Holly Jolly Pops Dec. 12 66 / Strathmore: The Temptations and The Four Tops Dec. 13 67 / Strathmore: Mannheim Steamroller Dec. 16 68 / Strathmore: Strathmore Children’s Chorus Winter Concert Dec. 19 74 / Strathmore: The Colors of Christmas Dec. 20, 21 76 / The National Philharmonic: Handel’s Messiah

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12

20

features 10 Leading by Example

BSO musicians help mentor instrumental music students

12 “Bows”and Holly Songs, swag and Strathmore

14 To AIR is Divine

Strathmore’s Artist in Residence program hits a decade

16 George Who?

Jason Alexander shows his musical side

17 Nourishment for the Soul

BSO English horn player Jane Marvine is the nurturing type

18 Behind the Music

National Philharmonic Chorale members keep things humming

19 The “Definitive” Requiem Mozart’s emotional works always thrills

20 The Last Sonatas

András Schiff performs the last works of four legendary composers

departments

4 Musings of Strathmore President Monica Jeffries Hazangeles 4 A Note from BSO Music Director Marin Alsop 6 Calendar: January, February and March performances

musician rosters

26 National Philharmonic Orchestra and Chorale 37 Baltimore Symphony Orchestra On The Cover Jonice Buffert and other Springbrook High School instrumental music students get focused instruction from Baltimore Symphony Orchestra musicians through a partnership between BSO and Mongtomery County Public Schools. Photo by Jim Saah.

Lamoreaux photo by David Rogers; schiff photo by Dieter Mayr

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Musings from Strathmore No matter the season, Strathmore reminds us that the world is still a magical stage filled with passion, beauty, and wonder.

This is especially evident this winter in our presentation of Grammy-nominated composer-pianist Vijay Iyer’s newest concert project, Music of Transformation, which brings the beautiful and stirring Radhe Radhe to the Music Center stage on Thursday, Nov. 6.

This original film features live music by Iyer and the 20-piece International Contemporary Ensemble with depictions of the rites of the Hindu spring festival Holi. It premiered at the University of North Carolina-Chapel Hill last spring to celebrate the 100th anniversary of Stravinsky’s The Rite of Spring and represents Strathmore’s first major commissioning partnership.

The Radhe Radhe project is a sign of what’s to come in the next decade at Strathmore—experiences that embrace the unexpected and awaken the imagination. Soon, we will unveil a new look for Strathmore as well as broad and ambitious programming for 2015-2016. We eagerly anticipate the opening of AMP at Pike & Rose this spring and prepare to welcome new partners for innovative collaborations.

Strathmore is bigger than a performance, and broader than a campus. We are a reflection of the vibrant community that surrounds us. We are a crucible for creativity, where the brightest artistic minds come to play and where you can enjoy the arts from every conceivable angle and perspective. So this winter, join us, and discover the power of the arts to reveal, to connect, and to awaken the creative within all of us.

Monica Jeffries Hazangeles President | Strathmore

A note from the BSO Dear Friends, What a fantastic fall we are enjoying with all of you at Strathmore! Having packed houses and enthusiastic supporters means everything to us, and I know our musicians loved meeting and greeting you all back in September. It was the perfect way to kick off the 2014-2015 season.

The BSO is in the midst of a busy few months, and we couldn’t be having a better time. I am thrilled to announce that we will be hosting our first Strathmore Gala to celebrate 10 years of music making at the Music Center on Thursday, Feb. 5, 2015. Supporting the BSO’s artistic, education and community engagement programs in Montgomery County, this event will be the BSO at Strathmore’s largest fundraising benefit of the season. Visit www.BSOmusic.org/Strathmore10 for more information on what is sure to be a wonderful evening.

I hope you all have a safe and happy holiday season, and I’ll see you in 2015!

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

Editor and Publisher Steve Hull Associate Publisher Susan Hull Senior Editor Cindy Murphy-Tofig Design Director Maire McArdle Art Director 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 • november/december 2014

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 2 Applause is published five times a year by the Music Center at Strathmore and Kohanza Media Ventures, LLC, publisher of Bethesda Magazine. Copyright 2010 Kohanza Media Ventures. All rights reserved. Reproduction in whole or part without permission is prohibited.

strathmore photo by jim morris

Marin Alsop

STRATHMORE

5301 Tuckerman Lane, North Bethesda

calendar ➲ SAT., JAN. 3, 8 P.M. Baltimore Symphony Orchestra Beethoven’s Ninth Nicholas McGegan, conductor Katie van Kooten, soprano Mary Phillips, mezzo-soprano Thomas Cooley, tenor Andrew Foster-Williams, bass-baritone Baltimore Choral Arts Society

Beethoven: King Stephen Overture Haydn: The Storm Beethoven: Opferlied Beethoven: Symphony No. 9, “Choral” BSO favorite Nicholas McGegan leads Beethoven’s final symphony with the ever-popular “Ode to Joy.”

Cristina Pato, Galician bagpipes Kayhan Kalhor, kamancheh David Krakauer, klezmer clarinet Michael Ward-Bergeman, hyper-accordion

Mozart: Violin Concerto No. 5 in A Major, K. 219 Mendelssohn: A Midsummer Night’s Dream

Barber: Medea’s Meditation and Dance of Vengeance Osvaldo Golijov: Rose of the Winds Stravinsky: The Rite of Spring

Iván Fischer returns to D.C. with a program that links two dramatic works.

Stravinsky’s The Rite of Spring headlines this program brimming with ritualism and ethnic flair.

➲ FRI., JAN. 16, 8 P.M. Washington Performing Arts Gil Shaham Bach: The complete sonatas and partitas Gil Shaham’s interpretation of this formidable music, continues to endear him to audiences.

➲ SAT., JAN. 17, 8 P.M. Baltimore Symphony Orchestra Bruckner’s Symphony No. 8 Günther Herbig, conductor Alon Goldstein, piano

Mozart: Piano Concerto No. 21 Bruckner: Symphony No. 8 Peabody Institute alumus Alon Goldstein makes his BSO debut in one of Mozart’s most enchanting concertos. nicholas mcgegan

➲ FRI., JAN. 9, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: The Rite of Spring Marin Alsop, conductor

Stravinsky: The Rite of Spring Marin Alsop guides the audience through The Rite of Spring’s complexities.

➲ SAT., JAN. 10, 8 P.M. The National Philharmonic Haydn’s Surprise Symphony Piotr Gajewski, conductor Zuill Bailey, cello

Mozart: Symphony No. 38, “Prague” Haydn: Cello Concerto No. 2 Haydn: Symphony No. 94, “Surprise” Symphony No. 38 is one of the finest works in the Viennese Classical style. A free preconcert lecture will begin at 6:45 p.m.

➲ SUN., JAN. 11, 3 P.M. Baltimore Symphony Orchestra The Rite of Spring Marin Alsop, conductor

➲ SUN., JAN. 18, 4 P.M. Strathmore presents Step Afrika!

Washington, D.C.-based Step Afrika!’s dance performance includes step teams from across the country. ➲ THURS., JAN. 22, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops: An Evening with Jason Alexander Jack Everly, conductor Jason Alexander, vocalist Carrie Schroeder, soprano

The Tony winner and “Seinfeld” co-star shares his passion for the music of the theater.

➲ SAT., JAN. 24, 8 P.M. ➲ SUN., JAN. 25, 3 P.M. The National Philharmonic Bach’s Brandenburgs Piotr Gajewski, conductor Justine Lamb-Budge, violin Victoria Chiang, viola Julius Wirth, viola David Whiteside, flute Nicolette Oppelt, flute Mark Hill, oboe Chris Gekker, trumpet

Bach: Brandenburg Concerto No. 2 Brandenburg Concerto No. 3 Brandenburg Concerto No. 4 Brandenburg Concerto No. 6 Bach’s Brandenburg Concertos reflect one of his happiest and most productive periods. A free pre-concert lecture will begin at 6:45 Jan. 24 and 1:45 p.m. Jan. 25.

➲ FRI., JAN. 30, 8 P.M. Strathmore presents Ladysmith Black Mambazo Ladysmith Black Mambazo’s album Live: Singing for Peace Around the World won the group its fourth Grammy Award. ➲ SAT., JAN. 31, 8 P.M. Baltimore Symphony Orchestra Mahler’s Third Marin Alsop, conductor Jamie Barton, mezzo-soprano Baltimore Choral Arts Society, women’s chorus Peabody Children’s Chorus

Mahler: Symphony No. 3 No symphony conveys a broader expressive range than Mahler’s paean to the power of nature.

➲ FRI., JAN. 23, 8 P.M. Washington Performing Arts Budapest Festival Orchestra

Iván Fischer, music director Pinchas Zukerman, violin Anna Lucia Richter, soprano Barbara Kozelj, mezzo-soprano Pro Musica GIrls’ Choir, Nyírgyháza/Hungary

Mozart: Overture to The Magic Flute

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Ladysmith Black Mambazo

mcgegan photo by steve j. sherman, Ladysmith Black Mambazo photo by Luis Leal

JANUARY

[January/February/March] FEBRUARY ➲ THURS., FEB. 12, 8 P.M. Baltimore Symphony Orchestra All-Bach Nicholas McGegan, conductor Jonathan Carney, violin Madeline Adkins, violin Rui Du, violin Dariusz Skoraczewski, cello Emily Skala, flute Michael Lisicky, oboe

J.S. Bach: Orchestral Suite No. 4 in D Major J.S. Bach: Concerto for Two Violins in D minor C.P.E. Bach: Symphony in E-flat Major J.C. Bach: Sinfonia Concertante for Flute, Oboe, Violin and Cello in C Major Guest conductor Nicholas McGegan leads a program that honors the Baroque period’s First Family.

➲ FRI., FEB. 13, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: The Bach Family Nicholas McGegan, conductor Jonathan Carney, violin Madeline Adkins, violin Rui Du, violin Dariusz Skoraczewski, cello Emily Skala, flute Michael Lisicky, oboe

Excerpts from: J.S. Bach: Orchestral Suite No. 4 in D Major J.S. Bach: Concerto for Two Violins in D minor C.P.E. Bach: Symphony in E-flat Major J.C. Bach: Sinfonia Concertante for Flute, Oboe, Violin and Cello in C Major Conductor Nicholas McGegan explores seminal works by J.S., J.C. and C.P.E. Bach and their respective legacies.

➲ SAT., FEB. 14, 8 P.M. Strathmore presents John Pizzarelli and Jane Monheit Guitarist and singer John Pizzarelli is joined by sultry chanteuse Jane Monheit for this Valentine’s performance. ➲ WED., FEB.18, 8 P.M. Strathmore presents Irvin Mayfield and the New Orleans Jazz Orchestra Grammy-winner Irvin Mayfield and his magical NOJO bring the heart and soul of jazz to the Music Center.

➲ THURS., FEB. 19, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops: Patti Austin Sings Ella and the Duke Jack Everly, conductor Patti Austin, vocalist

Patti Austin evokes the beauty and emotion of legendary jazz classics such as “Cottontail,” and “I Got It Bad”

➲ SUN., FEB. 22, 4 P.M. Strathmore presents Imago Theatre: Frogz The spellbinding Imago Theatre thrilled Strathmore audiences in 2011, and returns with a “lively, inventive, mysterious, thrilling, truly goofy fun” stage play (Boston Globe). ➲ WED., FEB. 25, 8 P.M. Strathmore presents Tango Buenos Aires: “Song of Eva Perón” The acclaimed company chronicles the rise of a beauty from the slums of Buenos Aires to the presidential mansion. ➲ SAT., FEB. 28, 8 P.M. Baltimore Symphony Orchestra The Firebird Suite Yan Pascal Tortelier, conductor Louis Lortie, piano

Berlioz: Le Corsaire Ravel (orch. Tortelier): Trio for Piano, Violin and Cello Mozart: Piano Concerto No. 23 Stravinsky: The Firebird Suite The poignant Firebird Suite tells the tale of the bird’s heroic triumph over evil.

MARCH

➲ SUN., MARCH 1, 3 P.M. Strathmore presents Annapolis Symphony Orchestra with Simone Dinnerstein This not-to-be-missed program includes works by English poet and composer Arthur Bax, Richard Strauss, and Ravel. ➲ WED., MARCH 4, 8 P.M. Strathmore presents The Chieftains The mists and myths of Ireland live strong in the music of this legendary group. ➲ SAT., MARCH 7, 8 P.M. Baltimore Symphony Orchestra Shakespeare in Love & Simon Trpčeski Cristian Macelaru, conductor Simon Trpcˇeski, piano

Stravinsky: “Divertimento” from The Fairy’s Kiss Prokofiev: Piano Concerto No. 1 Tchaikovsky: The Tempest, Fantasy–Overture Tchaikovsky: Romeo and Juliet, Fantasy–Overture Shakespeare inspires Tchaikovsky’s epic Tempest, Fantasy–Overture and the seductive Romeo and Juliet Fantasy–Overture.

➲ THURS., MARCH 12, 8 P.M. Baltimore Symphony Orchestra Mozart’s Great Mass Masaaki Suzuki, conductor Augustin Hadelich, violin Simona Saturova, soprano Joanne Lunn, mezzo-soprano

[beyond the stage] Strathmore

Holiday Gifts Galore Museum Shop Around, Strathmore’s handmade and art-inspired holiday treasure hunt, is celebrating 25 years in 2014! Thursday, Nov. 13 through Sunday, Nov. 16, the Mansion will be bursting with heartfelt holiday gifts, toys, jewelry, one-of-a-kind art, décor and more from 20 of the region’s finest cultural institutions, including Hillwood Estate, Museum & Gardens, The Kennedy Center, National Building Museum, National Museum of Women in the Arts, The Phillips Collection, and, of course, Strathmore!

Admission is $9 paid at the door each day or $8 when purchased online; proceeds benefit arts and education programming at Strathmore. applause at Strathmore • november/december 2014 7

[January/February/March] Nicholas Phan, tenor Kyle Ketelsen, bass-baritone University of Maryland Concert Choir

Mozart: Don Giovanni Overture Mozart: Violin Concerto No. 5 Mozart: Mass in C minor Masaaki Suzuki makes his BSO debut as he leads an all-Mozart program. ➲ SUN., MARCH 15, 4 P.M. Washington Performing Arts András Schiff—The Last Sonatas Haydn: Sonata No. 60 in C Major, Hob. XVI:50 Beethoven: Sonata in E Major, Op. 109 Mozart: Sonata in C Major, K.545 Schubert: Sonata in C minor, D. 958 Pianist András Schiff embarks on his newest project, to perform the last three sonatas of Mozart, Haydn, Schubert and Beethoven.

➲ TUES., MARCH 17, 8 P.M. Strathmore presents Carlos Núñez with the Sean

Culkin Dancers Beguiling Spanish musician Carlos Núñez and the Sean Culkin Dancers bridge cultures. ➲ SUN., MARCH 22, 3 P.M. Baltimore Symphony Orchestra Haydn and Ravel Marin Alsop, conductor Sol Gabetta, cello

Ravel: Valses nobles et sentimentales Haydn: Cello Concerto in C Major Ravel: La Valse R. Strauss: Rosenkavalier Suite Experience the lighter and darker sides of the waltz as imagined by Ravel and Strauss.

➲ THURS., MARCH 26, 8 P.M. Baltimore Symphony Orchestra BSO SuperPops: Singin’ in the Rain Jack Everly, conductor

The American Film Institute’s No. 1 greatest movie musical comes to the big screen with live accompaniment by the BSO.

➲ FRI., MARCH 27, 8 P.M. Strathmore presents Audra McDonald Actress Audra McDonald brings stories and songs from her sterling career on stage, which includes performances in Ragtime and A Raisin in the Sun. ➲ SAT., MARCH 28, 8 P.M. ➲ SUN., MARCH 29, 3 P.M. The National Philharmonic Rachmaninoff’s Piano Concerto No. 3 Piotr Gajewski, conductor Haochen Zhang, piano

Tchaikovsky: Romeo and Juliet Overture-Fantasy Rimsky-Korsakov: Capriccio Espagnol Rachmaninoff: Piano Concerto No. 3 Shakespeare’s tragedy and Tchaikovsky’s tortured personal life collide in the dramatic Romeo and Juliet Overture-Fantasy.

A free pre-concert lecture will begin at 6:45 March 28 and 1:45 p.m. March 29.

Strathmore Turns 10 Celebrate Strathmore’s 10th anniversary with one of these special commemorative performances. ➲ WED., FEB. 4, 8 P.M. Washington Performing Arts Blues Symphony

Three Mazurkas, Op. 59 Rondo à la Mazur, Op. 5 Join pianist Brian Ganz for the fifth recital in his quest to perform all of the composer’s works as he explores the many facets of the beguiling mazurka in Chopin’s music.

Wynton Marsalis Quintet Shenandoah Conservatory Symphony Orchestra, Jan Wagner, conductor

Marsalis: Blues Symphony

➲ SUNDAY, FEB. 8, 3 P.M.

Experience the world premiere of Marsalis’ symphony, which features a compendium of his knowledge of blues, jazz and other traditional American music.

Baltimore Symphony Orchestra Garrick Ohlsson Plays Rachmaninoff Marin Alsop, conductor Garrick Ohlsson, piano

Rachmaninoff: Piano Concerto No. 2 Respighi: Church Windows Respighi: Pines of Rome Piano great Garrick Ohlsson brings his technical prowess and unmatched interpretation to Rachmaninoff’s ravishing Second Piano Concerto. Respighi’s symphonic poem Pines of Rome paints a scenic picture of Rome’s vast and vivid landscape.

savion glover

➲ FRI., FEB. 6, 8 P.M. Strathmore presents Savion Glover’s STePz Tony Award winner Savion Glover pays homage to past tap masters with a soundtrack ranging from John Coltrane to Prince to Shostakovich. ➲ SATURDAY, FEB. 7, 8 P.M. The National Philharmonic

Brian Ganz Plays Chopin

Chopin: Four Mazurkas, Op. 24 Polonaise in F-sharp minor, Op. 44 Three Mazurkas, Op. 50 Three Waltzes, Op. 64 Two Nocturnes, Op. 15, Nos. 2, 3

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Piotr Gajewski, conductor Brian Ganz, piano Summer Hu, cello Danielle Talamantes, soprano Margaret Mezzacappa, mezzo-soprano Colin Eaton, tenor Norman Garrett, baritone National Philharmonic Chorale

Makris: Strathmore Overture Tchaikovsky: Variations on a Rococo Theme Chopin: Grande Polonaise Brillante Beethoven: Symphony No. 9 in D minor, “Choral” Join the National Philharmonic for a reprise of its inaugural Strathmore concert on Feb. 12, 2005, which includes two works showcased at that performance: Andreas Makris’ Strathmore Overture and Beethoven’s epic Ninth Symphony.

glover photo by lois greenfield

➲ THURSDAY, FEB. 5, 8 P.M.

The National Philharmonic

Beethoven’s Ninth

R

B altimore Symphony ORchestra

Leading

by Example BSO musicians lend expertise to help students hone performance skills and better understand a composer’s work

By Roger Catlin

T

he instrumental music pro- BSO’s vice president of education and ment, Dick Spero, who manages gram at Springbrook High community engagement.

OrchLab from the BSO’s Strathmore School in Silver Spring “It was clear on the first day, they offices, invited Springbrook instrumenhasn’t had every advantage. were really challenged by the piece,” tal music director Wyman Jones and his Because it is a Title 1 school that by Bogash says. “But by the time we got string orchestra to perform in the lobby definition has a high percentage of through six long sessions, they were of the Music Center prior to a BSO low-income students, many of its fam- actually able to handle it. … a pretty subscription concert. “Everybody was ilies couldn’t afford private music les- stunning, dramatic improvement.” stunned,” remembered Spero, “includsons or instruments.

To publicly recognize this achieve- ing the kids and their parents, that they But with a boost from were playing so well.”

OrchLab, a new partnerTa m i L e e H u g h e s , ship between the Baltia BSO teaching artist more Symphony Orchestra who initiated OrchLab and Montgomery County at Springbrook, also was Public Schools, things impressed. “These students have changed dramatically. were not just receptive durThrough the partnership, ing the session, but also BSO musicians work with thanked me after we were instrumental music students done. Some students made at selected elementary, mida point to meet and talk dle and high schools. with me after class. They W h e n S p r i n g b r o o k ’s indicated that they enjoyed strings students first started the fresh energy and exciteto work on Bach’s Third ment about making music.”

Brandenburg Concerto, Jones, the music it didn’t sound promising, BSO teaching artist Jaclyn Dorr works with instrumental instructor, acknowledged recalls Carol Bogash, the music students Tisam Yusuf (center) and Dana Jackson at OrchLab’s impact, callSpringbrook High School in Silver Spring.

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Jim Saah (2)

In addition to several weeks of mentorship, Springbrook High students (from left) Maylek Arthur, Margeau Peters, Dylan Costanzo, Da’Jah Quick, Christiana Young and other instrumental students also get an opportunity to attend a BSO performance at The Music Center at Strathmore.

ing the program “an excellent learning opportunity for my students—and me,” and said the BSO musicians “provided many helpful tips to students to improve their performance and understanding of the music being performed.”

OrchLab targets a group of schools in the Northeast and Downcounty Consortia located in the most economically challenged areas of the county. It follows on the heels of the BSO’s OrchKids, a five-days-a-week afterschool program created in Baltimore City that has won national recognition.

Launched in early 2013, OrchLab’s pilot program had BSO musicians visit elementary, middle and high school instrumental music programs only three times. “We learned from the pilot program that three visits weren’t enough,” Bogash said. Going in six times, she said, “made a huge difference—a huge difference in how the child is playing the instrument, producing the sound, and just being better technically.”

Since OrchLab’s launch, “nearly two dozen BSO musicians and teach-

ing artists have mentored over 1,000 students in 18 different schools in our two clusters,” Spero says.

Funded by the BSO and individual, corporate and foundation grants, OrchLab is offered at no cost to schools, students or their families.

MCPS provides transportation to the Music Center so that OrchLab students and their teachers can attend a BSO subscription concert at Strathmore. OrchLab also provides professional development for instrumental music teachers through their participation in forums with BSO musicians.

“The motivation for OrchLab is to provide a larger footprint for the Baltimore Symphony Orchestra in Montgomery County and to increase our education offerings in our second home,” Bogash said. She said the program is also intended to support the public schools’ instrumental music programs, to have orchestra members engaged with the community here “and to use some wonderful skills our gifted musicians have for teaching young people.”

These talents are especially evident in the Instrumental Performance Residency that OrchLab offers to selected elementary schools. Featuring three members of the BSO double reed section, the residency works with fourth- and fifth-graders on fingerings, rhythm, intonation and breath control on recorders. This all culminates in a side-by-side public performance at the school of “Irish Fantasy,” a piece written by BSO bassist Jonathan Jensen (an MCPS video of a May 2014 performance at Highland Elementary may be found on the Education and Community page of the BSO’s website (www.

BSOmusic.org).

Scott Steffan, Highland’s principal, lauded the residency. “I can say with a great degree of certainty that our students will never forget this experience and, what I think is really exciting, is that you just never know: Maybe the next Yo-Yo Ma was somewhere out there. Overall, there is an enormous sense of pride and accomplishment from all the participants.”

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strathmore

“Bows” and Holly Strathmore celebrates the season with songs, lights, and swag By Chris Slattery

lightwire theater

I

t’s glow time at Strathmore. And before a note can be sung or a bell can be rung, there are volunteers from local garden clubs on hand, armed with the requisite boughs of holly—and boxwood, and pine— making the Mansion merry and the

Music Center bright.

It’s a labor of love, one that everyone appreciates, because the holiday season at Strathmore is a big, big deal.

Festivities will include a pre-Hanukkah concert in the Mansion with the Susan Jones Klezmer Ensemble on

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Dec.10, followed by a concert with the Robyn Helzner Trio on Dec. 17. Holiday performances in the Music Center include Lightwire Theater on Nov. 29, Mannheim Steamroller on Dec. 13, and The Colors of Christmas on Dec. 19.

Nine-time Grammy nominee Dave

dave koz

Koz, who performs at Strathmore Dec. 9, says the Music Center really needs no garlands and swag.

“The Music Center at Strathmore is one of the finest concert venues in the United States, and I’ve been to a lot!”

Koz says. “It’s one of the best: a beautiful venue where everything sounds great, and where we’ve had the most wonderful audiences at sold-out shows.”

A smooth jazz sax player and composer, Koz is particularly proud of the pairings on his new album, The 25th of December, which features duets with Stevie Wonder, Johnny Mathis, Gloria Estefan, Fantasia, and India.Arie. He’ll be joined Dec. 9 by jazz singer-guitarist Jonathan Butler, powerhouse gospel singer Maysa, and “the incredibly talented Christopher Cross.”

Koz says his upcoming performance “really is a cavalcade of great Christmas songs that will remind you of the past and push you into the holiday with a smile on your face. Speaking as a musician, the best songs are Christmas songs.”

Which is funny, even Koz has to admit, for a Jewish California native.

Not to worry: part of the fun of a Dave Koz holiday concert is that it includes a medley of favorite Hanukkah songs.

“I never grew up celebrating Christmas,” Koz explains, “but I loved going to my friends’ house to trim the tree,” he recalls. “We grew up inclusive of everyone’s experience.”

And it’s not just that spirit of openness that makes a Koz concert special. There’s an unabashed joy in giving as well. The musician explains that his summer jazz cruise tour includes a silent auction, the proceeds of which are divvied up and donated to a children’s hospital at every city on the holiday tour circuit.

“It’s definitely a Christmas thing,” he says. “This is more than a show,

more than a gig—we’re returning to extended family. That’s how the show feels to us: your community becomes our community.”

Ian Carney’s community of characters in Lightwire Theater’s A Very Electric Christmas will bring bring plenty of holiday sparkle to Strathmore on Nov. 29.

Carney’s the artistic director and choreographer at the helm of Lightwire Theater, a dance troupe best known for its breakout performances on the TV show “America’s Got Talent.” It’s all about telling a story through light and dance —a perfect combination for the holidays celebrated during the darkest days of the year—but Carney insists there’s more to Lightwire than flash and fire.

“If you don’t fall in love with the characters, it’s just cool-looking lights,” he says. “The whole glow-in-the-dark thing is just dressing: there’s a story at its heart.”

It’s a story that Carney, who founded Lightwire with his director-wife Eleanor, can trace back to his childhood years as a New Orleans ballet dancer.

“I have a soft spot for Christmas and a holiday show,” he explains. “I fell in love with art through The Nutcracker as a wide-eyed kid. I remember that feeling, thinking, This is really cool!

“I didn’t get that feeling from movies or DVDs, I got it in the theater.”

And his 40 years of Nutcracker contributed greatly to A Very Electric Christmas, with its nods to the Tchaikovsky classic shining through in the music—and mice—he’s incorporated into this modern mixed-media tale of New Orleans.

“Our city is unique, and most people know it and have a soft spot for it,” he says. “But we always try to do work that is for everyone: we want adults and kids to be equally entertained, so this is something audiences of all ages

The Holidays at Strathmore Celebrate the season with several performances in the Mansion and the Music Center.

Saturday, Nov. 29, 3 and 8 p.m.

Lightwire Theater: A Very Electric Christmas, in the Music Center Tuesday, Dec. 9, 8 p.m.

Dave Koz and Friends Christmas Tour 2014, in the Music Center Wednesday, Dec. 10, 7:30 p.m.

Susan Jones Klezmer Ensemble, in the Mansion Saturday, Dec. 13, 4 and 8 p.m.

Mannheim Steamroller Christmas, in the Music Center Tuesday, Dec. 16, 7:30 p.m.

Strathmore Children’s Chorus Winter Concert, in the Music Center Wednesday, Dec. 17, 7:30 p.m.

Robyn Helzner Trio, in the Mansion Friday, Dec. 19, 8 p.m.

The Colors of Christmas, in the Music Center

can enjoy together, something that’s becoming a rare thing.”

The goal, Carney says, is to bring families together. On a dark winter’s night, in the glow of the stage, amid the cheerful decorations and warm expectations that characterize the holiday season at Strathmore.

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strathmore

To AIR is Divine Strathmore’s Artist in Residence program celebrates its 10th anniversary

By Chris Slattery

“I

rochelle rice

“That situation was definitely a Goldilocks zone for me,” he says of his 2007-2008 residency. “It helped me fine-tune my skills: they’d pair an AIR with a mentor, but I wasn’t confined to one, and I shopped around.”

Bacon describes himself as intensely collaborative, and it was his work with AIR mentors Cathy Fink and Marcy Marxer that led to a Grammy nomination at age 23 for the children’s album From Banjo to Beatbox.

“You could say a Grammy nomination came directly from the Artist in Residence program,” he says. “That was a crazy whole ’nother world: I got to be on the red carpet, and they all came to support me.”

In addition to growing and matur-

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ing as an artist, Bacon says he also learned the business side of music— booking gigs, negotiating contracts, and conducting other practices for optimum success.

Current AIR participant vocalist Rochelle Rice already has a master’s degree in jazz studies from Howard University, a stint with Afro Blue, and a gig as a sub for Sweet Honey in the Rock. She’s eager to grow even more as an AIR. “Truly, this has been a goal of mine for several years now,” she says, noting that “everybody’s been in our corner, so willing to do what they can to help, and to make us newbies feel welcome.”

“This is a fantastic opportunity for exposure on another level.”

Jonathan Timmes

sn’t it amazing?”

Betty Scott has the seasoned teacher’s ability to capture the essence of things.

The Artist in Residence (AIR) program at Strathmore is entering its 10th season, and yes, it is most definitely amazing.

“It’s a milestone for me personally, to watch this program go from a concept—trying to explain to people what it was—and to see it take root, and to grow and change over 10 years,” explains Scott, Strathmore’s Artist in Residence and education coordinator.

The AIR program reaches out to developing artists that have tremendous potential and invites them to spend a year learning about performing and the music business through partnerships with mentors, workshops, performances, educational opportunities, and community outreach.

“We’ve still not seen anything like it,” Scott says. “There are places doing bits and pieces of it, universities focusing on professional development in artists, but our program covers so much more: seminars on career planning, grant writing, producing high quality videos—and we’ve achieved an enormous amount of success over the last 10 years.”

Grammy nominee Christylez Bacon grew up in Southeast D.C., and he had no idea which Metro line to take to Strathmore when he got the call to come to North Bethesda and audition for AIR.

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B altimore Symphony ORchestra

Baltimore Symphony Orchestra presents An Evening With Jason Alexander Thursday, Jan. 22, 2015, 8 P.M.

George Who? Jason Alexander shows off his musical theater roots in a night of Broadway showstoppers with the BSO. By M.J. McAteer

W

hen George Costanza sang on “Seinfeld,” he sang badly. Tone-deafness went with the character. But that off-key George will be a no-show on Jan. 22, 2015 when the man who played him, Jason Alexander, appears with the Baltimore Symphony Orchestra in an evening of songs, quips, and stories at The Music Center at Strathmore.

The perpetually disgruntled George made Alexander into a sitcom superstar, yet few people are aware that TV was scarcely the comic actor’s first love.

“All my fantasies as a kid were limited to being in New York,” Alexander says. The New Jersey native initially expected that a magic act would be his ticket to fame in the Big Apple. As it turned out, though, musical theater was more his kind of illusion.

“Broadway reared its head” while he was still in college, Alexander says, when he unexpectedly won a role in Stephen Sondheim’s Merrily We Roll Along. Unfortunately, the musical rolled along for only 16 performances.

“It was a spectacular flop,” Alexander admits. “It had a glorious score, but it was an impossible show.”

Better luck followed with star-

ring roles in Neil Simon’s Broadway Bound and in the celebrated musical anthology, Jerome Robbins’ Broadway.

The Jerome Robbins show “was one hit and stunning production number after another,” says BSO Principal Pops Conductor Jack Everly, who saw it when he was living in New York and working as the musical director for the American Ballet Theatre. The production included numbers from West Side Story, Gypsy, On the Town, A Funny

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Thing Happened on the Way to the Forum and The King and I, and Alexander’s pivotal role in it won him a Tony Award for Best Actor in a Musical Comedy.

So the Strathmore audience should expect a generous sampling of Broadway showstoppers when Alexander puts his musicality and wit on display, often at the same time. In “Inappropriate Medley,” for example, the lyrical baritone promises to scrunch 20 tunes, all wildly unsuited to him, into a prestissimo six minutes.

The show won’t be all funny business, however. Alexander’s favorite song in the program is the gentle “Anytime (I Am There)” because it evokes memories of his father. “It’s a beauty,” he says.

Everly plans to leave the spotlight to Alexander, but he has impressive Broadway chops of his own. He collaborated with the celebrated late composer Marvin Hamlisch on hits such as The Goodbye Girl and A Chorus Line, and served as Carol Channing’s conductor for two incarnations of Hello, Dolly!

Everly says he’s looking forward to working with the reportedly well-grounded Alexander.

“I’ve admired him for years,” Everly says. “He’s a great guy and a great talent. It’s going to be quite the wonderful evening.”

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B altimore Symphony ORchestra

Nourishment for the Soul BSO English horn player Jane Marvine always finds time to nurture, whether it’s tending her garden, snuggling grandchildren or advising amateur musicians By Laura Farmer

W

hen the sun is shining and the orchestra has a day off, there’s only one place to find BSO English horn player Jane Marvine.

“If it’s a beautiful day, I could get lost in my garden for eight hours,” says Marvine. “It is my absolute passion. I just adore creating order out of chaos and sculpting and painting with flowers and plants.”

Marvine, her husband, BSO CoPrincipal Trombone James Olin, and their two children moved to their current Baltimore County home with its spacious backyard in 1987. After more than 25 years of gardening TLC, it’s no wonder that her yard has become a marvel to friends and neighbors alike.

It currently boasts forests of 100-foottall white pine as the backdrop for clusters of hydrangea and a rainbow array of perennials, punctuated by carefully positioned shrubs.

“When I want to escape, I go out to my garden. I find it so rewarding to nurture new things to help them grow, blossom, and thrive,” says Marvine.

“Nurturing new things” could easily be her life mantra. Never one to sit on the sidelines, she has held a lead-

ership role on the BSO Players’ Committee for nearly three decades. And she happily takes turns caring for her two infant granddaughters. (“Being a grandma is the icing on the cake!” she raves.) She manages a busy teaching schedule at The Peabody Institute. She championed the building of The Music Center at Strathmore and now works to promote this season’s 10th anniver-

sary celebrations of the BSO’s second home. And it was her advocacy for and integral planning of the BSO Academy that fostered that adult education program’s success.

“I have three full-time jobs,” jokes Marvine, who holds the title of program advisor to the BSO Academy.

“I’m still very involved with the planning of the Academy. It’s a lot of work, but it’s a labor of love. I know that there are many people in the Academy, if not every single one, who has this burning desire to make music.

No matter what level they are, to be able to sit in a professional orchestra and be inspired by it has a profound, indescribable effect on their lives.

They say, ‘I can’t thank you enough.’

Watching their transformation has changed my life.”

Baltimore Symphony Orchestra English horn player Jane Marvine (center) with participants from BSO Academy. In addition to performing with the orchestra, Marvine is a program advisor for the academy and teaches at the Peabody Institute in Baltimore.

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THE N ationa l P hi l harmonic

Behind the Music

When they’re not performing, many members of the National Philharmonic Chorale volunteer to do administrative work, mentor young singers, or transport guest soloists By M.J. McAteer

the administrative stuff and the seating charts,” he says. In addition, he has spent several hours a week on data entry for the Summer String Institutes.

Robert Gerard, another active volunteer, sang his first season with the chorale in 2002-2003. “I needed to start singing again to get some balance in my life,” says the busy doctor and baritone, who has relished the opportunity to perform masterworks in such skilled company. To support the chorale, Gerard sits on the Board of Directors and its Governance Committee and helps keep the contact information current on all the choralists.

The National Philharmonic is one of the few performing arts organiza-

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tions in the nation to support both an orchestra and chorus. Though its chorus members are all volunteers, they must pass a rigorous audition and then commit to spending six to 10 hours a week on practice and rehearsal. Factor in the time members spend volunteering, and the chorale is a healthy commitment.

But this patchwork of people becomes one fabric when members sing, because of the intense passion that they share for the music.

“It’s such a feeling of unity to lift the music off the paper. And we are devoted to our director,” Josey says. “The chorale brings such a lot of joy to me, I don’t mind putting out time for it.”

don lassell

T

he volunteer members of the National Philharmonic Chorale say that the happiness they get from performing together at The Music Center at Strathmore and under the warm guidance of Artistic Director Stan Engebretson is all the pay they need.

So when the singers are asked to volunteer for the National Philharmonic Chorale and sometimes, orchestra, many do more than just voice their support for the organization.

“I don’t think there has been one job that I put out there that hasn’t been done,” says alto Melissa J. Lieberman, a lawyer who has coordinated chorale volunteers since 2008. Lieberman estimates that about half of the chorale’s 180 members regularly give their time to sit on committees to revamp the member handbook, take attendance, and make airport runs at rush hour to pick up soloists. And clerical work is a constant.

Bill Josey is one of the stalwart volunteers, and the retired program manager for the U.S. Army has accumulated quite a few extracurricular duties in the 10 years that he’s been a bass.

Every season, he mentors one or two new singers, introducing them around and showing them the ropes.

Also, “I always manage to have an extra bowtie and some safety pins in case of emergency,” he says.

Josey also acts as assistant section leader for the basses: “I do all

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THE N ationa l P hi l harmonic

The National Philharmonic presents Mozart’s Requiem Saturday, Nov. 1, 8 P.M. and Sunday, Nov. 2, 3 P.M.

The “Definitive” Requiem

The National Philharmonic Chorale makes Mozart’s final work shimmer with emotion By M.J. McAteer

Photo of Talamantes by Roy Cox

M

ozart’s Requiem has been a core piece of the National Philharmonic Chorale’s repertoire for years, so Artistic Director Stan Engebretson and his singers know it inside and out.

“This will be my third or fourth time singing it,” says alto Melissa J. Lieberman, who will sing as part of the chorale when it presents the Requiem on Nov. 1 and 2 at The Music Center at Strathmore. With all that practice, she says, “You get really good at it.”

Many of the chorale’s 180 singers share Lieberman’s extensive experience with Mozart’s musical mass, and that gives Engebretson the luxury of fine tuning the performance. The result, Engebretson predicts, will be a “definitive” Requiem.

The guest soloists—soprano Danielle Talamantes, mezzo-soprano Magdalena Wór, tenor Robert Baker and baritone Christòpheren Nomura—know the music intimately, too. Talamantes, for example, grew up singing the Requiem as a teenager in a choir, and Nomura is the equivalent of a grizzled veteran, estimating that he has sung it at least 75 times.

Though familiar, the Requiem is beloved by audiences and performers alike because of its deep emotional intensity. Mozart clearly was “speaking from his heart directly onto the page,” Engebretson says.

The composer was in a fraught state while he was composing the Requiem, which would turn out to

Danielle Talamantes

Christòpheren Nomura

be his final work. Not only was he impoverished, but he was physically and mentally staggered by the mysterious illness that would soon kill him. Although the piece was a commissioned work, some historians say that Mozart came to believe that he was writing it for his own funeral.

After his untimely and tragic death, his wife, Constanze, secretly hired Franz Xaver Sussmayr to complete the Requiem in her husband’s style.

“The Requiem is very honest and true,” Nomura says. “So very sad, but so dramatic.”

Not to mention characteristically brilliant, despite the desperate circumstances under which it was conceived.

“The music is tremendously energetic. It has balance, symmetry, energy and amazing solos. It is perfect in terms

of vocal range,” Engebretson says.

Add in the renowned acoustics at the Music Center, and the conductor says that the sound will “shimmer.”

Preceding the Requiem on the allMozart program will be the Ave Verum Corpus (Hail, true body) for chorus and the Exsultate Jubilate (Exult, rejoice), which is famous for its rousing “alleluia” refrain.

But most members of the audience will have felt compelled to come to Strathmore for the opportunity to hear an impassioned rendering of the great composer’s final statement.

“If there is any one piece in Mozart’s choral repertoire that people identify with, it is the Requiem,” Engebretson says.

“It sits so beautifully within all of the voices. If you’ve heard it 100 times, you could still hear it 100 times more.”

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Washington Performing A rts

Washington Performing Arts presents András Schiff: The Last Sonatas Sunday, March 15, 2015, 4 p.m.

The Last Sonatas “G

reat music is not just entertainment,” declares renowned pianist András Schiff.

“It is important to present it in a way that the listener can learn something while she or he is also having a good time.” Such is the philosophy behind Schiff’s latest project, The Last Sonatas.

In a series of three concerts presented over the next two seasons, Schiff is performing the final three piano sonatas of four legendary composers: Beethoven, Haydn, Mozart and Schubert. The Washington, D.C., area is one of a handful of cities to host all three concerts. Washington Performing Arts will present Schiff’s first recital at The Music Center at Strathmore on March 15, 2015, playing the third to last sonatas by the four composers. The remaining two concerts are slated for the 2015-2016 season at Strathmore.

“It has always fascinated me to think about interesting programs, based either on the works of a single composer or several different ones, showing the similarities and differences between them,” Schiff says.

After performing the complete cycles of Beethoven’s and Bach’s solo piano works, he adds, “I wanted to do something more concentrated and so the idea of The Last Sonatas was born.”

Beethoven and Schubert were natural choices, Schiff says. The last three Beethoven sonatas were written more or less at the same time and

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Pianist András Schiff brings to life his project to perform the last works of Beethoven, Mozart, Schubert and Haydn. By Phyllis McIntosh are often performed together in a single program. The Schubert sonatas, though much larger and longer, also were composed together in the final year of the composer’s life. “To add Haydn’s and Mozart’s last three sonatas to Beethoven’s and Schubert’s, well, this is my concept,” Schiff says.

“Maybe not so original, but I certainly haven’t seen or heard them this way before.”

Together, the composers represent “the four masters of Viennese classicism,” he notes, and most of this music, except for Haydn’s, was composed in Vienna. “It is very interesting to observe how these four masters treat the sonata form, what liberties they take, how they write for the piano. Mozart and Beethoven were virtuoso pianists; Haydn and Schubert were not performers. Each one of them wrote numerous piano sonatas, and it is fascinating to hear their final thoughts in this genre, side by side.”

The 12 Last Sonatas were written over a span of 39 years, from 1789 to 1828, at different stages of the composers’ lives. Beethoven and Haydn, who will be featured in the first half of the concert, composed their last three sonatas when they were in their 50s and 60s respectively, while Mozart and Schubert, whose music is played in the second half, both died in their 30s.

Schubert wrote his last sonatas shortly

before his death at age 31, and Mozart and Beethoven composed theirs a few years before their deaths. Haydn, who lived to 77, wrote his last sonatas 15 years prior to his death, focusing during his final years on masses and oratorios.

Perhaps understandably, Schubert’s final compositions are very much about death, while the others are not, Schiff says.

Bach program for us in 2012-13, he asked us to include a one-page insert about why he doesn’t use a pedal when he plays Bach.” (Since the sustaining pedal did not exist on any keyboard instruments in Bach’s time, his music obviously could be played without it. So, Schiff reasons, most of Bach also can be played on the modern piano “with eight fingers, two thumbs and no feet.”).

Since giving a popular series of Beethoven lectures in London from 2004 to 2008, Schiff has been increasingly in demand as a lecturer. He aims, he says, “to find the right tone between scholarship and constructive entertainment,” to speak uncompromisingly to the average music lover in a way that is also interesting to professionals and the more experienced members of the public—a balance, he adds, that Leonard Bernstein achieved perfectly.

Education is especially vital today, Schiff concludes, because music is no longer an essential part of the school curriculum and audiences are generally less experienced and knowledgeable than they used to be. “One can certainly sit back and ‘enjoy’ a Schubert sonata, but the pleasure of listening will be much greater when it is coupled with knowledge, experience and culture,” he says.

dieter mayr

“Mozart and Beethoven were virtuoso pianists; Haydn and Schubert were not performers. Each one of them wrote numerous piano sonatas, and it is fascinating to hear their final thoughts in this genre, side by side.”

— András Schiff Part of Schiff’s goal with The Last Sonatas project, and indeed all his music, is to share his insights with audiences through talks or explanatory notes in a program. “He loves sharing his process with audiences,” says Washington Performing Arts programming director Samantha Pollack. “When he performed an all-

applause at Strathmore • november/december 2014 21

Saturday, November 1, 8 p.m., and Sunday, November 2, 2014, 3 p.m.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor

Presents

Mozart’s Requiem

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

Ave Verum Corpus, K. 618 Wolfgang Amadeus Mozart (1756-1791)

Exsultate Jubilate, K. 165

Allegro – Recitativo Larghetto

Allegro non troppo INTERMISSION Requiem

1. Introitus: Requiem aeternam (chorus and soprano)

2. Kyrie eleison (chorus)

3. Sequentia

Dies Irae (chorus) Tuba mirum (soprano, contralto, tenor and bass)

Rex tremendae (chorus) Recordare (soprano, contralto, tenor and bass)

Confutatis (chorus)

Lacrymosa (chorus)

4. Offertorium Domine Jesu (chorus with solo quartet) Hostias (chorus)

5. Sanctus Sanctus (chorus) Benedictus (solo quartet, then chorus)

6. Agnus Dei (chorus)

7. Communio Lux aeterna (soprano and chorus) Weekend Concerts Sponsor: Ameriprise Financial Sunday Concert Sponsor: Ingleside at King Farm Supported in part by the Patricia Haywood Moore and Roscoe M. Moore Jr. Guest Artist Fund 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

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Stan Engebretson, conductor

In demand throughout the United States and Europe, Stan Engebretson has led choirs in Venice’s Cathedral of St. Mark and taught in Cologne, Trier, St. Moritz, and Barcelona.

After attending the University of North Dakota and earning his doctorate from Stanford University, Engebretson taught at the University of Texas of the Permian Basin and the University of Minnesota. He also was the artistic director of the Midland-Odessa Symphony Chorale and the associate conductor of the Minnesota Chorale.

In Washington since 1990, Engebretson is professor of music and director of choral studies at George Mason University, and is the director of music at the historic New York Avenue Presbyterian Church.

Danielle Talamantes, soprano

Danielle Talamantes makes an exciting stage debut in the upcoming 20142015 season as Frasquita in Bizet’s Carmen in a return to the Metropolitan Opera, as well as a return to the National Philharmonic for both Beethoven’s Symphony No. 9 and Mozart’s Requiem and Exsultate, jubilate, which she will also perform with the City Choir of Washington.

Talamantes appears with the National Philharmonic this evening courtesy of the Metropolitan Opera.

Magdalena Wór, mezzosoprano

This season holds Magdalena Wór’s debut performance with the Seattle

Engebretson photo by Jerry Fernandez; Talamantes photo by Tom Radcliffe

SATURDAY, NOVEMBER 1, 2014, 8 P.M. SUNDAY, NOVEMBER 2, 2014, 3 P.M.

Saturday, November 1, 8 p.m., and Sunday, November 2, 2014, 3 p.m.

Symphony Orchestra as soloist for its performances of Messiah. She sings the role Maddalena in Opera Birmingham’s Rigoletto, and Bach’s B Minor Mass and Messiah with the National Philharmonic. This past season, Wór sang in Alexander Nevsky and Messiah with the National Philharmonic.

Robert Baker, tenor

Tenor Robert Baker has been featured in more than 300 performances with the Washington National Opera. He has also sung 10 roles with the Washington Concert Opera. Career highlights include the role of Ishmael in the world premiere of Peter Westergaard’s Moby Dick at Princeton University and his Metropolitan Opera debut in Prokofiev’s War and Peace.

Christòpheren Nomura, baritone

Wór photo by Magdalena Moulson

Hailed as one of classical music’s “rising stars” by The Wall Street Journal, baritone Christòpheren Nomura has appeared with many of the prominent North American orchestras, including the Boston, San Francisco, National, Vancouver, Baltimore, Indianapolis, Pacific, Utah and Memphis symphonies.

He also has appeared with the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, Philharmonia Baroque Orchestra and Symphony Nova Scotia.

Stephen’s Cathedral in Vienna, became gravely ill, Wolfgang Mozart, who had never composed much sacred music, saw an opportunity to enhance his faltering income and thus maneuvered to succeed Hofmann by turning his attentions to church music. At that time, Mozart’s wife made one of her periodic visits to the spa at Baden, outside of Vienna. Mozart composed this motet for the choirmaster Anton Stoll, who often performed sacred music, to use at a Corpus Christi Day service at his small parish church in Baden on June 17 or 18, 1791, because Stoll had often helped Mozart by making the travel arrangements for his wife; this work was possibly written in thanks.

With only 46 bars of music and orchestral writing that provides introduction, transition and ending, the choral setting has an elegant simplicity and great depth of feeling with the chorus mainly singing the same text at the same time.

The text originates in a 14th century Latin hymn of uncertain authorship, which recounts one of the most painful and heart-wrenching moments of Christ’s crucifixion. The work is scored for chorus, strings and continuo.

Ave, ave verum corpus natum de Maria virgine, vere passum immolatum in cruce pro homine.

Program Notes

Cujus latus perforatum unda fluxit et sanguine esto nobis praegustatum in mortis examine.

(Hail, true body born of the Virgin Mary, that truly suffered on the cross for mankind, whose side was pierced from where blood and water flowed for us, giving for us a foretaste of the testing of death.)

Ave Verum Corpus, K. 618

Exsultate Jubilate, K. 165

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

On Oct. 23, 1772, Leopold Mozart and his 16-year-old son, Wolfgang, set off from Salzburg for Milan, where the young composer was to complete the

Wolfgang Amadeus Mozart When in the spring of 1791, Leopold Hofmann, Kapellmeister at St.

Wolfgang Amadeus Mozart

music of the opera Lucio Silla in time for the first performance on Dec. 26.

In a letter he sent his sister on Dec. 5, Wolfgang said that he still had 14 numbers to compose, could think of nothing but the opera and could write an aria more easily than a letter.

When Lucio Silla turned out to be a great success, as though in relief, Mozart turned to instrumental music, and during his remaining weeks in Milan, wrote four string quartets, a divertimento for 10 wind instruments, a brief offertory of vocal duet and the remarkable motet, Exsultate Jubilate.

The offertory survives in a text of questionable authenticity and is little known, but the motet is one of Mozart’s earliest great works and one of his most popular. He called it a motet because it is a setting of a sacred text, but it is, in effect, a brief, brilliant three-movement concerto, in a fast-slow-fast pattern, for voice and orchestra, with a recitative preceding the slow movement. The work has always been especially popular because of its expressiveness.

He composed the work for the male soprano Venanzio Rauzzini (17461810), who was cast as the primo uomo in Lucio Silla (but not the title character), and who sang it for the first time on Jan. 17, 1773, at the Theatine Church in Milan. Rauzzini was of course a castrato, a male singer castrated during childhood to prevent his voice from changing.

In his book The Present State of Music in Germany (1773), the acute English observer Charles Burney wrote that in Munich, “the first singer in the serious opera is Signor Rauzzini, a young Roman of singular merit who is engaged to sing in an opera by young Mozart in Milan; he is not only a charming singer and a good actor, but a more excellent contrapuntist and performer on the harpsichord than a singer is usually allowed to be, as all kind of application to the harpsichord or composition is supposed by the Italians to be prejudicial to the voice.”

Leopold, the young composer’s

applause at Strathmore • NOVEMBER/DECEMBER 2014 23

Saturday, November 1, 8 p.m., and Sunday, November 2, 2014, 3 p.m.

father, seems not to have cared very much for Rauzzini from the time he first heard him, in Vienna in 1767, and to Wolfgang he was apparently just another singer for whom he had to write, but every note of Exsultate Jubilate was carefully written to suit his voice and his style of performance.

Allegro: Exsultate, jubilate, o vos animae beatae. Dulcia cantica canendo cantui vestro respondendo, psallant aethera cum me. (Exult, rejoice, O ye happy souls. With the chanting of charming chants, in response to your song, the heavens are singing along with me.)

Recitativo: Fulget amica dies, iam fugere et nubila et procellae. Exortus est justis inexspectata quies. Undique obscura regnabat nox. Surgite tandem laeti, qui timuistis adhuc, et jucundi aurorae fortunatae frondes dextera plena et lilia date. (A lovely day is gleaming, now that both clouds and storms have fled. An unexpected calm has arisen for the just, wherever dark night used to reign.

Rise up and rejoice at last, ye who were fearful until now, and enjoy the blessed dawn. From full hands offer garlands and lilies.)

Larghetto: Tu virginum corona, tu nobis pacem dona, tu consolare affectus unde suspirat cor. (O Thou crown of virgins, grant us peace to calm the passion from which the heart is sighing.)

Allegro non troppo: Alleluja!

Requiem, K. 626

Wolfgang Amadeus Mozart Until recently, music historians entertained two views about the creation of Mozart’s Requiem. The first version became popularized in the play and movie Amadeus, where the composer Antonio Salieri, Mozart’s rival, becomes obsessed with disrupting Mozart’s success and commissions the Requiem in an attempt to cause Mozart’s death. This version is completely false.

The second legend maintained that Count Walsegg appeared to Mozart

Mozart’s Requiem Text and Translation

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Grant them eternal rest, Lord, and let perpetual light shine upon them.

Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omnis caro veniet.

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla.

Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus!

How great a trembling there will be when the Judge will appear and scatter all things!

Tuba mirum spargens sonum,

Per sepulchra regionum,

Coget omnes ante thronum.

The trumpet, sending its wondrous sound throughout the tombs of every land, will gather all before the throne.

Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

Death and nature will be astounded when all creation rises again to answer to the Judge.

Liber scriptus proferetur, In que totum continetur, Unde mundus Judicetur.

A written book will be brought forth, in which everything will be containedby which the world will be Judged.

Judex ergo cum sedebit, quidquid latet, apparebit, Nil inultum remanebit.

And when the Judge takes his place, whatever is hidden shall be made manifest; nothing will remain unpunished.

Quid sum, miser tunc dicturus?

Quem patronem rogaturus, Cum vix justus sit securus?

What shall a wretch such as I say then? Of what patron shall I ask help when the righteous are scarcely secure?

Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis!

Thou art praised, God, in Zion, and unto Thee will a vow be paid in Jerusalem.

Hear my prayer; unto Thee all flesh shall come.

Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us.

Day of wrath, that day, the world will dissolve in ashes, as prophesied by David and the Sibyl.

King of terrible majesty, who freely saves those worthy to be redeemed, save me, Source of Mercy.

Recordare, Jesu pie,

Quod sum causa tuae viae

Ne me perdas illa die.

Quaerens me, sedisti lassus,

Redemisti crucem passus;

Tantus labor non sit cassus.

Remember, merciful Jesus, that I am the cause of Thy Journey on earth; let me not be lost on that day.

Seeking me, Thou has sat down weary; Thou who suffered on the cross hast redeemed me; may such great effort not prove in vain.

Juste Judex ultionis, Donum fac remissionis Ante diem rationis.

Just Judge of Vengeance, give me the gift of redemption before the day of reckoning.

Ingemisco tamquam reus, Culpa rubet vultus meus; Supplicanti parce, Deus.

I moan as one accused; my countenance is flushed with guilt; O God, spare the suppliant.

Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti

Thou who hast absolved Mary Magdalene and inclined Thine ear to the Thief hast given me hope also.

24 applause at Strathmore • NOVEMBER/DECEMBER 2014

Saturday, November 1, 8 p.m., and Sunday, November 2, 2014, 3 p.m.

Preces meae non sunt dignae, Sed tu bonus fac benigne, Ne perenni cremer igne.

My prayers are not worthy; but, Good One, have thou mercy, lest I burn in everlasting fire.

Inter oves locum praesta, Et ab haedis me sequestra; Statuens, in parte dextra.

Confutatis maledictis, Flammis acribus abdictis, Voca me cum benedictis.

When the cursed are confounded and assigned to bitter flames, call me among the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

I pray, suppliant and kneeling, my heart contrite as ashes; take into Thy care my ending.

Lacrymosa dies illa!

Qua resurget ex favilla Judicandus homo reus.

Huic ergo parce, Deus.

Pie Jesu, Domine, Dona eis requiem. Amen.

Domine Jenu Christe, Rex gloriae, libera animas omnium fidelium de functorum de poenis inferni, et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tar- tarus, ne cadent in obscurum; sed signifer sanctus Michael, repre sentet eas in lucem sanctam;

Lord Jesus Christ, King of Glory, deliver the souls of all the faithful dead from the punishment of hell and from the deep lake. Deliver them from the lion’s mouth; let not hell swallow them; let them not fall into darkness; but let St. Michael, the standard bearer, bring them into the holy light;

Quam olim Abrahae promisisti, et semini eius.

Which once Thou didst promise to Abraham and his seed.

Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie memor- iam facimus; fac eas, Domine, de morte transire ad vitam;

Quam olim Abrahae promisisti, et semini eius.

Sanctus, sanctus, sanctus, Domine Deus Sabbaoth, Pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

Benedictus qui venit in nomine Domine.

Hosanna in excelsis.

Agnus Dei, qui tollis peccata mundi: dona eis requiem Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

Lux aeterna luceat eis, Domine.

Cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis.

Cum sanctis tuis in aeternum, quia pius es.

Give me a favored place among the sheep and separate me from the goats, keeping me on thy right hand.

That day will be one of weeping, on which shall rise again from ashes accused man, to be Judged; therefore, spare him, God. Merciful Lord Jesus, grant them rest.

Amen.

Offerings of prayer and praise we bring Thee, O Lord; receive them for those souls whom today we commemorate. Let them go from death into that life; Which once Thou didst promise to Abraham and his seed.

Holy, holy, holy, Lord God of Hosts, Heaven and earth are full of Thy glory.

Hosanna in the highest.

Blessed is he that cometh in the name of the Lord.

Hosanna in the highest.

Lamb of God, that takest away the sins of the world, grant them rest.

Lamb of God, that takest away the sins of the world, grant them rest everlasting.

Let eternal light shine upon them, Lord, and upon Thy saints forever, for Thou art merciful.

Grant them eternal rest, Lord, And let perpetual light shine upon them. And upon Thy saints forever, for Thou art merciful.

anonymously dressed in dark clothing and handed him an unsigned letter directing him to compose a requiem. With some trepidation, Mozart accepted the commission. Some time later, the mysterious stranger reappeared and asked when the Requiem would be finished. The composer, in low spirits and poor health, presumably believed this gaunt gray-cloaked man was Death’s messenger.

Actually, Walsegg, an amateur composer, commissioned the work wishing to pass it off as his own, hoping auditors would believe he had written it to memorialize his recently deceased wife. Walsegg habitually commissioned works and recopied them in his own hand. No one knows if Mozart understood Walsegg’s proclivity or his intentions. Presumably, Mozart saw the implications of his cooperation with his wealthy client and intended to enter the Requiem in his own catalog.

Mozart died before he finished the commission, but Constanze, his widow, feeling the work was among Mozart’s finest, wanted to “liberate it from the limbo of the stillborn.”

Also unwilling to forfeit the commission, she attested Mozart had left little to do to complete the score, but since his particella, or short score, survived, scholars know her statement was a misrepresentation. Mozart’s students, especially Franz Süssmayr, completed the work, so Constanze could collect the outstanding fee. Mozart composed the complete Kyrie, but he did not enter the Sanctus, Benedictus and Agnus Dei into the particella,. On those parts, Süssmayer did his most substantial work.

He completed other sections, filling in orchestration and the ends of sections. According to Richard Maunder, an eminent Mozart scholar, Mozart’s widow Constanze asked several musicians to finish the piece before deciding on Süssmayr, who was considered a highly inferior musician.

Mozart had been about to begin work on the Requiem when he received a commission from the city of

applause at Strathmore • NOVEMBER/DECEMBER 2014 25

Saturday, November 1, 8 p.m., and Sunday, November 2, 2014, 3 p.m.

National Philharmonic Orchestra and Chorale First Violins Colin Sorgi ^

Cellos Lori Barnet ^

Concertmaster

Principal

Principal

Todd Thiel ^ Kerry Van Laanen ^ Barbara Brown April Chisholm Danielle Cho Ken Ding Catherine Francis Andrew Hesse Beth Peterson Kristen Wojcik

Trumpets Chris Gekker ^

Jody Gatwood 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 ^

Basses Robert Kurz ^ Principal

Shawn Alger Kelly Ali Barbara Fitzgerald William Hones Michael Rittling Mark Stephenson

Mark Wakefield ^ Justin Drew David Smith Margaret Tung

Principal

Robert Birch ^ Robert & Margaret Hazen Chair

John Abbracciamento Brent Madsen Trombones David Sciannella ^ Principal

James Armstrong Jeffrey Cortazzo Tuba Willie Clark

Flutes David Whiteside ^

Timpani & Percussion Tom Maloy ^

Principal

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

Associate Principal emeritus Bass Clarinet

Leonora Karasina ^ Mark Pfannschmidt ^ Phyllis Freeman Stephanie Knutsen Margaret Lang Jennifer Rende Chris Shieh Derek Smith Tam Tran

French Horns Michael Hall ^

Carolyn Alvarez-Agria Bassoons Erich Hecksher ^ Principal

Katherine Jones Sandra Sisk Contrabassoon Nicholas Cohen

Prague for an opera, La Clemenza di Tito, which needed to be ready four weeks later for the coronation of Emperor Leopold II as King of Bohemia.

Simultaneously, he was completing The Magic Flute. Immediately after the first performance of The Magic Flute, Mozart began intensive work on the Requiem. On Dec. 4, he was still laboring over it and even sang parts of it for his family and a few friends, but on that evening, when he was previewing the opening of the Lacrymosa, he burst into tears, and the impromptu performance ended. Within hours, Mozart died. Although he

Aubrey Adams Curt Duer Robert Jenkins Bill Richards Harp Rebecca Smith Elizabeth Blakeslee Keyboard William Neil Jeffery Watson Theodore Guerrant Sopranos Jacqueline Andros Marietta R. Balaan Emily A. Bell Mary Bentley * Jocelyn Bond Cheryl Branham Kristin Brown Rebecca Carlson ** Cheryl Castner Anne P. Claysmith Nancy A. Coleman Eileen S. DeMarco Lauren Drinkwater Alejandra Durán-Böhme Lisa Edgley Daniela Fiore

Meg Flanagan Sarah B. Forman Caitlin A. Garry ** Carole L. Haas Denise R. Harding Etahjayne H. Harris Linda Hosler Robyn Kleiner Jessica Holden Kloda Eun Hye Kim Joanna Lam Carolyn Rodda Lincoln Kaelyn Lowmaster Sharon Majchrzak-Hong Kathryn McKinley Sara W. Moses Katherine Nelson-Tracey * Mary Beth Nolan Gloria Nutzhorn Juliana S. O’Neill Lynette Posorske Emily Pulse Maggie Rheinstein Carlotta Richard Lisa Romano Theresa Roys Katherine Schnorrenberg Carolyn J. Sullivan Chelsea Toledo Cathlin Tully Ellen van Valkenburgh Susanne Villemarette Jessica Williams Lynne Woods Sara Zoeller Altos Helen R. Altman Toni Barrett Carol Bruno Carolyn Chuhta Melissa Culp Erlinda C. Dancer Sandra L. Daughton Jenelle M. Dennis Deirdre Feehan Robin Fillmore Shannon Finnegan Elissa Frankle Francesca Frey-Kim Maria A. Friedman Julia C. Friend Andrea Frisch Elizabeth Bishop Gemoets Jeanette Ghatan Sarah Gilchrist Lois J. Goodstein

left three movements incomplete, the Requiem nevertheless remains Mozart’s masterpiece. The monumental and sober work utilizes rich contrapuntal textures— tributes to the Baroque masters Bach and Handel; Mozart cherished the Baroque fugue that Constanze had especially strongly encouraged him to study.

The orchestration Mozart intended appears in his opening Introit, and dominates the dark, rich sound of the work. Notably absent are flutes and oboes; instead, Mozart secures mournful sounds from basset horns and bassoons. The intensity of chorus and

26 applause at Strathmore • NOVEMBER/DECEMBER 2014

Jacque Grenning Stacey A. Henning Jean Hochron Sara M. Josey * Marilyn Katz Irene M. Kirkpatrick Martha J. Krieger ** Meg Larkin Melissa J. Lieberman * Corinne Loertscher Julie S. MacCartee Nansy Mathews Susan E. Murray Daryl Newhouse Martha Newman Patricia Pillsbury Ann E. Ramsey-Moor Beryl M. Rothman Lisa Rovin Samantha Scheff 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 Ruth W. Faison * Yubin Hung Don Jansky Joseph E. Jones Curt Jordan Tyler A. Loertscher Jane Lyle David Malloy Michael McClellan Chantal McHale Eleanor McIntire Wayne Meyer ** Tom Milke Rolf Moeckel Tom Nessinger Steve Nguyen Drew Riggs Dennis Vander Tuig Tyler Zimmerman

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 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 Michael Wu Theodore Guerrant Accompanist, Theodore M. Guerrant Chair ^ National Philharmonic tenured musicians * section leader ** assistant section leader

orchestra appears early although the work begins quietly and pensively, and the opening movement ends with a double fugue.

The first public performance of the Requiem occurred in Vienna in 1792.

The Requiem requires soprano, mezzo-soprano, tenor and baritone soloists and a four-part chorus. The piece is darkly scored for two basset horns (a form of tenor clarinet in use at the time), two bassoons, two trumpets, three trombones, timpani, strings and organ. ©Susan Halpern, 2014

Thursday, November 6, 2014, 8 p.m.

● Strathmore Presents

Vijay Iyer—Music of Transformation RADHE RADHE: Rites of Holi Music by Vijay Iyer Film by Prashant Bhargava Featuring Anna George as Radha Performed by the International Contemporary Ensemble (ICE) with Tyshawn Sorey, percussion; Michi Wiancko, violin; Miranda Cuckson, viola Conducted by David Fulmer Mutations I-X Vijay Iyer, piano, electronics Miranda Cuckson, violin Michi Wiancko, violin Kyle Armbrust, viola Kivie Cahn-Lipmann, cello RADHE RADHE: Rites of Holi was created for and commissioned by Carolina Performing Arts at The University of North Carolina at Chapel Hill. Additional commissioning funds for revision and completion of the work were provided by The Brooklyn Academy of Music/Next Wave Festival, CAP UCLA and The Strathmore Hall Foundation.

The Music Center at Strathmore Marriott Concert Stage

About RADHE RADHE: Rites of Holi from Vijay Iyer A few years ago we were invited to commemorate the 100th anniversary of Stravinsky and Nijinsky’s notorious work of music and dance, Le Sacré du Printemps.

We chose to work together on a piece about a very different springtime ritual, one closer to our reality. Holi celebrates the meeting of the earthly and the divine. The mortal-born Radha’s contact with the god Krishna personifies our interactions with the forces of nature.

The only detail we borrowed directly from Stravinsky is the 12-episode form, which helps us draw attention to the different stages of Holi and various aspects of the goddess Radha. As a composer, I was guided by the film’s inherent pulses— the rhythms of a people in transformation. The process

of contemplating these energies took us both somewhere unexpected. I hope it does the same for you. Thanks for watching and listening.

About RADHE RADHE: Rites of Holi from Prashant Bhargava

When Vijay asked me to respond to Stravinsky’s The Rite of Spring with a project about Holi, the connection was not immediate. The Rite of Spring is a dark, dissonant work, and Holi is a joyous festival. Where could the two meet?

Stravinsky and Nijinsky were two exiles who drew from their ancestral folklore. With this parallel in mind, we decided to shoot the festival of Holi in the mythological home of Krishna and Radha, in the Braj region of Uttar Pradesh. Shooting was chaotic and cathartic: every evening for eight

28 applause at Strathmore • NOVEMBER/DECEMBER 2014

days, our crew returned drenched in color, beaten and exhausted, only to be swept back up in more feverish celebrations the next morning.

At home, I sifted through the hours of footage while listening to The Rite of Spring. Letting go of when or where the footage was shot, I started sculpting the edit around the arc of Stravinsky’s chapters. To complete the work, I wanted to show Radha not just adored and desired by her devotees, but also as a woman on a transforming journey.

Anna George’s role explores Radha as a living force.

Incorporating sounds of the actual event, Vijay’s composition propels us to a state of renewal. When I witnessed the live performance alongside the film it was beyond my imagination. I consider Vijay and myself in the tradition of those two exiles, challenging audiences by creating something new from the old.

Vijay Iyer

Grammy-nominated composer-pianist Vijay Iyer, described

by Pitchfork as “one of the most interesting and vital young pianists in jazz today,” was recently named DownBeat Magazine’s 2014 Pianist of the Year. He also is a 2013 MacArthur Fellow and a 2012 Doris Duke Performing Artist.

In March 2014, Iyer released the album Mutations, which features his original music for piano, string quartet and electronics. His previous release, Holding It Down: The Veterans’ Dreams Project (2013), was his third collaboration with poet Mike Ladd, based on the dreams of veterans of color from America’s wars in Iraq and Afghanistan. It was hailed as the No. 1 Jazz Album of the Year by the Los Angeles Times.

Iyer’s many collaborators include Steve Coleman, Wadada Leo Smith, Roscoe Mitchell, Butch Morris, George Lewis, Amina Claudine

Jimmy Katz

THURSDAY, NOVEMBER 6, 2014, 8 P.M.

Thursday, November 6, 2014, 8 p.m.

Myers, and William Parker. His compositions have been commissioned and performed by Bang on a Can All-Stars, The Silk Road Ensemble, Ethel, Brentano String Quartet, JACK Quartet, American Composers Orchestra, Hermès Ensemble, International Contemporary Ensemble, and Imani Winds.

Iyer recently finished a multi-year residency with San Francisco Performances, performing and working with schools and community organizations. In 2014 he began a permanent appointment at Harvard University’s Department of Music, as the Franklin D. and Florence Rosenblatt Professor of the Arts.

Prashant Bhargava

Prashant Bhargava is an award-winning filmmaker and commercial director/designer, described by producer Anthony Bregman as “visionary and soulful,” “masterful” by Roger Ebert and “a humanist and a real talent” by Michael Phillips of the Chicago Tribune.

Bhargava’s feature length directorial debut, Patang (The Kite), premiered at the Berlin Film Festival and in the main competition at the Tribeca Film Festival. It won Best Feature Narrative at the Hawaii Film Festival, Best World Narrative at the Indy Film Festival, a Special Jury Award at the Osians Film Festival in New Delhi, Best Feature Narrative at the DC APA Film Festival and Best Director and Best Film at the SAIFF’s Rising Star Film Awards.

Other directorial efforts include the documentary portrait of his grandmother, Ammaji, experimental Super 8 short Backwaters, and the poignant and meditative Kashmir, a film and live music performance with electronic band Dawn of Midi.

About International Contemporary Ensemble

The International Contemporary Ensemble (ICE) is dedicated to reshaping the way music is created and experienced. With a modular makeup

of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement.

Since its founding in 2001, ICE has premiered more than 500 compositions around the world. ICE was ensemble-in-residence at the Museum of Contemporary Art Chicago through 2013. The ICE musicians also served as artists-in-residence at the Mostly Mozart Festival of Lincoln Center through 2013, curating and performing chamber music programs that juxtapose new and old music.

Recent and upcoming highlights include headline performances at the Lincoln Center Festival (New York), Musica Nova Helsinki (Finland), Wien Modern (Austria), Acht Brücken Music for Cologne (Germany), La

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Cité de la Musique (Paris) and tours of Japan, Brazil and France.

With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This program places teams of ICE musicians in close collaboration with six emerging composers each year to develop works that push the boundaries of musical exploration. ICElab pro­ jects will be featured in more than one hundred performances from 2011to 2014, and will be documented online through ICE’s blog, and DigitICE, a new online venue.

Staff for ICE includes Claire Chase, artistic director/CEO; Joshua Rubin, program director; Jonathan Harris, business manager; Ross Karre, production director; Jacob Greenberg, education director; Rebekah Heller, development associate; Ryan Muncy, grants manager; Forrest Wu, assistant to the artistic director/CEO; Maciej Lewandowski, program assistant.

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PotomacAudiology.com applause at Strathmore • NOVEMBER/DECEMBER 2014 29

Saturday, November 8, 2014, 8 p.m.

SATURDAY, NOVEMBER 8, 2014, 8 P.M.

● Strathmore Presents

Academy of Ancient Music Richard Egarr, director & harpsichord

Orchestral Suite No. 4, BWV 1069 (c.1725) Johann Sebastian Bach

Ouverture (1685-1750)

Bourrée I-II Gavotte

Minuet I-II Réjouissance Orchestral Suite No. 2, BWV 1067 (c.1738-9) Ouverture Rondeau Sarabande

Bourrée I-II

Polonaise (Lentemente) – Double Minuet Badinerie Orchestral Suite No. 1, BWV 1066 (c.1725) Ouverture Courante

Gavotte I-II Forlana

Minuet I-II

Bourrée I-II

Passepied I-II

Orchestral Suite No. 3, BWV 1068 (1731) Ouverture Air

Gavotte I-II Bourrée Gigue The Music Center at Strathmore Marriott Concert Stage

About the Academy of Ancient Music

For more than 40 years the Academy of Ancient Music (AAM) has enriched the lives of thousands the world over with historically informed performances of baroque and classical music.

In 2006 Richard Egarr succeeded founder Christopher Hogwood as music director, and has since led the orchestra on tours of Europe, Australia, the United States and the Far East. His notable

recordings with AAM include J.S. Bach’s Brandenburg Concertos, Handel’s complete instrumental works Opp.1-7, music by the 17th century English composer Christopher Gibbons, and Birth of the Symphony: Handel to Haydn, the first release on the orchestra’s in-house record label AAM Records.

The AAM’s 2014-2015 season will include Monteverdi’s L’incoronazione di Poppea and Mozart’s magisterial piano concertos. Planned releases on AAM

30 applause at Strathmore • NOVEMBER/DECEMBER 2014

Records in 2014-2015 include recordings of J.S. Bach’s Orchestral Suites and the 1727 version of the St. Matthew Passion.

The AAM is associate ensemble at London’s Barbican Centre and orchestra-in-residence at the University of Cambridge.

Richard Egarr

Described as “the Bernstein of Early Music” by NPR, Richard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making.

He is renowned for directing from the keyboard, conducting, playing concertos (on the organ, harpsichord, fortepiano or modern piano), giving solo recitals, playing chamber music, or talking about music at any available opportunity.

Since 2006 Egarr has been music director of the Academy of Ancient Music, with whom current plans include a three-year Monteverdi opera cycle at the London’s Barbican Centre, where the orchestra is associate ensemble.

Egarr regularly appears as guest director with other leading ensembles, ranging from Boston’s Handel and Haydn Society to the Royal Concertgebouw and Philadelphia orchestras. He is currently principal guest conductor of the Residentie Orchestra in The Hague, and associate artist of the Scottish Chamber Orchestra. He also holds teaching positions at the Juilliard School and at the Amsterdam Conservatorium.

Egarr’s plans for 2014-2015 in North America include an eight-concert tour with the Academy of Ancient Music, with appearances at Carnegie Hall and Walt Disney Concert Hall; his debut with the Seattle Symphony Orchestra; a return to the Handel and Haydn Society, Boston; Purcell’s Dido and Aeneas with Les Violons du Roy at Carnegie Hall in April; and a Bach and Handel harpsichord recital, also at Carnegie Hall, in January

History of the Academy of Ancient Music

When Christopher Hogwood founded the group in 1973, the world’s orchestras performed old music in a thoroughly modern style. The works

Saturday, November 8, 2014, 8 p.m.

Academy of Ancient Music First Violin Pavlo Beznosiuk Second Violin Bojan Cˇicˇi´c Viola Jane Rogers Cello Jonathan Rees

patrick harrison

Double Bass Judith Evans Flute Rachel Brown

of Bach, Handel, Haydn and Mozart were enshrouded by the accumulation of centuries of shifting tastes and incremental developments in instrument building and design.

With the creation of the Academy of Ancient Music, centuries of convention were cut away. The instruments are originals, or faithful copies of them. The strings are made of animal gut, not steel; trumpets have no valves; violins and violas don’t have chinrests; and cellists cradle their instruments between their legs rather

than resting them on the floor. The result is a sound that is bright, immediate and striking. Additionally, the size of the orchestra is often small by modern standards, meaning that every instrument shines through and the original balance of sound is restored.

Also, AAM strips away a score’s later additions and editors’ annotations to get back to the composers’ initial notes, markings and ideas.

There’s also a difference in the way AAM approaches music-making.

Composers prized musicians’ creativity

Oboes Frank de Bruine Lars Henriksson Gail Hennessy Bassoon Ursula Leveaux Trumpets Richard Fomison Richard Thomas Tim Hayward Timpani Benedict Hoffnung

and expected them to make music come alive and to communicate its thrill to audiences. To that end, AAM often doesn’t have a conductor, but is directed by one of the musicians.

AAM aims to recapture the intimacy, passion and vitality of music when it was first composed. The result is performances that are full of energy and vibrancy, and which combine the superb artistry and musical imagination of the players with a deep understanding of music as it was originally performed.

applause at Strathmore • NOVEMBER/DECEMBER 2014 31

Wednesday, November 12, 2014, 8 p.m.

WEDNESDAY, NOVEMBER 12, 2014, 8 P.M.

● Strathmore Presents

Ludovico Einaudi and Ensemble Present In A Time Lapse Federico Mecozzi, violin and guitar Marco Decimo, cello Redi Hasa, acoustic and electric cello Alberto Fabris, live electronics and electric bass Francesco Arcuri, kalimba, steel drums and guitars Riccardo Lagana, percussion The Music Center at Strathmore Marriott Concert Stage

Ludovico Einaudi

Luminous, emotive, effortlessly lyrical and always supremely refined, the music and performance of Ludovico Einaudi have attracted a growing audience over the past two decades.

His music has often been heard in Hollywood blockbusters, including Black Swan, The Reader, This Is England, and J. Edgar, as well as high profile ad campaigns. The National Basketball Association Championships, Nissan, American Airlines, and Sony Blu Ray all are among the many who have used Einaudi’s lyrical, atmospheric works.

Einaudi’s earliest musical recollection is listening to his mother, Renata

Aldrovandi, playing the piano and it’s from her that he feels he inherited his musical passion. Musical ability is a strong trait on that side of the family as Einaudi’s maternal grandfather, Wando Aldrovandi, was a noted pianist, opera teacher and conductor.

Wando Aldrovandi also helped establish the Sydney Opera Company and the Sydney Symphony Orchestra.

Einaudi was born in Turin, Italy on Nov. 23, 1955. He applied himself to his traditional studies and won a place at one of Italy’s most prestigious conservatories, Milan’s Conservatorio ‘G. Verdi,’ where he trained as a classical composer and pianist before

Ludovico Einaudi 32 applause at Strathmore • NOVEMBER/DECEMBER 2014

continuing his studies with Luciano Berio, one of the most important composers of the 20th century avant-garde.

Performances duly followed at venues including the Teatro alla Scala, Milan; the Maggio Musicale Fiorentino; the Tanglewood Festival; Pierre Boulez’s IRCAM Institute in Paris; the St Paul Chamber Orchestra (USA); Settembre Musica; Lincoln Center in New York; the UCLA Centre for Performing Arts; and the Budapest Music Festival. However, he turned away from what seemed a glittering classical career to forge his own musical path, giving him the freedom to reconcile his wider-ranging influences.

“The serious music world began to seem very academic and oppressive. I was very captured by the conceptual ideas of the music I was writing but I couldn’t find myself inside. I felt there wasn’t a connection with my emotional side ... I began to notice that when I was able to leave free space inside the experimental pieces, these were the moments I liked most ... I also felt that I didn’t want to leave out all the music I had experienced in my life; popular music, rock music.”

And so in the mid-1980s he began to break with orthodoxy and search for a more personal mode of expression, one that could reconcile and provide a vehicle for his various musical influences and ideas. His first experiments in this direction were via a series of collaborative works in theater, dance and multimedia, forms which naturally demanded a much looser and more experimental approach, and also allowed for a greater emphasis on rhythm and repetition than was allowed by the traditional establishment in concert works.

The new musical language he had arrived at was a synthesis of various music he enjoyed and felt empathy with, from echoes of classical composers such as Philip Glass and Steve Reich to the ‘ambience’ of Brian Eno to world music to rock and pop bands such as U2 and Pink Floyd. Over a lifetime he had taken in these and other influences and was now able to connect them, forging his personal language from the result.

Thursday, Thursday, November May13, 1, 2014, 2014, 88 p.m. p.m.

Jim Owen (John Lennon),

THURSDAY, NOVEMBER 13, 2014, 8 P.M.

rhythm guitar, piano, vocals

Jim Owen was born and raised in Huntington Beach, Calif. He gained rich musical experience from his father, who played music on the piano and from his extensive library of recordings. Owen began studying the piano at age 6 and won honors in various piano performance competitions through his teenage years. He was 8 years old when he first heard The Beatles, and promptly decided to take up the guitar.

Owen’s first professional performance as a Beatle was at 16. Then, at age 18, he began touring internationally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America. In 1996, Owen began working on his idea for a new show with orchestra. Classical Mystery Tour was the result.

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

Presents

Classical Mystery Tour The Beatles’ 1964 summer tour set, as performed at the Baltimore Civic Center on Sunday, Sept. 13, 1964: “Twist and Shout” “You Can’t Do That” “All My Loving” “She Loves You” “Things We Said Today” “Roll Over Beethoven” “Can’t Buy Me Love” “If I Fell” “I Want to Hold Your Hand” “Boys” “A Hard Day’s Night” “Long Tall Sally”

INTERMISSION

David John (George Harrison),

Performing selections from the following: “Back in the USSR” “Come Together” “Dear Prudence” “Drive My Car” “Get Back” “Golden Slumbers/Carry That Weight/The End” “Got to Get You Into My Life” “Hello, Goodbye” “Here Comes the Sun” “I Am the Walrus” “Imagine” “Lady Madonna” “Let It Be” “Ob-la-di, ob-la-da” “Revolution” “Sgt. Pepper’s Lonely Hearts Club Band” “While My Guitar Gently Weeps” “With a Little Help From My Friends”

lead guitar, vocals

Originally from Nebraska but now living in Salt Lake City, Utah, David John has been performing in various musical acts since age 17. He has shared the stage as an opening act with the Beach Boys, Chicago, Peter Noone & Herman’s Hermits, Young Rascals, Glen Campbell, America, Kansas, Styx, Peter Frampton, Night Ranger, Ted Nugent, Romantics, K.C. and the Sunshine Band, Hall & Oates, Hootie & the Blowfish, John Waite, Big Bad Voodoo Daddy, Buddy Guy and the Temptations.

Please note that the BSO does not perform on this program The Music Center at Strathmore Marriott Concert Stage

Tony Kishman (Paul McCartney), bass guitar, piano, vocals

Singer-songwriter Tony Kishman was born in Tucson, Ariz., where he began his musical career in the early 1970s. Although he had been playing guitar for a number of years, it was not until age 19 that Kishman started performing seriously.

Kishman’s early influences included

Wishbone Ash, Bad Company and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals. Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe.

Chris Camilleri (Ringo Starr), drums, vocals

Born and raised on Long Island, N.Y., Chris Camilleri had a convenient drum teacher: his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings.

Gradually he gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally renowned Beatles cover band Liverpool.

applause at Strathmore • NOVEMBER/DECEMBER 2014 33

Friday, November 14, 2014, 8:15 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

Presents

Off the Cuff Shostakovich: Notes for Stalin Marin Alsop, conductor Jered McLenigan, actor Richard Poe, actor Tony Tsendeas, actor A Symphonic Play written and directed by Didi Balle

Symphony No. 5 in D minor, Op. 47 Dmitri Shostakovich

Moderato (1906-1975) Allegretto Largo

Allegro non troppo al The concert will end at approximately 9:45 p.m.

World Premiere, Philadelphia Orchestra, conductor Yannick Nézet-Séguin, March 1, 2013 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, 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,

36 applause at Strathmore • NOVEMBER/DECEMBER 2014

“[Marin Alsop] connects to the public as few conductors today can.”

Didi Balle, playwright and stage director

In the spring of 2013, Marin Alsop and the Baltimore Symphony Orchestra announced the appointment of Didi Balle as the organization’s first playwright-inresidence. Tchaikovsky: Mad But For Music (April 2015) marks the fifth successful symphonic play collaboration and world premiere with Alsop and the BSO. Other commissioned works with Alsop include: CSI: Mozart; A Composer Fit for a King: Wagner & Ludwig II; Analyze This: Mahler & Freud and CSI: Beethoven. Symphonic plays commissioned and premiered by the Philadelphia Orchestra include Shostakovich: Notes for Stalin and The Secret Life of Isaac Newton.

Didi Balle’s work as a writer and director includes commissions, broadcasts and stage productions of her work from symphonic plays, radio musicals, musical theater, song cycles and opera. She’s created a new genre called symphonic plays borne out of a friendship and dynamic collaboration with Marin Alsop.

Founding director of Symphonic Stage Shows, Balle received her MFA from NYU’s Tisch School of the Arts, where she was awarded the Oscar Hammerstein Scholarship as a playwright-lyricist. Didi Balle is also a published writer and journalist and worked as an editor for The New York Times for 13 years.

Jered McLenigan

Jered McLenigan is a Philadelphiabased performer reprising the role of Shostakovich, which he performed with The Philadelphia

Alsop photo by dean alexander

FRIDAY, NOVEMBER 14, 2014, 8:15 P.M.

Friday, November Thursday, May 14, 2014, 1, 2014, 8:15 8 p.m.

Orchestra. He has worked with companies such as the Walnut Street Theatre, Wilma Theater, Lantern Theater, Theatre Exile, 1812 Productions, InterAct Theatre and Delaware Theatre Company.

He appeared off-Broadway in Inis Nua Theatre’s critically acclaimed production of Dublin by Lamplight at 59E59, which was part of the First Irish Theatre Festival. McLenigan received a Barrymore Award for Outstanding Supporting Actor in a Play for his role in It’s a Wonderful Life, a Live Radio Play (Prince Music Theater) and was recently nominated for the same award for his turn as Marc Antony in Julius Caesar (Lantern Theater).

He will next appear as Guildenstern in the Wilma Theater’s upcoming productions of Hamlet and Rosencrantz and Guildenstern are Dead.

Richard Poe

Richard Poe recently played Everett Dirksen in All the Way on Broadway. He received the 2013 Barrymore Award for Best Actor for his performance in The Outgoing Tide at the Philadelphia Theatre Company. On Broadway he’s been part of M. Butterfly (1988 Tony Award, Best Play), The Pajama Game with Harry Connick Jr. (2006 Tony Award, Best Musical Revival) and Journey’s End (2007 Tony Award, Best Play Revival). He has created roles in the premieres of plays by Christopher Durang and Paul Rudnick and toured the country as the First Gangster in the Tony Award-winning revival of Kiss Me, Kate.

On television, he has appeared on “Law & Order,” “Ed,” “Pride and Joy” and “Army Wives,” and has had recurring roles on “Frasier” and “The Five Mrs. Buchanans,” and was Gul Evek on “Star Trek: The Next Generation,” “Star Trek: Deep Space Nine” and “Star Trek: Voyager.” His films include roles in Speechless, Presumed Innocent, Transamerica, Born on the Fourth of July and Burn After Reading.

Tony Tsendeas

Tony Tsendeas has appeared in Didi Balle’s symphonic stage shows with The Colorado Symphony and The Philadelphia Orchestra.

Shows with the BSO include CSI: Mozart, CSI: Beethoven and Analyze That: Mahler and Freud.

Tsendeas’ work has received critical acclaim both in the U.S. and Europe. He was the artistic director of

the highly regarded Action Theater and was an artistic associate of the Baltimore Shakespeare Festival. He is a member of the theater faculty of the Baltimore School for the Arts. He was nominated for best actor in the Edinburgh Fringe Festival by London’s Stage Magazine for his performance in BeckettLand, which he also directed. Tsendeas also was nominated for a Helen Hayes award as best director for Wittenberg at Rep Stage.

Film and television credits include HBO’s “The Wire,” “Homicide: Life on the Streets,” and programs on The Learning Channel and The Discovery Channel.

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 Michael Repper, BSO-Peabody Conducting Fellow

First Violins Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair

Madeline Adkins

Associate Concertmaster, Wilhelmina Hahn Waidner Chair

Rui Du

Acting Assistant Concertmaster

James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto Gregory Mulligan Rebecca Nichols E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko Second Violins Qing Li

Principal, E. Kirkbride and Ann H. Miller Chair

Ivan Stefanovic

Associate Principal

Angela Lee

Assistant Principal

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

Delmar Stewart Jeffrey Stewart Mary Woehr

Clarinets Steven Barta

Cellos Dariusz Skoraczewski

Christopher Wolfe

Principal, Joseph and Rebecca Meyerhoff Chair

Chang Woo Lee

Associate Principal

Bo Li

Acting Assistant Principal

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

Hampton Childress Associate Principal

Owen Cummings Mark Huang Jonathan Jensen David Sheets Eric Stahl

E-flat Clarinet Christopher Wolfe Bassoons Fei Xie Principal

Julie Green Gregorian Assistant Principal

Schuyler Jackson** Contrabassoon David P. Coombs

Christopher Williams Assistant Principal

Percussion Christopher Williams

Principal, Lucille Schwilck Chair

John Locke Brian Prechtl

Harp Sarah Fuller** Piano Lura Johnson**

Sidney M. and Miriam Friedberg Chair

Horns

Director of Orchestra Personnel Nishi Badhwar

Gabrielle Finck

Assistant Personnel Manager David George

Associate Principal

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

Librarians Mary Carroll Plaine

Principal, Constance A. and Ramon F. Getzov Chair

Raymond Kreuger

Trumpets Andrew Balio

Marcia Kämper

Rene Hernandez

Stage Personnel Ennis Seibert

Piccolo Laurie Sokoloff

Nathaniel Hepler

Todd Price

Trombones Aaron LaVere

Charles Lamar

Principal, Dr. Clyde Alvin Clapp Chair

Noah Chaves Karin Brown

Principal, Harvey M. and Lyn P. Meyerhoff Chair Assistant Principal

Associate

Stage Manager

Assistant Stage Manager Audio Engineer

Principal, Alex Brown & Sons Chair

Mario Serruto

Melissa Hooper

Co-Principal

* On leave ** Guest musician

Michael Lisicky

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.

Principal, Peggy Meyerhoff Pearlstone Chair

Principal, Robert H. and Ryda H. Levi Chair

Associate Principal

Assistant Principal

Assistant Principal

English Horn Jane Marvine

Peter Minkler Sharon Pineo Myer

William Jenken

Principal

Flutes Emily Skala

Oboes Katherine Needleman

Viola Principal Emeritus

Assistant Principal

Principal, Willard and Lillian Philip Munds Principal, USF&G Hackerman Chair Foundation Chair

Violas Lisa Steltenpohl

Rebekah Newman Richard Field

Principal, Anne Adalman Goodwin Chair

Timpani James Wyman

James Olin

John Vance

Tuba

Kenneth S. Battye and Legg Seth Horner** Mason Chair

Electrician

applause at Strathmore • NOVEMBER/DECEMBER 2014 37

Saturday, November 15, 2014, 8 p.m.

SATURDAY, NOVEMBER 15, 2014, 8 P.M.

● Strathmore Presents

VOCA People Cast:

Lior Kalfo, Creator and Director Shai Fishman, Composer, Arranger and Music Director Revital & Lior Kalfo, Leeorna Solomons, Doron Lida, Producers Cindy Sibilsky, Associate Producer USA LIDOR ENTERTAINMENT, International Management Doron Lida, Leeorna Solomons, Worldwide Touring Ronen Sharon, Company Manager Gadi Bachar, Artistic Director Ornit Egosi, Marcom Manager Cindy Sibilsky, USA Marketing Manager Roy Milo, Lighting Designer Lior Kalfo, Choreography Hana Yefet, Costumes David Ottone, Gilad Kimchi, Artistic Advisors Kimberly Carbone, Sound Operator Alon Eittan, Light Operator Adi Kozlovsky, Tour Manager The Music Center at Strathmore Marriott Concert Stage

About VOCA People

Full of energy and bursting with fun, the international hit VOCA People features a repertoire of more than 80 a cappella and beat box versions of beloved and iconic songs, including favorites from Bruno Mars, Queen, and Mozart. The interactive show invites the audience to explore the history of music, music of the silver screen, and favorite love songs.

VOCA People had a year-long OffBroadway run and enjoyed its first 35city tour in 2013.

What began as an overnight YouTube sensation—with 50 million hits and counting—is now a world-renowned show that has excited and delighted

audiences in more than 20 countries around the globe since 2009.

Lior Kalfo

Lior Kalfo is an award-winning actor and creator. In 1995, he co-wrote and starred in one of Israel’s most popular TV comedy series, “The Comedy Store,” which ran for 102 episodes. The show won numerous awards including The Golden Album and The European Golden Antenna for best comedy series.

In 2003, he established the Israeli Black Light Theater Fun-Tazi with three shows: “Fun-Tazi,” “FunTazi Kids,” and an original version of Oscar Wilde’s classic tale “The Selfish

38 applause at Strathmore • NOVEMBER/DECEMBER 2014

Giant.” Along with his TV work, he invested three years of development and received over $1 million in investments from Broadway and European producers for his comical theater spectacle: the Matrix show “Glow!”

The show was launched in Belgium in August 2008.

VOCA People was an idea Kalfor carried in his mind for almost four years until the first rehearsals in February 2009 took place. The first video clip of VOCA People was launched in April 2009 on YouTube and had more than 6 million views worldwide after only four months.

Shai Fishman

Shai Fishman has been writing and creating music since age 8. His credits as a composer include Dinosaur’s Prophecy, 2012: Secrets of the Mayans, Night of the Titanic and the IMAX film Future Moon. His original musical theater productions include: Brecht’s The Caucasian Chalk Circle, Rachav’s Cabaret, The Dream: A Band, Return to Sender, Samson & Delilah, and Towards the Horizon.

Fishman recently was honored for his musical direction and arrangements on T-Mobile’s “Welcome Back” campaign and received the BTAA’s 2011 Best Commercial of the Year. He serves as head composer for NASA, Houston Museum of Natural Science, Avela Communications, Carnegie Museum of Natural History E-planetarium, and Rice University.

kfir bolotin

Nicholas Michael Anastasia Bar Klein Uri Elkayam Laura Dadap Mark Martin Tiago Grade Bryant Charles Vance Michal Reshef

Sunday, November 16, 2014, 3 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

Presents

Rachmaninoff & Shostakovich Marin Alsop, conductor Boris Giltburg, piano

Marche slave, Op. 31 Piotr Ilyich Tchaikovsky (1840-1893) Piano Concerto No. 1 in F-sharp minor, Op. 1 Sergei Rachmaninoff

Vivace (1873-1943) Andante

Allegro vivace

Boris Giltburg

INTERMISSION

Symphony No. 5 in D minor, Op. 47 Dmitri Shostakovich

Moderato (1906-1975) Allegretto Largo

Allegro non troppo 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

40 applause at Strathmore • NOVEMBER/DECEMBER 2014

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

Boris Giltburg, piano

Pianist Boris Giltburg was born in 1984 in Moscow and has lived in Tel Aviv since early childhood. He began lessons with his mother at age 5 and went on to study with Arie Vardi. In 2013, he took first prize at the Queen Elisabeth Competition, having won second prize at the Rubinstein in 2011 and top prize at Santander back in 2002, and subsequently appearing across the globe.

Notable debuts have included: South America tour 2002 (and every season since), Israel Philharmonic Orchestra 2005, Indianapolis Symphony Orchestra 2007, China tour 2007 and BBC Proms 2010. His acclaimed CD on Orchid Classics of Prokofiev’s “War” sonatas was released in 2012, earning him a place on the shortlist for the Critics’ Award at the Classical Brits. He has appeared with leading conductors such as Brabbins, De Waart, Dohnanyi, Entremont, Fedoseyev, Neeme Jaervi, Karabits, Krivine, Lintu, Petrenko, Saraste, Sokhiev and Tortelier.

Program Notes

Marche slave, Op. 31

Piotr Ilyich Tchaikovsky

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

Piotr Tchaikovsky was usually too wrapped up in his music to pay much attention to what was happening in the larger world around him. But in the summer of 1876, the tiny Balkan nations of Serbia and Montenegro declared war on Turkey in protest over Turkish massacres of Christians in the Balkans, and Serbia’s traditional ally Russia soon joined

Alsop photo by dean alexander; giltburg photo by sasha gusov

SUNDAY, NOVEMBER 16, 2014, 3 P.M.

Sunday, November 16, 2014, 3 p.m.

in support. Russian volunteers left to fight alongside the Serbians, money was raised to aid both Serbian soldiers and civilians, and the entire country seemed caught up in sympathy for the suffering of their fellow Slavs.

Tchaikovsky, too, followed the conflict with emotional fervor. When his friend and colleague Nikolai Rubinstein, the head of the Moscow Conservatory, approached the composer for a new piece to be performed at a fundraising concert in Moscow for the Slavonic Charity Committee, he responded with enthusiasm—in fact with such enthusiasm that he wrote his Marche slave, or Slavonic March, in less than a week. For suitable thematic material, he turned to collections of Serbian folk melodies and chose three for his vigorously tuneful work. The most prominent is the somber descending melody that forms its opening section, while a livelier Serbian tune takes over in the middle section. As illustration of Russia’s solidarity with Serbia, in the closing coda we hear the noble strains of the Russian Tsarist national anthem—familiar to listeners for its prominent use in the 1812 Overture—proudly proclaimed by the brass.

Marche slave is a big, colorful and bombastic work designed to appeal to its listeners’ patriotic feelings. That it did most successfully at its premiere in Moscow on Nov. 17, 1876. One eyewitness wrote: “The rumpus and roar that broke out in the hall after this [piece] beggars description. The whole audience rose to its feet, many jumped up onto their seats: cries of bravo and hurrah were mingled together. The march had to be repeated, after which the same storm broke out afresh. ... It was one of the most stirring moments of 1876. Many in the hall were weeping.”

Piano Concerto No. 1 in F-sharp minor, Op. 1

Sergei Rachmaninoff

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

Listening to Rachmaninoff’s Concerto

No. 1, we hear the inspiration of adolescence mingled with the mature craft of a middle-aged man. That’s because the version of this concerto performed today, although first written in 1890–91 when Rachmaninoff was only a teenager, was extensively revised by the composer in 1917 when he was 44 and had his immensely successful Piano Concertos nos. 2 and 3 under his belt. Interestingly, Rachmaninoff at 18 was already the spinner of bittersweet melodies and master of big musical gestures that have made him such an audience favorite.

When he returned to his score at the height of the Russian Revolution, he didn’t change any of the melodies or the basic form of the work from his student days at the Moscow Conservatory. Instead, he used his vastly more sophisticated skills to refine the orchestration, increase the effectiveness of the piano writing and update harmonies to the more chromatic language he’d adopted after 1900.

The dates 1891 and 1917 mark a profound transformation both in the composer’s life and the history of Russia. In 1891, Rachmaninoff was the scion of a well-to-do land-owning family and the star of the Moscow Conservatory. The czar still sat on his throne, and the young artist could look forward to a life of privilege and the tranquility he so sorely needed in order to create. By the fall of 1917, however, Nicholas II had been toppled, and Lenin and his Bolsheviks were brutally seizing control. Desperate to flee the bloodshed and chaos, the composer pulled every string to get himself and his family out of Russia. While he waited for an escape route, he holed up in his Moscow apartment with the concerto he’d been meaning to revise for a decade.

As the revolution swirled around him, he retreated into his own world: “I sat at the writing-table or the piano all day without troubling about the rattle of machine-guns and rifle-shots.”

Shortly after the revision was completed, he received an invitation for a Scandinavian concert tour. Hastily

obtaining visas, he, his wife and two daughters left Russia forever on Dec. 23, 1917. The world premiere of Piano Concerto No. 1 took place not in Russia, but in New York City on Jan. 28, 1919. He would mourn his lost country for the rest of his life.

The sonata-form first movement begins with a woodwind and brass fanfare and a bravura descent in double octaves for the piano. It introduces us to Rachmaninoff the bold virtuoso, blessed with enormous hands that matched his imposing height of 6 feet 5 inches. Then the strings introduce the first theme: a true Rachmaninoff melody saturated with nostalgia and regret.

After a fleet-fingered scherzando passage comes another romantic theme, also in the violins, with a yearning half-step-upward resolution. The development section uses both themes extensively. And in a long, demanding cadenza near the end of the movement, the soloist gives the first theme the full treatment in rich, dense chords.

Movement two is a brief, lovely nocturne in D major. The solo horn and the woodwinds are prominent here, and the horn begins with a four-note ascending motive, out of which the movement is woven. Dusky orchestral harmonies conjure night. The piano extends the four-note motive and then launches a long, rhapsodic melody.

Later, the violins sing a variant of it while the piano shimmers above.

The Scherzo finale received most of Rachmaninoff’s retooling in 1917.

He gave it a fresh introduction in which the orchestra and the piano battle over whether the meter will be in three beats or four; three beats wins.

Then the piano scampers away with two fleet, busy melodies. Rachmaninoff gives the pianist no breather—this is truly piano writing that separates the men from the boys. Relief only comes with a much slower trio section; here we have the last of this concerto’s great tunes: a lovely, gentle melody in the violins, accompanied by the piano. After this interlude, the vigorous Scherzo returns, and orchestra and piano race each other to the finish line.

applause at Strathmore • NOVEMBER/DECEMBER 2014 41

Sunday, November 16, 2014, 3 p.m.

Symphony No. 5 in D minor, Op. 47

Dmitri Shostakovich

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

For most of his career, Dmitri Shostakovich had “to walk a tightrope blindfolded without a safety net” (in the words of Russian-music scholar Laurel Fay), and this was especially true during the reign of Joseph Stalin, who fancied himself the Soviet Union’s supreme arts critic as well as supreme leader. While precariously maintaining his balance, Shostakovich constantly heard the thud of other leading Soviet artists falling to their deaths. His mission impossible was to remain true to his inner creative voice while paying sufficient lip service to the regime to stay alive.

The years 1934 to 1938 were the era of the great Stalinist purges, during which millions of Soviet citizens, from peasants to generals, lost their lives.

Early in 1934, the 27-year-old Shostakovich premiered a daring new opera, Lady Macbeth of the Mtsensk District,

the harsh dissonances of which mirrored a lurid tale of lust and murder.

For two years, Lady Macbeth was a popular hit, until one evening in January 1936 Stalin paid a visit to the opera house. The opera’s gritty musical and theatrical drama infuriated the Soviet leader, who left the theater before the curtain fell. A few days later, a lead article in Pravda denounced the opera under the heading “Muddle Instead of Music,” and a second scathing article followed in February. Shostakovich instantly became a nonperson. Fellow composers spoke out against him, while acquaintances crossed the street to avoid him. The composer lived in constant fear of the knock in the night summoning him to his doom; like many Soviet citizens, he kept a suitcase packed in readiness.

But the knock never came. And, strangely, in 1937, Shostakovich was given a chance to rehabilitate himself by writing a suitably triumphant symphony for Leningrad’s celebration of

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the 20th anniversary of the Bolshevik Revolution. For this new symphony, he determined to simplify his language, making it more consonant and tonal, more melodic and more pleasing in its instrumental sonorities.

Nevertheless, in the fierce drama of its first movement, the biting sarcasm of its second, the emotionally wrenching sorrow of its third, and the complex “triumph” of its finale, the No. 5 is as uncompromisingly outspoken as any of Shostakovich’s works. In Testimony, the controversial memoirs purportedly dictated to Solomon Volkov, the composer vehemently denied there was any real triumph at all. “I never thought about any exultant finales, for what exultation could there be? ...

The rejoicing is forced, created under threat, as in [Mussorgsky’s opera] Boris Godunov. 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

Sunday, Thursday, November May16, 1, 2014, 8 3 p.m.

is rejoicing, our business is rejoicing.’”

First movement: One of the most powerful of symphonic openings launches the work. Played in canon between lower and upper strings, this rugged theme is the seedbed of the movement. Contained in it are two important motives: descending threenote twists and the initially gentle repeated notes at the end. Both will be developed with great power, and the repeated notes will dominate the entire symphony. From this, Shostakovich builds a long melancholy melody sung by first violins. A second major theme also appears: a very hushed sustained melody high in the violins over a pulsing rhythmic accompaniment.

Baleful horns and an aggressive piano hammering out the second theme announce the development section, and the music accelerates into vigorous but slightly mechanical activity. Military snare drums propel a brash march. The music builds to great intensity, and the opening theme returns

at a frenzied, driven tempo. But this manic energy eventually dies out into a quiet, haunting coda.

A sardonic sense of humor has saved Russian sanity throughout a brutal history, and it animates the second-movement scherzo with its insolent trills, satirical slides and crude brass outbursts. This is a rough peasant dance in the style of one of Shostakovich’s favorite composers, Gustav Mahler. Bright, shrill scoring, tonguein-cheek pizzicato strings, and a tipsy solo violin leading the middle trio section suggest defiant mockery—perhaps a jibe at Stalin himself.

The magnificent third-place slow movement is as sincere and heartfelt as its predecessor was flippant. Shostakovich once said, “The majority of my symphonies are tombstones,” and this may be a requiem for the many Russians who died in the purges. At the No. 5 premiere, audiences wept openly during this music. The strings dominate, seeming the voices of communal mourning.

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In the middle section, solo woodwinds raise their plaintive voices, expressing individual loss. The music reaches an extraordinary climax of pain as the strings rise to a chorus of repeated notes, intensified by the xylophone. The great Russian soprano Galina Vishnevskaya, Shostakovich’s friend and Rostropovich’s wife, described this as “like nails being pounded into one’s brain.”

Now the forgotten brass and percussion race into action to launch the finale’s resolute march theme. First we hear much frenetic musical busyness, then a poignant reminiscence of the third movement’s sorrow. Music of Slavic grandeur recalls the Coronation Scene in Mussorgsky’s Boris Godunov. At the end, disturbing the proudly pounding timpani and pealing brass are those obsessively painful repeated notes that have dogged the entire work. “Our business is rejoicing, our business is rejoicing.”

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

Call 301-637-8132 to learn about the Strathmore Society at Asbury, with special programming for Asbury residents and guests.

AsburyMethodistVillage.org 201 RUSSELL AVENUE, GAITHERSBURG, MARYLAND 20877 applause at Strathmore • NOVEMBER/DECEMBER 2014 43

Saturday, November 22, 2014, 8 p.m.

SATURDAY, NOVEMBER 22, 2014, 8 P.M.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

Presents

Bernstein & Beethoven Marin Alsop, conductor Jennifer Johnson Cano, mezzo-soprano Nolan Musslewhite, boy soprano Cathedral Choral Society, J. Reilly Lewis, music director Chichester Psalms Psalm 108:2; Psalm 100 Psalm 23; Psalm 2:1-4 Psalm 131; Psalm 133:1 Cathedral Choral Society

Leonard Bernstein (1918-1990)

Jennifer Johnson Cano,

Symphony No. 1, “Jeremiah” Leonard Bernstein

Prophecy Profanation Lamentation

Jennifer Johnson Cano

INTERMISSION Symphony No. 7 in A Major, Op. 92 Ludwig van Beethoven

Poco sostenuto – Vivace (1770-1827) Allegretto Presto

Allegro con brio Supporting Sponsors: Governing Members The concert will end at approximately 9:50 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

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mezzo-soprano

Jennifer Johnson Cano is a 2012 Richard Tucker Career Grant and George London winner who joined The Lindemann Young Artist Development Program at The Metropolitan Opera in 2008 and made her Met debut in 2009-2010. As first prize winner of the 2009 Young Concert Artist International Auditions, she has given recital debuts with husband Christopher Cano in New York at Carnegie Hall, in Washington, D.C., at the Kennedy Center, in Boston at the Isabella Stewart Gardner Museum and in Philadelphia at the Kimmel Center.

Cano’s 2014-2015 season includes Hansel and Gretel and Les Contes d’Hoffmann with The Metropolitan Opera, Don Giovanni with Boston Lyric Opera, Mahler II with the Utah Symphony and Beethoven’s Ninth with the Pittsburgh Symphony.

Nolan Musslewhite, boy soprano

Nolan Musslewhite lives in Washington, D.C., with his parents and two younger sisters. In addition to

alsop photo by dean alexander, Johnson Cano Photo by Lisa Mazzucco

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.”

Saturday, November 22, 2014, 8 p.m.

attending St. Albans School for Boys, he is also a member of the Washington National Cathedral Choir of Men and Boys. As a chorister, Nolan participates in daily sung worship, rehearses with his 19 fellow choristers and sings between 12 and 15 hours per week during the school year.

Beyond his musical endeavors, Nolan enjoys playing goalie for his lacrosse travel team and is a competitive swimmer.

New York Philharmonic to devote his energies to composition. From that sabbatical came his very appealing choral-orchestral Chichester Psalms, commissioned by Chichester Cathedral in southern England for its annual music festival.

Drawing on his Jewish heritage, the composer chose three Psalms—the well-known Psalms 100 (“Make a joyful noise unto the Lord”) and 23 (“The Lord is my shepherd”), as well as the less familiar Psalm 131 (“Lord, Lord, my heart is not haughty”)—to use in their entirety. Portions of Psalms 108, 2 and 133 are also included. And though writing for a British choir, he set these

drums to the bell-like glockenspiel.

Here is the Bernstein style that made him the toast of Broadway.

And in the second movement, one can detect the poignancy of his West Side Story ballads in the wistfully melodious setting of the Twenty-Third Psalm for the boy soloist and women’s voices.

Clashing sharply with this is the harshly aggressive music for Psalm 2 (“Why do the nations so furiously rage together”).

Movement three begins with a lengthy orchestral prelude in which the strings solemnly expand on the work’s loud, angular opening theme.

Then Psalm 131, with its message of the individual’s humility before God,

Cathedral Choral Society

The Cathedral Choral Society is the resident symphonic chorus of Washington National Cathedral. The 130voice chorus is the oldest choral group in Washington, D.C., having been founded in 1941 by Paul Callaway, who served as music director until 1984.

Since 1985, J. Reilly Lewis has conducted the choral society in musical masterpieces from plainsong to the classics to contemporary works. Since its founding, the Cathedral Choral Society has presented numerous world premieres, and has maintained a tradition of showcasing both promising young soloists and internationally known artists.

Program Notes

Chichester Psalms

Leonard Bernstein

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

Although his multiple musical gifts drove Leonard Bernstein to jump continually between conducting, teaching, writing books, being a television personality, fashioning hits for the Broadway stage and creating music for the concert hall, he often claimed that first and foremost he wanted to be a serious composer. During the 1964–65 season, he took a sabbatical from his post as music director of the

cathedral choral society

psalms in the original Hebrew. Today, the Chichester Psalms is usually performed by a large mixed chorus with a boy alto soloist, but Bernstein originally conceived the work for the traditional English choir of boys and men. The orchestra is a bit unusual: strings, brass and a large, colorful percussion section, but no woodwinds.

Bernstein described the music as “simple and tonal and tuneful.” All this is true, but the rhythms, harmonies and scoring are often deliciously complex. The first movement is a good example. After a powerfully incantatory introduction (its stark, angular theme will return) on a verse from Psalm 108, Bernstein expresses Psalm 100’s musical text with an infectious dance in an irregular 7/4 meter, its bounce accented with sparkling percussion—everything from

is set to an eloquent melody, sung simply in unison or in canon between the women and the men. The opening angular theme, now soft and serene, returns sung by unaccompanied chorus. Its text from Psalm 133 brings the music to a lovely close: “Behold how good, and how pleasant it is, for brethren to dwell together in unity.”

Symphony No. 1, “Jeremiah”

Leonard Bernstein When his powerful “Jeremiah” Symphony was premiered by the Pittsburgh Symphony under his own baton on Jan. 28, 1944, Leonard Bernstein, age 25, was in the midst of the most remarkable year any American composer has ever had. Two and a half months earlier—Nov. 14, 1943—he had made an electrifying debut with the New York

applause at Strathmore • NOVEMBER/DECEMBER 2014 45

Saturday, November 22, 2014, 8 p.m.

Symphony No. 1, “Jeremiah” Leonard Bernstein

Echa From “The Lamentations of Jeremiah” PEREQ 1.1-3 CHAPTER 1.1-3

Echa yashva vadad ha-ir Rabati am Hay’ta k’almana; Rabati vagoyim Sarati bam’dinot Hay’ta lamas.

How doth the city sit solitary, That was full of people!

How is she become as a widow!

She that was great among nations, And princess among the provinces, How is she become tributary!

Bacho tivkeh balaila V’dim’ata al lecheya; En la m’nachem Mikol ohaveha; Kol reeha bag’du va, Hayu la l’oy’vim.

She weepeth sore in the night, And her tears are on her cheeks; She hath none to comfort her Among all her lovers; All her friends have dealt treacherously with her, They are become her enemies.

Galta Y’huda meoni, Umerov adoda; Hi yashva vagoyim, Lo matsa mano-ach; Kol rod’feha hisiguha Ben hamitsarim

Judah is gone into exile because of affliction, And because of great servitude; She dwelleth among the nations, She findeth no rest.

All her pursuers overtook her Within the narrow passes.

PEREQ 1.8 CHAPTER 1.8

Chet chata Y’rushalyim Jerusalem hath grievously sinned…

(Echa yashva vadad ha-ir How doth the city sit solitary … k’almana.) …a widow.

PEREQ 4.14-15 CHAPTER 4.14-15

Na-u ivrim bachutsot N’go-alu badam, B’ylo yuchlu Yig’u bilvushehem.

They wander as blind men in the streets, They are polluted with blood, So that men cannot Touch their garments.

Suru tame kar’u lamo, Depart, ye unclean! They cried unto them, Suru, suru al tiga-u… Depart, depart! Touch us not…

PEREQ 5.20-21 CHAPTER 5.20-21

Lama lanetsach tishkachenu… Wherefore dost Thou forget us forever, Lanetsach taazvenu… And forsake us so long time?...

Hashivenu Adonai elecha… Turn Thou us unto Thee, O Lord…

Philharmonic, substituting at the last moment for the indisposed Bruno Walter on a Sunday afternoon concert broadcast nationwide on radio. Suddenly, he was the hottest conductor around.

And “Jeremiah” immediately served notice that he was a symphonic composer of real promise. Given a New York premiere by the Philharmonic on March 29, it was rapturously received by critics and audiences and won the New York Music Critics Circle Award for best new orchestral work of 1943–44.

To complete his conquest of American music, Bernstein premiered his brilliant ballet Fancy Free in April at the Metropolitan Opera House and in December unveiled the Broadway musical On the Town (based on the ballet’s scenario),

which ran for 463 performances.

But in the summer of 1939 when he began work on what became the third movement in “Jeremiah” and in late 1942 when he returned to this piece and transformed it hastily into a threemovement symphony as an entry in a competition, he was still leading a hand-to-mouth existence. Hanging out in various New York City apartments, he pressed his friends into service copying pages as he completed the work’s masterly scoring in just 10 days.

Bernstein described all three of his symphonies as expressions of an ongoing musical search for faith. His father, Sam Bernstein (to whom he dedicated “Jeremiah”), was a Talmudic scholar, and his grandfather and

46 applause at Strathmore • NOVEMBER/DECEMBER 2014

great-grandfather had been Hasidic rabbis in Russia. But steeped though he was in Judaism, Bernstein fought a lovehate battle with his heritage all his life.

“Jeremiah” takes it name and expressive program from the Old Testament prophet Jeremiah, who warned the ancient Israelites to repent and mend their ways or be destroyed. But they ignored his warnings; Jerusalem fell to the Babylonian empire, and the Jews were sent into captivity. In the work’s finale, an extended song for mezzo-soprano, Bernstein set words drawn from the opening of the book of Lamentations, as Jeremiah mourned the lost Holy City and his people.

In a program note for the work’s New York premiere, Bernstein wrote: “The symphony does not make use to any great extent of actual Hebrew thematic material. The first theme of the scherzo [second movement] is paraphrased from a traditional Hebrew chant, and the opening phrase of the vocal part in ‘Lamentation’ is based on a liturgical cadence still sung today in commemoration of the destruction of Jerusalem by Babylon. Other remembrances of Hebrew liturgical music are a matter of emotional quality, rather than of the notes themselves.

“As for programmatic meanings, the intention is again not one of literalness, but of emotional quality. Thus the first movement (‘Prophecy’) aims only to parallel in feeling the intensity of the prophet’s pleas with his people; and the scherzo (‘Profanation’) to give a general sense of the destruction and chaos brought on by the pagan corruption within the priesthood and the people. The third movement (‘Lamentation’) ... is the cry of Jeremiah, as he mourns his beloved Jerusalem, ruined, pillaged, and dishonored after his desperate efforts to save it.”

Bernstein’s longtime editor Jack Gottlieb, however, says that the composer quoted more extensively from Jewish liturgical music than he was perhaps aware. “The opening theme of the first movement is derived from the High Holy Day liturgy, heard for the first time as part of the Amidah

Saturday, November 22, 2014, 8 p.m.

(‘standing’) prayers, or 18 blessings.

This compilation of fixed benedictions ... probably constitutes the second most important Jewish prayer after the monotheistic creed of Sh’ma Yisrael (‘Hear, O Israel’). ...

“The scherzo (‘Profanation’) theme ... is based on cantillation motives used during the chanting of the Bible on the Sabbath, especially the Haftara (‘concluding’) portion. The motives are well known to those who chant Bible passages in preparation for Bar Mitzvah. ...

“Significantly, the conclusion of the ‘Lamentation’ recalls the Amidah theme from the first movement, indicating that the foreboding prophecy has been fulfilled.”

Symphony No. 7 in A Major

Ludwig van Beethoven

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

Beethoven’s Symphony No. 7 is one of the most extraordinary expressions of physical energy and joy in symphonic music. Completed in 1812, the Seventh, in the words of Beethoven biographer Maynard Solomon, “transports us into a sphere of laughter, play, and the exuberant release of bound energy.” This is a work without a shadow or a solemn thought or even a true slow movement.

In any other hands, such unrelieved happiness might produce a feeling of triviality or monotony, but Beethoven instead shows us the dynamic variety of joy.

In an off-quoted aphorism, Wagner has called the Seventh “the apotheosis of the dance,” but it could more accurately be characterized as “the apotheosis of rhythm.” Throughout Beethoven’s music, themes are as much characterized by their rhythmic patterns as by their melodic shapes or harmonic coloring. Here rhythm is the primary building block: the first, second and fourth movements are all generated by one obsessive rhythmic figure announced at the opening; the scherzo has two such figures.

The Seventh was introduced to the world at a spectacular celebrity-studded concert on Dec. 8, 1813 at the

Chichester Psalms Leonard Bernstein

I

Urah, hanevel, v’chinor!

A-irah shachar!

Awake, psaltery and harp: I will rouse the dawn!

Psalm 108, verse 2

Hariu l’Adonai kol haarets.

Iv’du et Adonai b’simcha.

Bo-u l’fanav bir’nanah.

D’u ki Adonai Hu Elohim.

Hu asanu, v’lo anachnu.

Amo v’tson mar’ito.

Bo-u sh’arav b’todah,

Chatseirotav bit’hilah,

Hodu lo, bar’chu sh’mo.

Ki tov Adonai, l’olam chas’do,

V’ad dor vador emunato.

Make a joyful noise unto the Lord all ye lands.

Serve the Lord with gladness.

Come before His presence with singing.

Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves.

We are His people and the sheep of His pasture.

Enter into His gates with thanksgiving, And into His courts with praise.

Be thankful unto Him, and bless His name.

For the Lord is good, His mercy is everlasting, And His truth endureth to all generations.

Psalm 100

II

Adonai ro-i, lo echsar.

Bin’ot deshe yarbitseini,

Al mei m’nuhot y’nachaleini,

Naf’shi y’shovev,

Yancheini b’ma’aglei tsedek,

L’ma’an sh’mo.

Gam ki eilech

B’gei tsalmavet,

Lo ira ra,

Ki Atah imadi.

Shiv’t’cha umishan’techa

Hemah y’nachamuni.

The Lord is my shepherd, I shall not want.

He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His name’s sake.

Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me.

Thy rod and Thy staff They comfort me.

Psalm 23, verses 1-4

Lamah rag’shu goyim

Ul’umim yeh’gu rik?

Yit’yats’vu malchei erets,

V’roznim nos’du yahad

Al Adonai v’al m’shicho.

N’natkah et mos’roteimo,

V’nashlichah mimenu avoteimo.

Yoshev bashamayim

Yis’chak, Adonai

Yil’ag lamo!

Why do the nations rage, And the people imagine a vain thing?

The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His anointed.

Saying, let us break their bands asunder, And cast away their cords from us.

He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision!

Psalm 2, verses 1-4

Ta’aroch l’fanai shulchan

Neged tsor’rai

Dishanta vashemen roshi

Cosi r’vayah.

Ach tov vahesed

Yird’funi kol y’mei chayai,

V’shav’ti b’veit Adonai

L’orech yamim.

Thou preparest a table before me In the presence of mine enemies, Thou anointest my head with oil, My cup runneth over.

Surely goodness and mercy Shall follow me all the days of my life, And I will dwell in the house of the Lord Forever.

Psalm 23, verses 5-6

III

Adonai, Adonai,

Lo gavah libi,

V’lo ramu einai,

V’lo hilachti

Big’dolot uv’niflaot

Mimeni.

Im lo shiviti

V’domam’ti,

Naf’shi k’gamul alei imo

Kagamul alai naf’shi.

Yahel Yis’rael el Adonai

Me’atah v’ad olam.

Lord, Lord, My heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself In great matters or in things Too wonderful for me.

Surely I have calmed And quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child.

Let Israel hope in the Lord From henceforth and forever.

Psalm 131

Hineh mah tov,

Umah naim,

Shevet achim

Gam yachad.

Behold how good, And how pleasant it is, For brethren to dwell Together in unity.

Psalm 133, verse 1

applause at Strathmore • NOVEMBER/DECEMBER 2014 47

Saturday, November 22, 2014, 8 p.m.

University of Vienna that was the most successful of Beethoven’s career. Organized by Beethoven’s friend Johann Nepomuk Maelzel, the inventor of the metronome, it was a benefit concert to raise money for soldiers wounded at the recent Napoleonic battle of Hanau.

Both performers and audience were in high spirits, for by this time it was clear that Napoleon’s days were numbered.

For the occasion, Beethoven had written one of his most notorious compositions, Wellington’s Victory: a military extravaganza calling for vast troops of musicians and a huge percussion battery. In one of his last appearances as a conductor, he led the proceedings, but his deafness severely hampered his effectiveness. It is amazing the Seventh Symphony was even noticed in this circus atmosphere, but indeed it was warmly received and the audience demanded an encore of the second movement.

The first movement begins with a slow introduction, the biggest Beethoven ever wrote. Its expansive

dimensions, accentuated by majestic rising scales, allows for two lyrical interludes—led first by oboes, then by the flute—which carry the music to keys remote from the A-major home base.

It is linked to the main Vivace section by the playful evolution of the galloping rhythm that drives the rest of the movement. Late in its course, listen for the remarkable passage in which the low strings mutter a twisting dissonant motive—like an evil worm corrupting the tranquil, sustained harmony above.

Another persistent rhythmic pattern propels the beloved second movement: a gentle march beat of longshort-short-long-long. Beethoven lets its wonderful theme gradually unfurl: first the bare-bones harmonic tune in low strings, then the stately march melody above, accompanied by graceful countermelodies. The form is one of Beethoven’s own devising: part rondo, part theme-and-variations. And in a later return of the march theme, it evolves into a cunning fugue as well.

Movement three is Beethoven’s most ebullient and propulsive scherzo, powered by the relentless chugging of quarter notes in a frenzied Presto tempo. Providing complete contrast, the middle trio section, dominated by woodwinds, is smoothly lyrical over a sustained pedal note. In a favorite trick also used in his Fourth Symphony, Beethoven runs around the scherzo-trio track three times, though as the trio begins it third reprise, it falters harmonically and is roughly dismissed.

The finale is a fierce dance of triumph. Again, a rhythmic motive starts the action: a cannon-boom followed by a three-note rat-ta-tat rifle response. This wild and surging music has a pronounced military flavor suited to its era. In fact, we hear a theme of swaggering martial gait early on, and in the coda, the trumpets carry it to a ringing affirmation.

Here Beethoven joyfully trounces Napoleon and all the enemies of humankind.

Notes by Janet E. Bedell ©2014

It’s music to my ears.

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48 applause at Strathmore • NOVEMBER/DECEMBER 2014

Sunday, November 23, 2014, 8 p.m.

● Strathmore Presents

Guitar Passions: Sharon Isbin, Stanley Jordan & Romero Lubambo

Porro

Gentil Montaña, arr. Gustavo Colina (b. 1942)

Sonidos de aquel dia

Quique Sinesi, arr. Stanley Jordan (b. 1960)

‘Adagio’ from Concierto de Aranjuez Joaquin Rodrigo, arr. Laurindo Almeida (1901-1999)

Asturias Isaac Albéniz, Transcribed by Andrés Segovia (1860-1909)

Allegro Agustín Barrios Mangoré, arr. Steve Vai (1885-1944)

Alfonsina y el Mar Ariel Ramírez, arr. Jorge Cardoso-Isbin (1921-2010)

Chovendo na Roseira Antonio Carlos Jobim, arr. Carlos Barbosa-Lima, Romero Lubambo (1927-1994)

Carinhoso

Alfredo Vianna (Pixinguinha), guitar accompaniment arr. Rosa Passos, guitar solo arr. Carlos Barbosa-Lima (1897-1973)

O Presidente Gaudencio Thiago de Mello, arr. Daniel Wolff (1933-2013)

La Catedral Andante religioso Allegro solemne

Agustín Barrios Mangoré

The Music Center at Strathmore Marriott Concert Stage

Sharon Isbin

Acclaimed for her extraordinary lyricism, technique and versatility, multiple Grammy Award winner Sharon Isbin has been hailed as “the pre-eminent guitarist of our time” (Boston Magazine). She is also the winner of Guitar Player magazine’s “Best Classical Guitarist” award, the Madrid Queen Sofia and Toronto Competitions, and was the first guitarist to win 50 applause at Strathmore • NOVEMBER/DECEMBER 2014

the Munich Competition.

Isbin’s catalogue of over 25 recordings—from Baroque, Spanish/Latin and 20th century to crossover and jazz-fusion—reflects remarkable versatility. Her latest recording, Sharon Isbin & Friends: Guitar Passions (Sony) includes guest rock guitarists Steve Vai, Steve Morse, Nancy Wilson of Heart, jazz guitarists Stanley Jordan and Romero Lubambo, Brazilian artists Rosa Passos and Thiago de Mello, and saxophonist Paul Winter.

As a chamber musician, Isbin has performed with Mark O’Connor, Nigel Kennedy, Denyce Graves, Susanne Mentzer, the Emerson String Quartet, and the Chamber Music Society of Lincoln Center, among others. She performed a “Guitar Summit” tour with jazz greats Herb Ellis, Stanley Jordan, and Michael Hedges; she made trio recordings with Larry Coryell and Laurindo Almeida, and duo recordings with Carlos Barbosa-Lima.

Isbin began her guitar studies at age 9. She is the author of the Classical Guitar Answer Book, and is director of guitar departments at the Aspen Music Festival and The Juilliard School.

Stanley Jordan

Stanley Jordan’s music is imbued with a warmth and sensitivity that has captured the imagination of listeners worldwide. A classically trained pianist before playing guitar, Jordan wanted greater freedom in voicing chords on his guitar, so he applied piano principles to do so.

Jordan’s touch technique allows the guitarist to play melody and chords simultaneously with an unprecedented level of independence.

Jordan has performed at many festivals, including the Kool Jazz Festival, the Concord Jazz Festival, and the Montreaux International Jazz Festival. He performs frequently as a soloist and with his band, and also collaborates with other guitarists such as Kevin Eubanks, Sharon Isbin and Muriel Anderson. He’s also

J. Henry Fair

SUNDAY, NOVEMBER 23, 2014, 8 P.M.

Sunday, November 23, 2014, 8 p.m.

His 2011 album, Friends, encompassed blues, jazz, a Béla Bartók piece, and a Katy Perry hit, and included musical guests Bucky Pizzarelli, Regina Carter and Nicholas Payton, among others.

Jordan photo by Keith Major, LubaMbo photo by Gerard Byrne

Romero Lubambo

stanley jordan

a frequent guest with jam bands such as Dave Matthews Band, The String Cheese Incident, Phil Lesh, moe, and Umphrey’s McGee.

In 1985, Romero Lubambo left Rio de Janeiro and came to the United States, bringing with him a new sound in jazz guitar. Lubambo’s guitar playing unites the styles and rhythms of his native Brazilian musical heritage with his fluency in the American jazz tradition to form a distinctive new sound.

Lubambo has performed and recorded with many outstanding artists, including Dianne Reeves, Michael Brecker, Yo-Yo Ma, Diana Krall, Wynton Marsalis, Herbie Mann, Gal Costa, Leny Andrade, Cesar C. Mariano, Luciana Souza, Mauro Senise, Cyro Baptista, Paquito D’Rivera, Paula Robison, and Ivan Lins, among many others.

Romero lubambo

He is also a composer and performer on his own critically acclaimed recording projects, as well as on those of Trio da Paz, a Brazilian jazz trio Lubambo formed with Nilson Matta and Duduka da Fonseca.

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Friday, November 28, 2014, 8 p.m.

FRIDAY, NOVEMBER 28, 2014, 8 P.M.

● Strathmore Presents

Bella Gaia Kenji Williams, founder, director, composer, violin Deep Singh, tabla, percussion, vocals Yumi Kurosawa, 20-string koto Kristin Hoffmann, vocals Läle Sayoko, dancer Irina Akulenko, dancer With additional support from Tour Manager: Kaori Noriyasu Earth Data and Scientific Visualizations: NASA, Scientific Visualization Studio, SCISS Hubble Imagery: The Space Telescope Institute Photographers: James Balog, Annie Crawley, Ken Woods, Ocean Recovery Alliance Astronomical datasets: Ka Chun Yu Operations: Laurence Singer, Valerie Casasanto Script and Story Assistance: Shane Belcourt BELLA GAIA is generously supported in part by NASA, The Baum Foundation, The Foundation for Global Community, and a grant from the Sachiko Kuno and Ryuji Ueno Innovation Fund.

The Music Center at Strathmore Marriott Concert Stage

About Bella Gaia

Bella Gaia (Beautiful Earth) is an unprecedented audiovisual experience that combines NASA satellite imagery of Earth, time lapse nature photography, and cultural heritage footage with stirring live performances of world music and dance from around the world. Inspired by astronauts who spoke of the life-changing power of seeing Earth from space, Bella Gaia successfully simulates the “Overview Effect” from space flight, by using NASA supercomputer data-visualizations to explore the relationship between humans and nature through time and space.

Bella Gaia tells the story of the living universe, exploring both human and natural expressions of the “Living Universe” through dance, data visualizations, and music, and explores

humanity’s ultimate challenge as we enter a new epoch called the Anthropocene, where humans become the driving force of environmental change on Earth.

Kenji Williams

Kenji Williams is an immersive multimedia director and producer for various platforms from live theater to fulldome planetarium films. Williams explores the nexus of art and science through collaborations with partners as diverse as astronaut Koichi Wakata, consciousness researcher Deepak Chopra, and top world music musicians.

Bella Gaia involves collaborating with institutions such as NASA, the Smithsonian Institution, and the Denver Museum of Nature & Science, and has raised more than $500,000 in funding from NASA and other foundations.

52 applause at Strathmore • NOVEMBER/DECEMBER 2014

Deep Singh

Deep Singh’s versatility as a performer, composer, producer, Hindustani vocalist and engineer has given him a unique place in the music industry. His extensive knowledge of melody and rhythm from different world music traditions has resulted in innovative collaborations. He has shared the stage with many of the greatest world-class musicians.

Yumi Kurosawa

Yumi Kurosawa is a classically trained 20-string koto player and composer from Japan with extensive experience touring internationally with symphonies, string quartets, and her own group. Her original compositions seamlessly blend traditional techniques and harmonics of the koto with electronic sounds and multicultural rhythms. In 2011, she appeared as the soloist for the world premiere of Koto Concerto: Genji, a Kyo-Shin-An Arts commission by composer Daron Hagen.

Kristin Hoffmann

Kristin Hoffman is a singer/songwriter based in New York City and has studied classical piano, guitar and opera at The Juilliard School in New York. She has performed at the Sundance Film Festival and her warm, melodious, haunting songs have been featured on several recent television shows. She is a musical spokesperson for ocean awareness with her “Song for the Ocean” and has also written songs for pediatric health causes.

Läle Sayoko

Läle Sayoko was one of the founding members of Japan’s famous Samanyolu professional belly dance group in Tokyo, and has since developed her own solo career touring with the United Kingdom’s Mugenkyo Taiko Drummers on a 100-plus city tour.

Her recent project is Flying Apsaras, a dance duo with world-renown belly dance star Kaeshi Chai. Sayoko aspires for dance to be a powerful communicator though traditional technique and spiritual embodiment.

Friday, November 28, 2014, 8 p.m.

anthropogenic (“human-caused”) stress on the environment.

New York City: Human expressions of the Living Universe case study

New York City is the epicenter of human diversity and global culture, but it also is central to the over-commodification of resources, where nature is not correctly valued in our economic design. An economy with muted dialogue with the natural world has led to rising oceans, ironically threatening the very heart of the global economy—the Financial District.

Voice by Kristin Hoffmann.

Egypt and the Middle East: Human expressions of the Living Universe case study

Irina Akulenko

Irina Akulenko is a New York Citybased performer, teacher, and choreographer with a burning passion for arts of all genres. Discovering Middle Eastern dance purely by chance, her interest in expression started at an early age and channeled into ballet training, piano, and voice lessons.

Belly dance became her main interest, which she sustained by seeking instruction with numerous local teachers as well as visiting master performers. Since 2001, Akulenko has explored both Egyptian Cabaret and American Tribal style belly dance and enjoys fusing these styles.

Program Notes PART 1: The Living Universe, The Living Earth

The universe is alive, infinitely creative, and interconnected. Our living Earth has a unique set of conditions making it habitable for human life.

anna gazula

PART 2: Natural and Human Expressions of the Living Universe India: Human expressions of the Living Universe case study

Fresh water is increasingly a scarce resource around the world, and this

is clearly prevalent in India, where population, pollution, agriculture, and melting Himalayan glaciers from climate change threaten underground water tables and rivers such as the Ganges, which some scientists predict may run dry in our lifetime. The Ganges is at the heart of Indian culture, music, and identity. What happens to India if the Ganges runs dry? Dancers express their relationship with, and painful separation from, water. Music composed and performed by Deep Singh. Choreography by Preeti Vasudevan, Irina Akulenko.

Water and Oceans: Natural expressions of the Living Universe case study

We explore the water cycle from evaporation to water vapor and precipitation, and we explore our oceans, its complex currents and temperatures, and the beautiful life it sustains.

Japan: Human expressions of the Living Universe case study

More than 100,000 shrines and temples can be found in Japan, all of them facing a natural landmark such as a mountain or the sun. Yumi Kurosawa performs her own compositions on the 20-string koto as we explore Japan’s ancient connection with nature and our modern self-imposed

We take a journey down the Nile River—one of the birth canals of civilization. Isis (Irina Akulenko) the goddess of protection, dances with a mother (Läle Sayoko), to depict the origins of belly dance—a sacred ritual when bringing life into this world. A celebration of Egypt ensues.

However, modern and future challenges of the Middle East—political unrest, climate change, drought, and food shortage—remind us that the destiny of humans and Earth are inextricably linked. Isis is overwhelmed by what is to come.

PART 3: The Anthropocene

We have entered a new geologic epoch in which humans are the primary force of change in the environment, called the Anthropocene (Crutzen). Is the Anthropocene a result of a loss of dialogue between humans and nature? Is our current crisis the result of a worldview of the universe and Earth not as a living interconnected entity, but as static unrelated and separate parts to be consumed? Has humanity forgotten that our actions affect other things, on all levels?

PART 4

Planet Earth is the only place known so far to harbor life. It is the only place that we may call home.

applause at Strathmore • NOVEMBER/DECEMBER 2014 53

Saturday, November 29, 2014, 3 p.m. and 8 p.m.

SATURDAY, NOVEMBER 29, 2014, 3 P.M. AND 8 P.M.

● Strathmore Presents

Lightwire Theater: A Very Electric Christmas Ian Carney, Artistic Director Eleanor Carney, Managing Director Corbin Popp, Co-Creator Tyler Scifres, Technical Director Jay Weigel, Music Director Cast Ian Carney Eleanor Carney Corbin Popp Calvin Rowe Ian Blanco Jessica Tzur Johnathon Whalen Michael Moore Robby Clater Barry Mendelson, Executive Producer The Music Center at Strathmore Marriott Concert Stage

About A Very Electric Christmas

Follow the story of a young bird named Max and his family as they begin their journey south for the winter. Max’s adventure begins when he gets blown off course and ends up at the North Pole. Families will treasure this delightful story that brings new meaning to coming home for the holidays, and enjoy a score that includes holiday hits from Nat “King” Cole, Mariah Carey, and Tchaikovsky.

Ian Carney

Ian Carney is best known for his long run in Billy Joel and Twyla Tharp’s musical Movin’ Out on Broadway.

Born in New Hampshire and raised in New Orleans, he started dancing as a child, studying ballet in New Orleans and in New York City. He danced lead roles in The Nutcracker, Sleeping

Beauty and many other ballets, and has been a guest dancer, teacher, and choreographer in companies across the United States. While still performing, Carney earned a degree in English literature from Tulane University. He is the co-creator of the family show Dino-Light. Carney has appeared on television with Lightwire Theater on “America’s Got Talent” and TF1’s talent show “The Best: Le Meilleur Artiste” in France.

Eleanor B. Carney

Originally from New Orleans, Eleanor Carney began her dance training with Harvey Hysell and Joseph Giaccobbe.

She graduated from Southern Methodist University with a bachelor of fine arts in dance and a bachelor of arts in anthropology. She has danced professionally with Indianapolis Ballet Theater, and the Lexington, Northwest

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Florida, Delta Festival, and Montgomery ballets. Career highlights include dancing Aurora in Sleeping Beauty; Desdemona in The Moor’s Pavane; the title roles in Romeo and Juliet, Cinderella, Giselle, and Coppelia; and the Sugarplum Fairy in The Nutcracker.

Corbin Popp

Corbin Popp is from Lincoln, Neb. He earned a degree in biochemistry at the University of Nebraska-Lincoln, while also studying math, physics, and dance. Opting for dance, Corbin performed in The Phantom of the Opera and Billy Joel and Twyla Tharp’s Movin’ Out on Broadway. He has toured throughout the United States with many shows, and all over Europe with Tharp’s dance company.

Calvin James Rowe

A native of Muscatine, Iowa, Calvin James Rowe began dancing professionally in 2007 with Of Moving Colors Productions, Baton Rouge’s premier modern dance company. Rowe also has been a guest artist with Baton Rouge Ballet Theatre and a guest artist with TALK Dance Co., a contemporary dance company based in Pueblo, Colo.

Rowe most recently danced three seasons with Ballet Quad Cities, performing in such ballets as Cinderella, Sleeping Beauty, and Dracula by choreographers Courtney Lyon and Deanna Carter.

Ian Blanco

A New Orleans native and recent graduate of the Wright State acting program, Ian Blanco was most recently seen with Tulane Summer Lyric Theatre in La Cage aux Folles as Mercedes and Kiss Me Kate as Gremio. Other professional work includes Dreamgirls, Pirates!, Chicago, Ragtime and White Christmas.

Jessica Tzur

Jessica Tzur has always been drawn to various types of movement. In 2005, she found her niche when she began training at the San Francisco School of Circus Arts. She studied under top trainers Elena Panova and Xia Ki Min, specializing in trapeze and acrobatics.

Saturday, November 29, 2014, 3 p.m. and 8 p.m.

Theatre; Rocket Boys and All Shook Up at Theatre West Virginia; and Oliver with Tulane Summer Lyric.

Robby Clater

Robby Clater has been seen in Les Misérables (Grantaire), A Chorus Line (Al), Hairspray (Seaweed), and as Danny in the teen web series Studio 127. He originated Winter Wonderland (Robby) and First Kids (Charles Francis Adams).

About Lightwire Theater Tzur has been performing in San Francisco and New Orleans in cabaret, variety, and burlesque shows.

ian carney

Johnathon Whalen

A New Orleans native, Johnathon Whalen has been a member of Lightwire Theater for three years, performing in New Orleans at The National World War II Museum, Le Petit Theatre, Rivertown Theaters for the Performing Arts, and the Jefferson

Performing Arts Society. He has a bachelor’s degree in athletic training from Southeastern Louisiana University and has also done set design and construction for several New Orleans theaters.

Michael Moore

Michael Moore is a 2013 graduate of Elon University. His credits include Legally Blonde, Noises Off, Guys and Dolls at Central Piedmont Summer

Lightwire Theater has been featured as semifinalists on “America’s Got Talent” and is internationally recognized for its brand of electroluminescent artistry and poignant storytelling. Based in New Orleans, Lightwire Theater continues to create and deliver innovative theatrical experiences to audiences worldwide, including Japan, Estonia, Canada, Belarus, China, and the United Arab Emirates.

Mendelson Entertainment Group proudly manages and represents Lightwire Theater.

Let the music move you.

e are now accepting wait list reservations! A visit to W Ingleside could turn out to be a moving experience!

Spectacular, gracious and outstanding describes life at Ingleside at King Farm. Become part of a community that sets the standards of excellence in amenities, lifestyle, security and affordability by joining the IKF Club. This unique program allows you to enjoy many benefits and amenities of Ingleside right now.

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To learn more or schedule a personal tour, please call (240)499-9019.

701 King Farm Blvd. • Rockville, MD www.inglesidekingfarm.com • (240)499-9019 applause at Strathmore • NOVEMBER/DECEMBER 2014 55

Sunday, November 30, 2014, 3 p.m.

SUNDAY, NOVEMBER 30, 2014, 3 P.M.

● Strathmore Presents

George Winston The Music Center at Strathmore Marriott Concert Stage

George Winston grew up mainly in Montana, and spent his later formative years in Mississippi and Florida. Inspired by R&B, jazz, blues and rock (especially The Doors), Winston began playing organ in 1967. In 1971 he switched to the acoustic piano after hearing recordings from the 1920s and the 1930s by the legendary stride pianists Thomas “Fats” Waller and the late Teddy Wilson. In addition to working on stride piano, he also came up with his own style of melodic instrumental music on solo piano, called folk piano.

Since 1972 Winston has released 13 solo piano albums: Autumn (1980); Winter Into Spring (1982); December (1982); Summer (1991); Forest (1994); Linus & Lucy—The Music Of Vince Guaraldi (1996); Plains (1999), which was inspired by his Eastern Montana upbringing; Night Divides The Day—The Music Of The Doors (2002); Montana— A Love Story (2004); Gulf Coast Blues and Impressions—A Hurricane Relief Benefit (2006); Love Will Come—The Music Of Vince Guaraldi Vol. 2 (2010); Gulf Coast Blues and Impressions 2—A Louisiana Wetlands Benefit (2012).

In 2001 Winston released Remembrance—A Memorial Benefit, a sevensong EP of piano, guitar, and harmonica solos, to benefit those affected by 9/11. He has also worked with the late George Levenson of Informed Democracy on three projects: a solo guitar soundtrack for Sadako and the Thousand Paper Cranes, and soundtracks of piano, guitar, and harmonica solos for Pumpkin Circle and Bread Comes to Life. In addition, he has recorded 56 applause at Strathmore • NOVEMBER/DECEMBER 2014

the solo piano soundtrack for the children’s story The Velveteen Rabbit for Rabbit Ears Productions.

Winston is presently concentrating mainly on live performances, and most of the time he is touring playing solo piano concerts, solo guitar concerts, solo harmonica concerts, and solo piano dances. He also is working on interpreting pieces on solo piano of works by Vince Guaraldi, Professor Longhair, The Doors, Sam Cooke, Dr. John, Allen Toussaint, Randy Newman, Curtis Mayfield, Laura Nyro, Al Kooper, Jimmy Wisner, Arthur Lee, Frank Zappa, Ralph Towner, Rahsaan Roland Kirk, John Coltrane, Milt Jackson, John Hartford, Oliver Schroer, Taj Mahal, Henry Butler, James Booker, Jon Cleary and Philip Aaberg.

Winston also is working on solo guitar and is recording the masters of the Hawaiian Slack Key guitar for an extensive series of albums for Dancing Cat Records. He also is recording his main inspirations for his harmonica playing: Sam Hinton, Rick Epping, and Curt Bouterse.

joe del tufo

George Winston

Friday, Thursday, December May 5, 1, 2014, 2014, 88 p.m. p.m.

FRIDAY, DECEMBER 5, 2014, 8 P.M.

● Strathmore Presents

Classic Albums Live: Led Zeppelin II Nick Walsh, lead vocals Dom Polito, guitar Rob Phillips, guitar Mark Yannetta, bass Rick Vautour, drums Will Hare, keyboard Jenn Kee, backing vocals The Music Center at Strathmore Marriott Concert Stage

About Classic Albums Live

Classic Albums Live takes the greatest albums and re-creates them live, on stage—note for note, cut for cut. Founded in 2003 by musician and producer Craig Martin, Classic Albums Live has become the “ultimate destination for music lovers wanting to hear the greatest albums performed live” (BroadwayWorld.com). Classic Albums Live concentrates solely on the music, and has presented more than 100 shows a year.

Like a symphony orchestra performing the works of Mozart, Classic Albums Live puts the music first. These world-class musicians will tackle this iconic album, concentrating solely on re-creating it as it is so fondly remembered by audiences worldwide.

About Led Zeppelin II from Craig Martin Led Zeppelin really does sound like the hammer of the Gods. At first

listen it’s the guitar riffs that grab you. Then the drums. Then the honey sweet voice of Robert Plant.

What’s funny is that after years of listening and dissecting the album, it’s the bass guitar that I’m now drawn to.

One thing I know for sure is that Zep fans are unrelenting in their love for the band. Many people don’t realize that during the ’70s, no other band or artist came close to selling as many albums as Led Zeppelin. At the time the critics were panning them and making fun of them. But the people spoke. They bought the albums and went to the concerts. Led Zeppelin was the people’s band. And Led Zeppelin II was their call to arms.

Every rock musician who picks up an instrument gravitates toward Zep. Every musician says he or she can play Zep. But most can’t. There’s an undefinable quality to their music.

I have put together the greatest Led Zeppelin band in the world. I can’t believe my luck. I get to rock out with an audience of like-minded people.

I can’t think of anything better than being in a beautiful communal setting and reveling in one of the greatest albums ever made.

applause at Strathmore • NOVEMBER/DECEMBER 2014 57

Saturday, December 6, 2014, 8 p.m.

● Baltimore Symphony Orchestra Marin Alsop, Music Director

Presents

Handel’s Messiah Edward Polochick, conductor and harpsichord Sydney Mancasola, soprano Daniela Mack, mezzo-soprano Ross Hauck, tenor Sidney Outlaw, bass-baritone Concert Artists of Baltimore Symphonic Chorale

Messiah George Frideric Handel Part I (1685-1759)

INTERMISSION

Part II

Part III The Music Center at Strathmore Marriott Concert Stage

Edward Polochick, conductor and harpsichord

Edward Polochick is artistic director of Concert Artists of Baltimore, an all-professional orchestra and vocal

ensemble of 70 musicians, which is celebrating its 28th season.

The 2014-2015 season also marks his 17th as music director of Lincoln’s Symphony Orchestra in Nebraska. From 1979 to 1999, he served as the Baltimore Symphony Orchestra’s Symphony Chorus director, and since 1979, he has been at the Peabody Conservatory as associate conductor of the orchestra, director of choral ensembles and opera conductor. An accomplished pianist and harpsichordist, he has appeared as soloist with The Philadelphia Orchestra and the Los Angeles Chamber Orchestra.

Since winning the Leopold Stokowski Conducting Award, Polochick has attracted attention as an orchestral, operatic and choral conductor.

His appearances include the Houston Symphony, Chautauqua Symphony, Opera Company of Philadelphia, Aalborg Symphony of Denmark, Omaha Symphony, Jacksonville Symphony, Daejeon Philharmonic in Korea, St. Petersburg Symphony and the State of

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Mexico Symphony Orchestra in Toluca, Mexico.

Sydney Mancasola, soprano

A Grand Finals winner of the 2013 Metropolitan Opera National Council Auditions, Sydney Mancasola has been praised by The New York Times for her “lovely lyric soprano and radiant high notes.”

The 2014-2015 season sees Mancasola’s company debuts with Palm Beach Opera as Marie in La fille du régiment and Florida Grand Opera as Leila in Les pêcheurs de perles, as well as a return to Opera Theatre of St. Louis as Lisette in La Rondine. Concert work includes appearances with The Philadelphia Orchestra, Sun Valley Symphony, Eugene Symphony Orchestra, and Lexington Philharmonic.

Honors and awards include top prize winner of the Gerda Lissner Foundation Competition, second prize and audience favorite at the Houston Grand Opera Eleanor McCollum Competition, and first prize in the Loren L. Zachary National Vocal Competition.

Mancasola studied voice at the Oberlin Conservatory of Music, receiving the Margot Bos Standler Scholarship and completing her bachelor of music degree in 2011. She is a recent graduate of the Academy of Vocal Arts in Philadelphia.

Daniela Mack, mezzo-soprano

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza

mancasola photo by dario acosta

SATURDAY, DECEMBER 6, 2014, 8 P.M.

Saturday, December 6, 2014, 8 p.m.

or a Frederica von Stade” (San Francisco Chronicle). Mack was a finalist in the 2013 BBC Cardiff Singer of the World Competition.

In 2014-2015, Mack returns to San Francisco Opera as Rosmira in Christopher Alden’s production of Handel’s Partenope and Opera Theatre of Saint Louis as Rosina in The Barber of Seville. In the summer of 2015, she debuts at the Saito Kinen Festival in Berlioz’s Béatrice et Bénédict under Seiji Ozawa.

She will also be heard with the Los Angeles Philharmonic in Beethoven’s Ninth Symphony, Washington Chorus in Beethoven’s Missa solemnis and with the Sydney Symphony in Canteloube’s Chants d’Auvergne. Mack will make her New York concert debut with the Collegiate Chorale as Joacim in Handel’s Susanna at Town Hall.

Ross Hauck, tenor

Tenor Ross Hauck has been described by The Seattle Times as “almost superhuman in musical effect.” He recently made concert debuts with the Phoenix, Oregon and Kansas City symphonies, and the Chautaqua festivals in Colorado and New York.

Hauck is a regular soloist with Seattle Symphony, and has sung with the National Symphony and Chicago Symphony. A frequent performer of sacred music, he has recorded Handel’s Messiah with Apollo’s Fire (Cleveland Baroque Orchestra).

Hauck trained at the College-Conservatory of Music at the University of Cincinnati, with further studies at Tanglewood, Aspen and Wolf Trap. He lives with his wife and four children in Washington state. Hauck is professor of voice at Seattle University, and is active in ministry through the arts.

Sidney Outlaw, bass-baritone

Sidney Outlaw was the Grand Prize winner of the Concurso Internacional de Canto Montserrat Caballe in 2010 and continues to delight audiences. A graduate of the Merola Opera Program and former member of the Gerdine Young Artist Program at Opera Theatre of Saint Louis, this rising American baritone recently finished his first operatic recording for Naxos Records, recording in its entirety Darius Milhaud’s Oresteia of Aeschylus singing the role of Apollo.

Outlaw joins the roster of the Metropolitan Opera in the 2014-2015 season, covering the role of Mamoud in The Death of Klinghoffer. Outlaw also will be heard in recital with Howard Watkins at Carnegie Hall in its Neighborhood Recital Series. With Kent Tritle and the Oratorio Society of New York, he will sing Haydn’s Creation and Handel’s Messiah, both at Carnegie Hall. In the summer of 2015, Outlaw makes his Spoleto Festival debut as Jake in Porgy and Bess.

Concert Artists of Baltimore

Founded by Edward Polochick and now in its 28th season, Concert Artists of Baltimore (CAB) consists of a professional chamber orchestra and professional chamber chorus. The full ensembles are featured in The Maestro Series, with performances this season at the Basilica of the Assumption, St. Pius Church and the Gordon Center for Performing Arts.

The orchestra and chorus are frequently hired for performances throughout the region by other organizations, including the Baltimore Symphony Orchestra, the Lyric Opera Baltimore, Moscow Ballet, The Cathedral of Mary Our Queen, Temple Oheb Shalom, Johns Hopkins Medical Institutions, McDaniel

College, St. Louis Church, the Holocaust Museum in Washington, D.C., The Visionary Arts Museum, Elizabethtown College and Catholic Charities.

When larger forces are needed, such as when the singers of Concert Artists perform Messiah with the Baltimore Symphony Orchestra each year, the chorus expands to the Concert Artists Symphonic Chorale.

Program Notes Messiah

George Frideric Handel Born Feb. 23, 1685, in Halle, Saxony (now Germany); died April 4, 1759, in London

Handel’s great oratorio Messiah has become such a beloved musical icon in the nearly 270 years since its birth in 1741 that it is not at all surprising that many myths and legends have grown up around it. We have been told that Handel himself compiled its mostly Biblical text or, alternatively, that it was sent to him by a stranger; that its success transformed him overnight from a bankrupt operatic has-been to England’s most revered composer; that at its London premiere the king himself rose during the “Hallelujah” Chorus to express his approbation. But Messiah’s real story is much more complicated, though no less fascinating.

In the early 1740s, Handel was indeed in considerable professional and financial trouble. After emigrating from Germany to England as a young man, he had enjoyed a celebrated career as the country’s leading composer of operas, mostly in Italian and enhanced by spectacular costumes and scenic effects. But by the end of the 1730s, Handel’s serious grand operas were falling out of fashion. The success of John Gay’s much simpler, English-language The Beggar’s Opera fueled a new enthusiasm for popularstyle comic operas. Unable to fill London’s opera houses any more, Handel retreated from the field and turned his

applause at Strathmore • NOVEMBER/DECEMBER 2014 59

Saturday, December 6, 2014, 8 p.m.

concert artists of baltimore

genius to sacred dramas or oratorios.

He was not a novice in this genre.

Even while busy writing operas, Handel had composed a number of oratorios, notable Israel in Egypt and Saul. Typically, his oratorios were not so very different from his operas: they told a dramatic story—in this case drawn from the Bible or other sacred literature—and their soloists played actual characters. They were performed in theaters and concert halls, not churches. But Israel in Egypt took a new musical approach in that the chorus now became the central character. And Messiah, while giving the soloists more to do, still emphasized the chorus for its climatic moments.

Moreover, it broke with Baroque oratorio tradition in that it was a meditation on the coming of the Messiah and his promise for humanity rather than a narrative of events in his life.

Handel himself did not compile the group of texts drawn from the Bible’s Old and New Testaments for Messiah. Instead, this was the work of Charles Jennens, a wealthy landowner and literary figure who was a longtime friend of the composer’s and had created tests for several other Handel oratorios. But Handel, devoutly religious as well as worldly, responded

with a burst of almost miraculous creative energy to the words Jennens had prepared for him. Beginning his work on Aug. 22, 1741, he completed the two-and-a-half-hour oratorio in just over three weeks. Besides inspiration from God, he also had a little practical assistance in his huge task. Like more Baroque composers (Bach included), he did not hesitate to borrow from earlier works if they were suitable for use here. Three of the choruses in Part I—“He Shall Purify,” “His Yoke is Easy” and the famous “For Unto Us a Child is Born”—are based on music he’d originally composed as Italian vocal duets.

Messiah was introduced to the world in Dublin, Ireland, on April 13, 1743 during Holy Week (the tradition of performing it during the Christmas season is fairly recent). At the invitation of the Duke of Devonshire, the Lord Lieutenant of Ireland, Handel had been presenting concerts of his works there since the previous November and winning the kind of warm response that had been eluding him in London. On that Tuesday, Neal’s Musick Hall was packed beyond its capacity; audience members had been specifically requested to leave their swords and hoop skirts at home in

60 applause at Strathmore • NOVEMBER/DECEMBER 2014

order to fit more people into the hall!

The Dublin audience responded with enormous enthusiasm to the new work, and another performance was quickly scheduled. But when Handel brought Messiah to London in March 1743, attendance was disappointing and the critics unkind. A subsequent Handel oratorio, Samson, was much preferred.

Much of Messiah’s failure was caused by a heated controversy that broke out in the city as to whether such a serious sacred subject ought to be presented as an “entertainment” in secular concert halls. Receiving few subsequent performances, the oratorio went back on Handel’s shelf.

By 1749, when Handel was 64, the trustees of London’s Foundling Hospital invited him to present Messiah there at a charitable fundraising concert. This time the oratorio aroused no controversy, more than 1,000 people attended, and for the first time Messiah enjoyed a London triumph.

From then on, annual performances during the Lenten season became a London tradition, soon spreading throughout Europe. Now Handel was finally acknowledged as England’s leading musical citizen, and he lived long enough—until 1759—to be able to savor the success of the work he loved so dearly.

Listening to Messiah

Messiah’s heroic journey is divided into three parts. Part I revolves around the Old Testament prophecies (emphasizing the Book of Isaiah) of the Messiah’s coming and culminates with his birth as told in the Gospel of Luke. Indeed more of Messiah’s text is drawn from the Old Testament than the New, and, apart from the Nativity story, the Gospel histories are seldom used. Thus, the emphasis falls on the broader meaning of Christ’s redemption of the human race rather than on the details of Jesus’ life.

Part II meditates on human sinfulness, the Messiah’s rejection and suffering, and his sacrifice to redeem humankind; it concludes with that

Saturday, December 6, 2014, 8 p.m.

famous song of praise and triumph, the “Hallelujah” Chorus. Finally moving into the New Testament, Part III tells of the Messiah’s vanquishing of death and the promise of everlasting joy for the believer.

Handel did not leave behind a definitive version of Messiah; instead, he reworked numbers and re-assigned arias to different voice categories depending on the soloists available for each performance. Messiah’s solo sections are divided between recitatives, which place greater emphasis on delivery of the words, and arias, in which musical values and the showcasing of the singer’s technical prowess take precedence. The tenor’s two opening numbers are a good example: “Comfort Ye, My People” is an accompanied recitative and “Every Valley” is an aria.

Perhaps the most stunning sequence in Part I is the juxtaposition of the bass soloist’s aria “The

People That Walked in Darkness” with the beloved chorus “For Unto Us a Child is Born.” In a marvelous example of musical text painting, the bass literally wanders in a chromatically confused maze in the dark key of B minor. The “great light” for which he yearns is then joyfully revealed in G major as the chorus salutes Jesus’ birth.

All the choruses, including the “Hallelujah,” demonstrate Handel’s exhilarating technique of mixing powerful homophonic or chordal utterances (“Mighty! Counselor!”) with a more intricate polyphonic style in which each voice part pursues its own elaborately decorated line (“For Unto Use a Child is Born”). The origins of the ritual of standing for the “Hallelujah” Chorus are rather misty.

Scholars believe that the Prince of Wales may have stood up when he attended that historic London performance in 1749. Certainly by 1780,

New Year’s Concert

everyone in the audience was following King George III’s lead.

Perhaps even exceeding “Hallelujah” in majesty and joy is the magnificent chorus “Worthy is the Lamb” that closes Part III, the shortest of the three sections but also the one most densely packed with the oratorio’s greatest sequences (the soprano’s serenely beautiful statement of faith “I Know That my Redeemer Liveth,” and the bass’ hair-rising proclamation of the Final Judgment, based on First Corinthians, “The Trumpet Shall Sound,” with its gloriously realized trumpet accompaniment). “Worthy is the Lamb” itself is capped with an “Amen” Chorus on an epic scale worthy of the masterpiece it closes—unfurling in grand sweeps some of the finest, most inspired choral counterpoint this Baroque master ever devised.

Notes by Janet E. Bedell, © 2010

Sunday, Jan. 4, 2015 at 3:00 pm

The MuSic cenTer aT STraThMore

Strauss Waltzes, Polkas & operetta arias european Singers, costumed dancers The Philly PoPS orchestra

Tickets: 301.581.5100 strathmore.org Presented by Attila Glatz Concert Productions salutetovienna.com

applause at Strathmore • NOVEMBER/DECEMBER 2014 61

Tuesday, December 9, 2014, 8 p.m.

● Strathmore Presents

Dave Koz and Friends Christmas Tour 2014 With special guests Jonathan Butler, Christopher Cross and Maysa The Music Center at Strathmore Marriott Concert Stage

Dave Koz

Nine-time Grammy nominee Dave Koz remembers the first record he ever purchased: Tower of Power’s 1974 album, Back To Oakland. It had a powerful impact on him, as his 2013 release Summer Horns shows. Teaming up with Gerald Albright, Richard Elliot and Mindi Abair, Koz revisited the music that made him want to pick up the saxophone in the first place.

Born and raised in Los Angeles’ San Fernando Valley, Koz initially saw the saxophone just as a way to help him gain entry into his big brother’s band. After graduating from UCLA, Koz decided to become a professional dave koz

musician. Within weeks of that decision, he was recruited as a touring member of Bobby Caldwell’s band. It was during this time that Koz befriended keyboardist Jeff Lorber, who invited Koz to come play on one of his tours.

That stint was followed by a 14-month tour with pop singer Richard Marx.

Signed to Capitol Records by Bruce Lundvall, Koz released his self-titled solo debut album in 1990. This was the first in a body of best-selling work, which includes the gold-certified Lucky Man (1993), Off The Beaten Path (1996), and the holiday-themed albums December Makes Me Feel This Way (1997) and Dave Koz & Friends— A Smooth Jazz Christmas (2001).

Hello Tomorrow, Koz’s first album for Concord Records, debuted at No. 1 on both Billboard’s Top Contemporary Jazz Albums chart and iTunes’ Jazz Album chart and was named the “Best Smooth Jazz Album of 2010” by iTunes. The CD was nominated for a Grammy award for Best Pop Instrumental Album.

Koz’s new holiday recording, The 25th of December, was released in late September. The album features duets with Johnny Mathis, Eric Benét, Gloria Estefan, Heather Headley, Richard Marx, Kenny G, BeBe Winans, India.

Arie, Trombone Shorty, Jonathan Butler, Fantasia, and Stevie Wonder.

Jonathan Butler

The youngest of 13 children, Jonathan Butler grew up in Cape Town, South 62 applause at Strathmore • NOVEMBER/DECEMBER 2014

Africa, ruled by apartheid and segregation. Butler began his singing career at age 7, releasing his first album in 1973 and winning the Best New Artist Grammy in South Africa the following year at age 12.

More than a decade later, Butler moved to London after signing with Jive Records and released his first album internationally. The self-titled set went gold in 1987 in the United Kingdom and in the U.S. He received Grammy nominations for Best R&B Song for “Lies” and Best Jazz Song for the instrumental “Going Home.” Butler’s 2004 album, Surrender, went gold in South Africa, where he remains a superstar.

In concert, Butler remains a captivating and powerful performer, pouring his heart into selections from his immense catalogue. In addition to being a popular draw at headline dates, festival shows and music cruises, Butler thrives on interacting with fans. For the past four years, he has led a group of 35 guests each fall on the Jonathan Butler Safari, during which he shares his South Africa by visiting important landmarks in his life, as well as historic locales.

Christopher Cross

Christopher Cross made history with his 1980 self-titled debut album, winning five Grammy awards, including Record of the Year (for the single “Sailing”), Album of the Year, Song of the Year (also for “Sailing”), and Best New Artist.

Now, more than 30 years after his extraordinary emergence into the music business, Cross continues his recording and performing career with a new album, Secret Ladder. The 13 tracks, mostly written with his longtime collaborator Rob Meurer, continue the exploration of adult subject matter broached in his preceding album Doctor Faith (2011).

Cross’ romantic side is readily evident on Secret Ladder songs like “Simple,” in which he elicits the tuneful sense of love and serenity that marked “Sailing.” But from the album’s first song, Cross evinces a sharpened focus

Koz photo by Bryan Sheffield

TUESDAY, DECEMBER 9, 2014, 8 P.M.

Tuesday, December 9, 2014, 8 p.m.

in addition to his magic melodic touch.

Secret Ladder draws from many influences. Hard-hitting songs include, most notably, “Got to be a Better Way” and “Island of Anger.” The poignant and uplifting anthem “Light the World” features an African chorus alternating the lyrics in Swahili.

“The Times I Needed You” employs a vocal chorus, arranged by Meurer, intentionally reminiscent of the Beach Boys. Cross also notes that Secret Ladder’s “I Don’t See it Your Way” is a Joni Mitchell-influenced track.

Maysa

Maysa is the kind of singer who takes hold of a song and enraptures her audience in the palm of her hands, as she delivers lyrics, phrases, melodies and harmonies in a way that only she can. Blessed with an instantly identifiable mezzo-soprano and an undeniably brilliant and magnetic stage presence, Maysa’s alluring vocals, candor, humor, and purity as an artist make

her a rarity in this business.

In 2013 she released her 10th recording as a leader and fifth for Shanachie Entertainment, Blue Velvet Soul. The album features a reinvention of a familiar classic, the Johnny Hammond composition “Quiet Fire,” inspired by Nancy Wilson’s version.

A special highlight on the new CD is Maysa’s gift as a composer. Eight of the album’s 15 tracks feature her original songs and she pours her heart and soul into every note. Blue Velvet Soul includes the uplifting duet with friend Bluey from Incognito, “Good Morning Sunrise,” the sultry “Sophisticated Lover,” and the sublime meditation “Inside My Dream.”

Maysa Leak was born and raised in Baltimore, and knew by the time she was 6 that she would be a musician. Maysa graduated from Morgan State University with a degree in classical performance, and moved to North Hollywood to join Stevie Wonder’s group Wonderlove, with whom

she performed for a year. In the early 1990s, Maysa auditioned over the phone to become the new lead singer of the acclaimed British jazz/funk/ R&B band Incognito, for which she moved to London. She has appeared on over nine Incognito recordings and continues to appear as a featured vocalist with them from time to time.

Maysa recorded her self-titled debut album for GRP in 1995, following it up with All My Life (1999), Out Of The Blue (2002) and Smooth Sailing (2004). She then made an impact with her interpretations of classic soul music on two acclaimed albums for Shanachie, Sweet Classic Soul (2006) and Feel The Fire (2007. Metamorphosis (2008) showed off Maysa’s prowess as a composer and A Woman In Love (2010) found Maysa returning to her roots as a jazz singer. Motions Of Love (2011) features the ballad “Have Sweet Dreams,” co-written by Stevie Wonder, and the duet “Flower Girl” with Dwele.

applause at Strathmore • NOVEMBER/DECEMBER 2014 63

Thursday, December 11, 2014, 8 p.m.

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

Presents

Holly Jolly Pops Jack Everly, conductor Debbie Gravitte, vocalist Ted Keegan, vocalist Baltimore Choral Arts Society, Tom Hall director

Cirque de la Symphonie Shana Lord, aerialist Timber Brown, aerialist Dancers from the Baltimore School of the Arts, Norma Pera, Dance Department head Jonathan Carney, violin Seth Horner, tuba

O Come, All Ye Faithful John Redding and Frederick Oakley Debbie Gravitte and Ted Keegan We Need a Little Christmas Jerry Herman Debbie Gravitte and Ted Keegan Here We Come A-caroling Arr. Bob Krogstad Songs of Snow Arr. Bob Krogstad Debbie Gravitte O Chanukah Arr. Jim Kessler Debbie Gravitte Light the Candles of Freedom Justin Wilde and Doug Konecky Dancers from the Baltimore School of the Arts Greensleeves Ralph Vaughan Williams Jonathan Carney One Clear and Snowy Night Leroy Anderson Timber Brown Believe Glen Ballard and Alan Silvestri Ted Keegan There is a Santa Claus Matthew Sklar and Chad Beguelin Debbie Gravitte and Ted Keegan Santa Tap Arr. Michael Gibson Dancers from the Baltimore School of the Arts INTERMISSION

Once Upon a December Stephen Flaherty, David Newman

Debbie Gravitte, Shana Lord and Lynn Ahrens

and Timber Brown

Carol of the Bells Arr. David Hamilton

Debbie Gravitte, Shana Lord

and Timber Brown

How the Grinch Stole Christmas Albert Hague & Dr. Seuss

Seth Horner

O, Holy Night Adolph Adam

Ted Keegan

Baby, It’s Cold Outside Frank Loesser

Debbie Gravitte

O Tannenbaum Arr. Carmen Dragon Have Yourself a Merry Little Christmas Song Hugh Martin, Mel Tormé and Bob Wells

Debbie Gravitte and Ted Keegan

One God Ervin M. Drake & James Shirl

Ted Keegan

Angels We Have Heard on High Arr. David T. Clydesdale

Debbie Gravitte and Ted Keegan The concert will end at approximately 10 p.m.

The Music Center at Strathmore Marriott Concert Stage

64 applause at Strathmore • NOVEMBER/DECEMBER 2014

Jack Everly, conductor

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

His frequent guest conducting engagements include the orchestras of Pittsburgh, Edmonton, Oklahoma City and The Philadelphia Orchestra at The Mann Center. Everly is the music director of “Yuletide Celebration,” now a 26-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concertgoers.

Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, he teamed with the late Marvin Hamlisch in Broadway shows that Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. Everly also has conducted the songs for Disney’s animated classic The Hunchback of Notre Dame and led the Czech Philharmonic on the recordings In the Presence, featuring tenor Daniel Rodriguez, and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses:The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings.

Debbie Gravitte

Debbie Gravitte received a Tony Award for Jerome Robbins’ Broadway,

everly photo by michael tammaro

THURSDAY, DECEMBER 11, 2014, 8 P.M.

Thursday, December 11, 2014, 8 p.m.

along with the New York Showstopper Award and a Drama Desk nomination. She made her Broadway Debbie Gravitte debut in They’re Playing Our Song and also appeared in Blues in the Night, Perfectly Frank (Drama Desk nomination), Zorba, Ain’t Broadway Grand?, Chicago, and Les Misérables, and was seen in Mack and Mabel in London.

Gravitte has sung with more than 100 orchestras worldwide, including the National Symphony, Cleveland Orchestra, Boston Pops, Cleveland Pops, Philadelphia Pops, and the Pittsburgh, Atlanta, San Diego, St. Louis and Houston symphony orchestras. Overseas, she’s appeared with the London Symphony, Birmingham Symphony, Jerusalem Symphony, Royal Scottish National Orchestra, National Symphonica of Brazil, Munich Philharmonic and in Beijing with Lang Lang and the Chinese Philharmonic.

Gravitte is featured on many recordings including her three solo CDs Defying Gravity, The Alan Menken Album and The MGM Album. www.debbiegravitte.com.

Ted Keegan

Ted Keegan has been seen as the Phantom in The Phantom of the Opera on Broadway, in the national tour and in Phantom: The Las Vegas Spectacular. He also had the pleasure of appearing as the Phantom on television, performing live from Rockefeller Center for NBC’s “Today” show.

Keegan has sung with Audra McDonald in New York and with Marin Mazzie at the opening of the Santa Fe Chamber Music Festival, and appeared as a soloist at Lincoln Center’s Avery

Fisher Hall singing Unheard Bernstein.

He has performed with the Detroit, Portland, Pittsburgh, Ottawa, Omaha, Baltimore, Las Vegas, Fort Worth, Edmonton and Indianapolis symphonies, the Dayton Philharmonic and the National Symphony.

Keegan made his Broadway debut in the highly acclaimed revival of Sweeney Todd. Other Broadway and national tour credits include Cyrano: The Musical, Camelot with Robert Goulet, Herman in The Most Happy Fella, and Kander and Ebb’s The World Goes ’Round.

The Baltimore Choral Arts Society

The Baltimore Choral Arts Society, now in its 49th season, is one of Maryland’s premier cultural institutions.

The Symphonic Chorus, Full Chorus, Orchestra and Chamber Chorus perform throughout the mid-Atlantic region, as well as in Washington, D.C., New York and Europe.

For the past 18 years, WMAR Television has featured Baltimore Choral Arts in an hour-long special, “Christmas with Choral Arts,” which won an Emmy Award in 2006. Music Director Tom Hall and the chorus were also featured in a PBS documentary called “Jews and Christians: A Journey of Faith,” broadcast nationwide and on National Public Radio in 2001. On local radio, Hall is the host of “Choral Arts Classics,” a monthly program on WYPR that features the Choral Arts Chorus and Orchestra, and he is the culture editor on WYPR’s “Maryland Morning with Sheilah Kast.”

Cirque de la Symphonie

Cirque de la Symphonie is an exciting adaptation of artistic performances widely seen in theaters and arenas everywhere. Artists include the most amazing veterans of exceptional cirque programs throughout the world—aerial flyers, acrobats, contortionists, dancers, jugglers, balancers and strongmen.

Shana Lord

Shana Lord is an accomplished acrobat and dancer who has performed with many of the best cirque programs, including Cirque du Soleil’s Quidam.

She has been a featured performer with Disney in Japan and Sea World’s Cirque de la Mer. She performs with aerial silks, rope, hammock, bungees, Chinese poles, duo trapeze and her self-designed aerial web.

Timber Brown

Timber Brown is a professional aerial and acrobatic artist, best known for his appearance on the eighth season of “America’s Got Talent.” Brown has been a featured character and performer in numerous productions and special events around the globe.

Baltimore School for the Arts

Founded in 1980, Baltimore School for the Arts is a nationally recognized public high school that provides its students with intensive pre-professional training in the arts in conjunction with a rigorous academic curriculum. BSA graduates go on to the most selective arts and university programs nationwide and achieve prominence in theater, film, music, dance and visual arts.

baltimore choral arts society applause at Strathmore • NOVEMBER/DECEMBER 2014 65

Friday, December 12, 2014, 8 p.m.

FRIDAY, DECEMBER 12, 2014, 8 P.M.

● Strathmore Presents

The Temptations and The Four Tops The Music Center at Strathmore Marriott Concert Stage

The Temptations

For more than 50 years, The Temptations have prospered, propelling popular music with a series of smash hits and sold-out performances throughout the world.

The history of The Temptations is the history of contemporary American pop. An essential component of the original Motown machine, that amazing engine invented by Berry Gordy Jr., The Temps began their musical life in Detroit in the early ’60s. It wasn’t until 1964, however, that the Smokey Robinson written-and-produced “The Way You Do the Things You Do” turned the guys into stars.

An avalanche of hits followed: “My Girl,” “It’s Growing,” “Since I Lost My Baby,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is Only Skin Deep,” “I Wish It Would Rain” and many more.

The classic lineup was Otis Williams, Melvin Franklin, Paul Williams, Eddie Kendricks and David Ruffin. Beyond the fabulous singing, The Temps became known for smooth stepping and flawless presentations.

When the ’60s and ’70s turned political, The Temps got serious. They changed their tone, dress and music. Producer Norman Whitfield led the way.

His Temptations hits, many featuring

Dennis Edwards, who had replaced Ruffin, burned with intensity. “Runaway Child,” “Cloud Nine,” “I Can’t Get Next to You,” “Papa Was a Rolling Stone,” and “Psychedelic Shack” still smolder.

Other singers—Richard Street, AliOllie Woodson—joined, adding their luster to the group’s growing fame. No matter the change in personnel, The Temptations remained true to The Temptations tradition.

In the ’80s, The Temps prevailed with smashes like the Williamspenned “Treat Her Like a Lady.” In the ’90s came another Temptation explosion. It began with their appearance on “Motown 25” in 1983; it continued with the NBC miniseries that chronicled the group’s history.

Then came a series of acclaimed records: For Lovers Only, a collection of love standards; Phoenix Rising, which included the hit “Stay and Ear-Resistible,” which earned a Grammy.

The Four Tops

The quartet, originally called the Four Aims, made their first single for Chess in 1956 and spent seven years on the road and in nightclubs, singing pop, blues and Broadway, but mostly four-part harmony jazz. When Motown’s Berry Gordy Jr. found out

66 applause at Strathmore • NOVEMBER/DECEMBER 2014

they had hustled a national “Tonight Show” appearance, he signed them without an audition to be the marquee act for the company’s Workshop Jazz label. That proved short-lived, and Levi Stubbs, Abdul Fakir, Renaldo Benson and Lawrence Payton started making one smash after another with the writing-producing trio Holland-Dozier-Holland.

Their first Motown hit, “Baby I Need Your Loving” in 1964, made them stars.

“I Can’t Help Myself (Sugar Pie, Honey Bunch),” a No. 1 R&B and pop smash in 1965, is one of Motown’s longestrunning chart toppers. It was followed by “It’s the Same Old Song,” “Reach Out, I’ll Be There,” “Standing in the Shadows of Love,” and “Bernadette.”

When Motown left Detroit in 1972 to move to Los Angeles, the Tops decided to stay at home, and with another label. They kept up a string of hits with ABC-Dunhill for the next few years: “Ain’t No Woman (Like the One I’ve Got),” “Keeper of the Castle,” “Are You Man Enough” (from the movie Shaft in Africa), “Sweet Understanding Love,” “One Chain (Don’t Make No Prison)” (later covered by Santana), “Midnight Flower” and the disco perennial “Catfish.”

In 1980s the group moved to Casablanca Records, where they scored hits with “When She Was My Girl,” “Tonight I’m Gonna Love You All Over” and “I Believe In You And Me.” Following Payton’s death in 1997, the group briefly worked as a trio until Theo Peoples, a former Temptation, was recruited to restore the group to a quartet. When Stubbs subsequently grew ill, Peoples became the lead singer and former Motown artist-producer Ronnie McNeir was enlisted to fill Payton’s spot. In 2005, when Benson died, Payton’s son, Roquel, replaced him.

For Rolling Stone’s 2004 article “The Immortals—The Greatest Artists Of All Time,” Smokey Robinson remembered: “They were the best in my neighborhood in Detroit when I was growing up [and] the Four Tops will always be one of the biggest and the best groups ever. Their music is forever.”

Saturday, December 13, 2014, 4 p.m. and 8 p.m.

SATURDAY, DECEMBER 13, 2014, 4 P.M. AND 8 P.M.

Get the most for your money

● Strathmore Presents

Mannheim Steamroller Christmas

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Mannheim Steamroller Christmas is presented through the generous sponsorship of Joel and Elizabeth Helke.

The Music Center at Strathmore Marriott Concert Stage

About Mannheim Steamroller

In 1984 Mannheim Steamroller released Mannheim Steamroller Christmas, an album that revolutionized the holiday music industry. Already a multiplatinum recording artist through his Fresh Aire series, founder Chip Davis decided to record an album of Christmas music combining the group’s signature mix of renaissance instruments with rock ‘n’ roll beats.

The resulting album was a runaway hit and propelled Mannheim Steamroller to become the No. 1 Christmas music artist in history. The group’s latest album, 30/40, was released in October and celebrates 30 years of Christmas favorites and 40 years of the sound of Mannheim Steamroller.

Chip Davis

Chip Davis is the genius behind Mannheim Steamroller and the driving force of American Gramaphone, the largest independent record label in the country. Davis combines the dynamics of musical mastery and technical wizardry to create a style often described as “18th century rock ’n’

roll.” He named the band Mannheim Steamroller for the 18th century musical technique that we know today as the crescendo.

While Davis is no longer able to perform as a member of the band due to cervical disc damage, he continues to be involved in the Christmas concerts, including directing both the creative and production sides of the tour.

With 19 gold-, eight multiplatinum- and four platinum-certified records, Davis is among an elite group of artists such as U2, Jay-Z, The Beach Boys and Michael Jackson with the most such certifications.

Davis resides on a 150-acre farm just outside Omaha, Neb., along with his nine horses, pet turkey, two timberwolves, a family of ducks and other natural critters throughout his woods.

His three children all have a variety of musical talents. His 14-year-old daughter is a lead singer in an Omaha band and is featured in 30/40. His 22-year-old daughter is a vocalist and competitive equestrian who also works at American Gramaphone. Davis’ 17-year-old son, an accomplished guitarist, has performed on record tracks.

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applause at Strathmore • NOVEMBER/DECEMBER 2014 67 Erie Insurance ad.indd 1

12/10/13 4:42 PM

Tuesday, December 16, 2014, 7:30 p.m.

TUESDAY, DECEMBER 16, 2014, 7:30 P.M.

● Strathmore Presents

Strathmore Children’s Chorus Winter Concert featuring the North Bethesda Middle School Choir Strathmore Children’s Chorus Training Chorus “Kol Han’shamah (Psalm 150:6)” Robert Applebaum “Peace On Earth…and lots Paul Carey and Oliver Twigge of little crickets” Ian Stuart, bass marimba “May the Road Rise Up” Jay Rouse (Traditional Gaelic blessing) North Bethesda Middle School Choir

“Panis Angelicus” Cesar Franck

arr. Neil Johnson

“Bashana Haba’ah” Ehud Manor and Nurit Hirsch

arr. by John Leavitt

“It Takes a Village” Joan Szymko Strathmore Children’s Chorus Treble Chorus

“Blustery Day (The Challenge)” Victoria Ebel-Sabo

“Solidaridad” David L. Brunner

“Beautiful Star of Bethlehem” Adger Pace and Risher Boyce

arr. David L. Brunner Strathmore Children’s Chorus Young Men’s Chorus

“Bound for the Promised Land” arr. Emily Crocker

(American folk song)

“Medieval Gloria” Vijay Singh

“Riu, Riu, Chiu” (Spanish carol) arr. Linda Spevacek Strathmore Children’s Chorus Concert Chorus

“Cantate Domino” Heinrich Schutz

“Eliyahu Hanavi” (Jewish folk song) arr. Valerie Shields

“Winter Magic” Dave and Jean Perry Combined Choruses

“Silent Night for All the World” J. Mohr, Franz Gruber,

Alice Dillon Pepper Choplin

“Jingle Bells (Sort Of)” James Pierpont

arr. Jay Althouse

Strathmore Children’s Chorus Christopher G. Guerra, Founding Conductor & Artistic Director Matthew Albright, Associate Director, Young Men’s Chorus Mary J. Hochkeppel, Associate Director, Training Chorus Hei Jung Kim, Accompanist, Treble, Concert Chorus, Young Men’s Chorus Rodney Long, Accompanist, Training Chorus Alice Dillon, Vocal Coach Miriam de Decker, Choral Manager, Training Chorus William Gonzales, Choral Manager, Concert Chorus Ashley Manion, Choral Manager, Treble Chorus Lauren Campbell, Program Director Mary Twillman, Managing Director North Bethesda Middle School Choir Jason McFeaters, Choral Director Matthew Vanhoose, Accompanist Guest accompanists Dan Heagney, percussion Nick Montopoli, violin Ian Stuart, percussion

The Music Center at Strathmore Marriott Concert Stage

68 applause at Strathmore • NOVEMBER/DECEMBER 2014

Strathmore Children’s Chorus

The Strathmore Children’s Chorus was founded in the fall of 2012 with 90 members. Currently, Strathmore has nearly 200 members and four ensembles: the Training Chorus, The Treble Chorus, the Concert Chorus and the Young Men’s Chorus.

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

The Strathmore Children’s Chorus is a Strathmore Education program, and fulfills Strathmore’s mission to produce exemplary performing arts programs for diverse audiences, create dynamic arts education experiences that convene students and educators, and foster informed appreciation for and involvement in the arts.

Christopher G. Guerra

Christopher G. Guerra is the founding conductor and artistic director of the 200-member Strathmore Children’s Chorus, now in its third season.

He was the founding choral director of the A. Mario Loiederman Middle School for the Creative and Performing Arts in Silver Spring, where he directed all choral activities and taught courses in digital music for nine years.

He is currently teaching chorus at Ridgeview Middle School.

Guerra is the recipient of the 2012 Maryland Music Educators Association’s Outstanding Teacher Award. His choirs

Tuesday, December 16, 2014, 7:30 p.m.

have performed at two national conferences and for the American Choral Directors Association’s 2012 National Middle School Choral Conference in Dallas, Texas, as well as at MMEA conferences and several performances at the Music Center at Strathmore.

Matthew Albright

Matthew Albright received his bachelor’s degree in choral and instrumental music education K-12, piano pedagogy, and piano performance from Shepherd University. He received his graduate degree from Shenandoah University in church music in organ and choral conducting, as well as a graduate certificate in church music.

Albright is the director of adult music and organist at First Christian Church and is the vocal director at Winston Churchill High School. He is also a colleague and a choir master in the American Guild of Organists.

Albright has played at the Montreux Jazz Festival in Switzerland and has been a featured organist in the Quad-State area as well as in the Walls of the Vatican. He frequently performs with the Monocacy Jazz Quartet, Maryland Symphony Orchestra, and the Matt Albright Trio.

Mary J. Hochkeppel

Mary J. Hochkeppel has been teaching music and directing choirs/dance teams and Orff Percussion Ensembles on the elementary and secondary level for 34 years. She is currently in her ninth year with Montgomery County Public Schools as choral/dance/Orff ensemble director and general music teacher at Sligo Creek Elementary School.

In 2013, she collaborated with composer-conductor Jim Papoulis in composing and publishing the choral piece titled, “I’ll Shine You Home.” In 2012-2013 she was invited to direct the Montgomery County Elementary Honors Chorus.

Throughout her career, Hochkeppel has presented several choral, music technology and music curriculum workshops in Virginia and Maryland.

She earned a master’s degree in music

education from the Peabody Conservatory of Music of Johns Hopkins University, and a bachelor’s degree in music education from Westminster Choir College. She is an active member of the National Association for Music Education and the American Choral Directors Association.

Hei Jung Kim

Hei Jung Kim is a graduate of the University of Maryland College Park School of Music. While attending the University of Maryland, Kim studied piano with Santiago Rodriguez.

Kim is a music teacher for Montgomery County Public Schools, teaching general music and chorus for the past 12 years at Dr. Sally K. Ride Elementary School. She also serves as the accompanist for the Montgomery County Youth Chorus and the Montgomery County Elementary Honors Chorus. Kim is also a Strathmore Children’s Chorus parent.

Rodney Long

Rodney Long is a conductor, pianist, teacher and director who has accompanied countless choral groups, soloists, instrumentalists, and plays in pit orchestras as music director. Most recently, he worked at The Johns Hopkins University as the music director for its production of Carousel in 2014, and for The Drowsy Chaperone in 2012.

Long is a tenor with The National Broadway Chorus in Washington, D.C. He is the director of choral activities at Watkins Mill High School.

Miriam de Decker

Miriam de Decker graduated with a bachelor’s degree in piano performance from Goshen College, and studied piano under Menahem Pressler of the Beaux Arts Trio while attending the Indiana University School of Music. She has a master’s degree in elementary education and is entering her 13th year of teaching kindergarten in the French Immersion program at Sligo Creek Elementary School in Silver Spring. She

also teaches private piano lessons and serves as accompanist for the Sligo Creek chorus and for high school instrumentalists.

William Gonzales

Wil Gonzales received a bachelor’s degree in music education from the University of New Mexico. In New Mexico, Gonzales interned for and directed the UNM Children’s Chorus as well as the adult choir at St. Mark’s on the Mesa Episcopal Church. His other professional experience includes adjudicating solo and ensemble festivals and working as a choral clinician for various music programs in Albuquerque Public Schools.

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

Ashley Manion

Ashley Manion recently completed her master’s degree in music education through Boston University. She is also a graduate of the University of Delaware with a bachelor’s degree in music education.

She has taught choral and general music in Delaware and New Jersey, and is excited to return to her musical roots in Montgomery County. She is a general music teacher at both Ashburton and Waters Landing elementary schools.

She is a member of American Choral Directors Association, National Association for Music Education, and the Sherwood Chambers Alumni Choir.

Alice E. Dillon

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

Dillon has appeared as a soloist locally and across the country, in concert with Washington Performing Arts, the Capital Wind Symphony, NOVA Manassas Symphony & Community Chorale, Annapolis Opera, and the Illiana Oratorio Society. Other appearances include The Lake George Opera,

applause at Strathmore • NOVEMBER/DECEMBER 2014 69

Tuesday, December 16, 2014, 7:30 p.m.

Light Opera Works, The Boston Lyric Opera, The Chicago Lyric Opera, The Chicago Symphony Chorus, and The Washington National Opera.

Dillon received her bachelor’s degree in music education from the University of Maryland and her master’s degree in voice from the New England Conservatory. She completed her doctorate of musical arts in voice from the Conservatory of Music at the University of Missouri, Kansas City.

Jason McFeaters, director, North Bethesda Middle School Choir

During Jason McFeaters’ 10 years at

North Bethesda Middle School, the choir program has grown from 28 to more than 250 singers, and his choirs have received overall superior ratings at county and state choral festivals.

He has served as a guest clinician or conductor throughout Maryland.

In 2007, his students were selected to perform at The Music Center at Strathmore with The Kings’ Singers.

McFeaters holds a bachelor’s degree in music education from the Peabody Conservatory of the John’s Hopkins University, and a master’s degree in performance from the University of Michigan.

Strathmore Children’s Chorus Concert Chorus Monica Amery Gabriella Ballesteros Christina Bloomer Hannah Broder Aliza Broder Marc Burlina Lauren Cooke Caitlin Deerin Mahima Dewan Katherine Donahue Emily Donahue Sacha Feldberg Jerzy Gillon Myka Graves Meimei Greenstein Sierra Hill Ellinore Homan Evelyn Hoon Anna Job Melanie Komolafe Sophia Lieske Devin Grace Lucas Veronica Magana Madeline Matson Megan McWright Neema Meena Melissa Melkonian Madeleine Menkes Alex Nevo Ashley Ondoua Aprill Park Christine Park Sofia Pereira Mackenzie Polgreen Tsedey Pretto Grace Reachmack Alexander Roth Kennedy Salamat Pamela Steimel Preston Steimel Mae Sullivan Cecilia Sun Samantha Ventola Bronwyn Weikert Kristen Yee Kaleigh Young Amy Zhong

Training Chorus Hayley Asai Arvind Awasthi Elena Bamburg Douglas Brown Maya Buchmuller Ellyce Butuyan Liam Darnell Sneha David Kelvin Dukes Kaitlyn Fry Taya Gill Darren Hong Cecilia Ilagan Aasir Simon Jeyachandran Anita Justin Tomoki Kobayashi-Nguyen Karolina Konieczny Tyler Kovacs Chloe Lee Frances Moore Reheth Narula Chyanne Nowlin Ella Phommachanh Patricija Pupine Kimberly-Elise Recas Lee Roby Karys Romero Dena Shao Ada Jane Shin Ipsita Srivastava Petrina Steimel Khadacha Storks Clara Ubl Anna Grace Uehlein Sophia VanLowe Miranda Wang Eliana Wong Jingjing Wu Lingwen Xu Eileen Yang Tong-Tong Ye Elizabeth Yuan Eileen Zhang Joyce Zhou

Treble Chorus Annabelle Adams Fadbala Adjei Lana Anderson Alexandria Aubley Sophie Bagheri Gustavo Ballesteros Erik Brown Ryan Brown Jonah Paul Carzon Camille Chavis Victoria Chazin Cynthia Chen Sona Chudamani Evelyn Connor Ethan Corbin Cameron Darnell Katelynn Diuguid Sean Dunphy Catherine Dunphy Rafael Friedlander Jasmine Gong Faith Hui Linnea Hultman Divya Kadiyala Yu Kaminishikawara Amila Kapetanovic Ari Kaplan Lancie Kear Jacob Kim Audrey Le Kaitlyn Lee Vivian Li Julia Liu Christian-Jordell Maffei Esther Markov Hannah Markov Keshini Maynard Angelo Mazhandu Margaret McHugh Jansikwe Medina-Tayac Sarah Meyer Paige Meyer Allen Murillo Galanakos Leilani Nti

70 applause at Strathmore • NOVEMBER/DECEMBER 2014

Benjamin Nye Eleanor Orzulak Emily Ott Robert Panehal Gabrielle Papadopoulos Katerina Parker Emma Pham Laura Pires Mariah Plummer Catherine Prado Parker Puleio Yunshu Qiu Jennifer Ren Ella Roth Aliyah Ruhl Ella Smith Nicoletta Smith Ceci Snyder Aidan Stanton-Brand Leia Terrenzi Gabriela Tuncer Jasmine Voon Alyssa Wang Katherine Weaver Klaudia Weidlich Julie Yang Chuning Yang Laura Yao Joey Yeoh Young Men’s Chorus Frederick Chang Connor Crotzer Jabril El-Amin Alex Green Simon Hoon Benjamin Jin David Klos Wilmer Leon IV Donovan McFadden Brandon Parada Max Powers Josiah Segui Matthew Twillman Longfei Yang

Program Notes Kol Han’shamah (Psalm 150:6)

Kol Han’shamah translates into “Let every living thing that hath breath praise the Lord.” This text is from the last verse of Psalm 150, and is sung in Hebrew and English and has been known to be the most joyous of all Psalms.

Peace On Earth…and lots of little crickets

Peace On Earth…and lots of little crickets is an imaginative little piece that tells the story of a child telling his mother about how a cricket came into his room at night, and how he wanted her to make it go away. The mother explains that crickets bring good luck, and so the child decides to let the cricket stay. As this piece is performed, the story continues to explain how the charming little crickets multiply and join with human voices to bring peace, joy and happiness to all the inhabitants of Earth.

May the Road Rise Up

May the Road Rise Up is a traditional Gaelic blessing for the journey of life.

It alludes to three images from nature: the wind, the sun and the rain, as pictures of God’s care and provision. The wind can be likened to the Spirit of God, the sun’s warmth in the prayer reminds us of the tender mercies of God; the soft rain speaks of God’s provision and sustenance. Finally, we are reminded that we are held safe in God’s loving hands as we travel on our journey through life.

Panis Angelicus

Latin from “Bread of Angels,” Panis Angelicus is taken from the Thomas Aquinas hymn “Sacris Solemnis” and famously arranged for tenor voice, harp, cello, and organ by French composer Cesar Franck. This piece is quite beautiful and expressive, and is frequently performed during the winter holiday season.

Tuesday, December 16, 2014, 7:30 p.m.

Translation:

Bread of Angels, Is made bread for mankind; Gifted bread of Heaven, Of all imaginings the end; Oh, thing miraculous! This body of God will nourish The poor, the servile, and the humble.

(1870-1919), who was often referred to as the “monk of poetry” as he had studied for the priesthood before writing. His simple phrasing and text explore the idea of listening to our inner voice and how it can lead us to a fuller and more engaged life.

Bashana Haba’ah

Beautiful Star of Bethlehem

The music for Bashana Haba’ah was composed by Israeli musician Nurit Hirsch as a song of hope. Paraphrased in English by the arranger: “Next year, when peace will come, we shall return to the simple pleasures of life so long denied us. You will see, you will see, O how good it will be, next year!” In his arrangement, John Leavitt highlights the tenor and bass section as they present the listener their first hearing of the famous bashana theme. This theme is then passed to the altos and then finally to the sopranos.

It Takes a Village

Notes from the composer: “In adapting the West African saying, ‘It takes a village to raise a child,’ I’ve sought to embody the cultural concept behind this proverb—that is truly all the individual parts linked and working together that create and support the whole. The four vocal rhythms in the main portion of the work, each with its own character and function, are essential to creating the unique energy and movement of ‘Village.’ Only when they are sung together does a truly joyful spirit arise.”

Blustery Day (The Challenge)

Blustery Day is a delightful selection for young people as it describes the challenges children face in inclement weather. The wind, rain and snow!

The weather, and getting to school in it or going outside to play, can make one tuck tail and run. Some adventurous souls decide to go outside anyway and brave the elements.

Solidaridad

The text to Solidaridad was composed by Mexican poet Amado Nervo

Beautiful Star of Bethlehem’s melody is folk-like and the harmony is in the same tradition. It is easy on the ear, yet tender to the soul with an inviting countermelody.

Bound for the Promised Land

Bound for the Promised Land captures the strength, optimism, tenacity, and tirelessness of the American pioneer of the 18th and 19th centuries.

It would have been sung either by one or many in a place of worship. It

would not have been notated, rather passed down as an aural/oral tradition, and sung with spontaneous harmony. This particular arrangement captures the strong belief of the American pioneer that it was both his right and his duty, led by divine providence, to find and create a new Promised Land.

Medieval Gloria

Written specifically for male voices, Medieval Gloria possesses the spacious nature of music of the middle ages. Cathedrals were spacious, as was the music sung in them. With the use of open intervals, or two notes that are far apart, and with the use of medieval hand drum, the piece is reminiscent of the earliest days of musical praise.

Translation:

Glory to God in the highest and on earth

North Bethesda Middle School Choir Paniz Alavi-Naini Asia Alesci Ruth I. Aregawi Naila Bagirova Ava R. Barrios Julia L. Baumel Sophia F. Becker Elmira J. Benson Connor E. Boland Cassandra R. Bopf Hawa Boreshe Nebiy Boreshe Talal H. Brek Adrienne M. Bruch Sydney L. Bryon Alexander J. Burgess Violeta Calvo Alcaniz Leonardo Camargo Tejeda Anne M. Campbell Sarah L. Candelmo Grace M. Castaneda Reyes Alicia A. Castillo Alison T. Clark Sophie E. Clarke Steven C. Cobb Ella P. Cohn Jack R. Coughlin Rachel A. Crone Rebecca L. Davids MacKenzie M. DeGraeve Bennett D. Deshishku Sophia M. Difrank Daniela Dorado Mia M. Dorrien Julia C. Eisen Michael Endrias

Shannon M. Engel Lydia K. Fitzpatrick Sarai M. Flores Gwendolyn A. Frew Emily G. Fridsma Andrew M. Gedra Sydney M. Gibbons Abigail R. Gillman Amber D. Golden Mia I. Goodstein Madeleine A. Grant Barbara G. Grazzini Yael Greenberg Ian E. Greenwood Lucas J. Guberman Garima S. Gupta Jonah R. Gutman Sophie G. Hannah Benjamin G. Harmon Emily E. Harvey Mariah P. Healey David P. Heffernan Elijah T. Hill Anika M. Holton Erin I. Jacobs Anastasia V. Kaloshina Neta Kariv Hannah R. Keefe Taylor R. Kelly Caroline G. Kennon Sarah E. Kimmel Alexander R. Korman Matthew E. Kroskin Kira W. Krucoff Sophia C. Kundanmal Lucas C. Lander Marco A. Lapcevic Hanon T. Legesse

Raphael G. Leslau Maxwell R. Levy John M. Linde Benaia M. Lintjewas Daria M. London Anita O. Lonnberg Lucille M. Low Spencer E. Mahne Nicholas J. Mendoza Abigail C. Millholland Berenice M. Mizon Daphne A. Morales Ximena Morales Octavia Mosqueira Austin M. Mucchetti Brendan M. Murray Natalia Nadal Lafont Evelyn C. Nahin Nandi E. Ndoro Moira L. Neve Jonathon E. Newman Laurel R. Noreuil Habib A. Noumair Kennedy M. O’Connor Sarah R. O’Donnell Dermot F. O’Kelly Mateo Ortiz-Malte Grace E. Park Ranjana Paul Keren D. Peter Morgan N. Petersen Samantha E. Phelps Madelyn M. Puente Elizabeth M. Quinn Elizabeth L. Rentsch Brian M. Rivas Camila L. Robles Matias F. Rodriguez Julia L. Rose

Alexandra G. Rothman Michael S. Rubin Bianca I. Sadry Kaitlyn Y. Sainz Kamyab Salehi-Pirouz Catherine E. Santy Carli J. Schell Maryellen M. Schwartz Raya P. Seid Yasmina M. Serville Sonika Sharma Jesse Y. Siegel Andrew I. Skilton Geneva H. Smith Maya E. Smith-Hanke Krithi Sriram Stephen T. Staicer-Wilkinson Corrinne S. Stuckey Mina Swaminathan Emily R. Tamaro Jason R. Taylor Madison J. Terry Emilia M. Toloza Janie A. Trombley Matthew C. Vinson Anna M. Voit Brooke E. Wagar Caroline A. Wasden Drew H. Weintraub Karina A. Weir Liana L. Wilkinson Rodrigo Yepez Lopez Gwendolyn E. Yetter Kaleigh N. Young Isabella M. Zavareei Makenna L. Zielske

applause at Strathmore • NOVEMBER/DECEMBER 2014 71

Tuesday, December 16, 2014, 7:30 p.m.

peace to men of good will.

We praise thee. We bless thee. We worship thee. We glorify thee.

We give thanks to thee according to thy great glory.

Translation:

Sing to the Lord a new song, for He hath done marvelous things.

His right hand and His holy arm hath gotten Him the victory.

Eliyahu Hanavi

Riu, Riu, Chiu

This traditional Christmas carol is from 16th century Spain. It is a villancico, a type of sacred carol of Spanish speaking countries. With its exciting dance rhythm, simple harmony, and text in the vernacular of Spain, the carol would have been accessible and inviting to all people.

Translation of the chorus:

Riu Riu Chiu, the river bank protects it.

God kept our lamb safe from the wolf.

Eliyahu Hanavi is an “Elijah song,” one of many sung often in the Jewish community for hundreds of years.

They are sung at the conclusion of the Sabbath at the Havdalah service. The text is thought to have been written in Babylonia and dates from the 10th century and compels the prophet Elijah to quickly bring the Messiah with him. The melody is thought to have originated in Eastern Ashkenazic.

Translation:

Cantate Domino

Cantate Domino was composed by Heinrich Schutz, one of the most significant composers of the German Baroque period. Like J.S. Bach, Schutz wrote extensively for the church.

May Elijah the prophet, Elijah the Tishbite, Elijah the Gilead come to us very soon with the Messiah, son of David.

Winter Magic

The holiday feel comes through in

Music & Arts su pports your local schoo ls!

this song’s bouncy melody, syncopation and upbeat text.

Silent Night for All the World

Silent Night for All the World is a setting of Franz Gruber’s traditional “Silent Night” sung in multiple languages in a unique round form in which the phrase is staggered in entrance. Sung in English, German, Spanish and Korean, the melody is creatively intertwined in a grand statement of unity that is fitting for the season and for a large ensemble to sing.

Jingle Bells (Sort Of)

What a mixed-up, mixed meter, crazy and fun arrangement of “Jingle Bells!”

James Pierpont’s song, arranged by prolific composer Jay Althouse, moves briskly. At first, the words are the same as the ones we all know, then... “The melody’s the same; the rhythms, they are not, the words are sort of different, but we’ll give it all we’ve got!”

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Friday, December 19, 2014, 8 P.M.

Friday, December 19, 2014, 8 P.M.

● Strathmore Presents

The Colors of Christmas (starring in alphabetical order) Peabo Bryson Taylor Dayne Jennifer Holliday and Ruben Studdard The Music Center at Strathmore Marriott Concert Stage

About The Colors of Christmas

The stars shine in this soulful night of Christmas classics and greatest hits as America’s favorite Christmas concert celebrates its 22nd year. The Colors of Christmas is as much a celebration of the human spirit as it is “a four-star holiday extravaganza” (Long Beach Telegram). Grammy Award-winning R&B legend Peabo Bryson is joined by Tony Award-winning singer Jennifer Holliday, pop diva Taylor Dayne, and “American Idol” winner Ruben Studdard for an unforgettable evening of pop hits and Christmas favorites.

since 1991. His debut album Can You Stop the Rain quickly climbed to the top of the R&B charts, demonstrating his ability to interpret material from every part of the music spectrum. In 1993 Bryson won two Grammy Awards for “We Kiss in a Shadow” (The King and I) and Kenny G’s multi-platinum “By the Time This Night is Over” featuring Bryson on vocals. He is also known for his duets on Disney’s “Beauty and the Beast” (with Celine Dion) and “A Whole New World” (with Regina Belle).

His deep repertoire and numerous awards only serve to reinforce Bryson as a multi-dimensional artist with unprecedented talent.

Ruben Studdard

Peabo Bryson

Peabo Bryson is a recording artist and performer who has enjoyed international recognition and success

Ruben Studdard is an R&B artist best known as the second winner of Fox Television’s “American Idol” in 2003. Since then he has produced a string of gold and platinum albums, toured as Fats Waller in a national stage tour of Ain’t Misbehavin’, toured in the comedy drama Heaven I Need A Hug with Robin Givens, and along

74 applause at Strathmore • NOVEMBER/DECEMBER 2014

the way picked up Grammy and American Music Award nominations. His sixth and most recent studio album, Unconditional Love, was released in February.

Taylor Dayne

Taylor Dayne is a dynamic three-time Grammy nominated vocal artist who has earned numerous best-selling gold and platinum albums, which produced 17 Top 20 singles, including the hits “Tell it to My Heart,” “Love Will Lead You Back,” and “Prove Your Love to Me.” She has appeared in many film, television, and Broadway stage roles, such as Elton John’s Aida.

In 2009, Dayne contributed songs to the film Sex and the City 2 and in 2010 she delivered a performance of “Facing A Miracle” during the opening ceremony of the Gay Games VIII in Cologne. In 2012, Dayne was inducted into the Long Island Musicians’ Hall of Fame, alongside stars Billy Joel, Pat Benatar, Brian Setzer, and Blue Oyster Cult.

Jennifer Holliday

Jennifer Holliday is a twotime Grammy Award-winning recording artist and the Tony Award winning Broadway star of Dreamgirls. Born and raised in Houston, Texas, Holliday went straight from the Pleasant Grove Baptist Church Choir to the bright lights on Broadway. Her other Broadway musical credits include Chicago, Grease, and Harlem Suite. Holliday is a fervent advocate of mental health and speaks often for depression awareness and suicide prevention for youth.

Saturday, December 20, 2014, 8 p.m. and Sunday, December 21, 2014, 3 p.m.

SATURDAY, DECEMBER 20, 2014, 8 P.M. SUNDAY, DECEMBER 21, 2014, 3 P.M.

● The National Philharmonic Piotr Gajewski, Music Director and Conductor Stan Engebretson, National Philharmonic Chorale Artistic Director

Presents

Handel’s Messiah Stan Engebretson, conductor Rosa Lamoreaux, soprano Margaret Mezzacappa, mezzo-soprano Matthew Smith, tenor Kevin Deas, bass National Philharmonic Chorale

Messiah George Frideric Handel

(1685-1759)

Part I

Sinfonia (Overture) Comfort ye my people Recitative Ev’ry valley shall be exalted Air And the glory of the Lord Chorus Thus saith the Lord Recitative But who may abide the day of his coming? Air And he shall purify Chorus Behold, a virgin shall conceive Recitative O thou that tellest good tidings to Zion Air and Chorus

INTERMISSION Part II Behold the Lamb of God

He was despised

Surely he hath borne our griefs

Chorus

And with his stripes we are healed

Chorus

All we like sheep have gone astray

Chorus

All they that see him laugh him to scorn

He trusted in God

Thy rebuke hath broken his heart

Chorus Air

Recitative Chorus Recitative

Behold, and see if there be any sorrow

Air

He was cut off out of the land of the living

Recitative

But thou didst not leave his soul in hell

Air

Why do the nations so furiously rage together

Air and recitative

Let us break their bonds asunder

Chorus

He that dwelleth in heaven

Recitative

Thou shalt break them

And the angel said unto them Recitative

Hallelujah

And suddenly there was with the angel Recitative

Part III

I know that my redeemer liveth

Since by man came death

Behold, I tell you a mystery

The trumpet shall sound

Worthy is the Lamb that was slain

For behold, darkness shall cover the earth

The people that walked in darkness Air For unto us a child is born Chorus Pifa (“Pastoral Symphony”) There were shepherds abiding in the field Recitative

And lo, the angel of the Lord came upon them

Recitative

Glory to God Chorus Rejoice greatly, O daughter of Zion

Air

Then shall the eyes of the blind Recitative He shall feed his flock Air His yoke is easy, and his burthen is light Chorus

Weekend Concerts Sponsor: Ameriprise Financial 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

76 applause at Strathmore • NOVEMBER/DECEMBER 2014

Recitative Air Chorus Air Chorus Recitative Air Chorus

Saturday, December 20, 2014, 8 p.m. and Sunday, December 21, 2014, 3 p.m.

Stan Engebretson, conductor

In demand throughout the United States and Europe, Stan Engebretson has led choirs in Venice’s Cathedral of St. Mark and taught in Cologne, Trier, St. Moritz, and Barcelona.

After attending the University of North Dakota and earning his doctorate from Stanford University, Engebretson taught at the University of Texas of the Permian Basin and the University of Minnesota. He also was the artistic director of the Midland-Odessa Symphony Chorale and the associate conductor of the Minnesota Chorale.

In Washington since 1990, Engebretson is professor of music and director of choral studies at George Mason University and is the director of music at the historic New York Avenue Presbyterian Church.

Engebretson photo by tjong Wong, Lamoreaux photo by David Rogers

Rosa Lamoreaux, soprano

Lyric soprano Rosa Lamoreaux has been a soloist for Bruno Weil at the Carmel Bach Festival, Robert Shaw with the Atlanta and Cincinnati symphony orchestras, Sir David Willcocks at the Bethlehem Bach Festival and Norman Scribner and the Choral Arts Society at the Kennedy Center, and J. Reilly Lewis and the Cathedral Choral Society and Washington Bach Consort.

Lamoreaux has toured with “Musicians From Marlboro” and is the soprano in an award-winning vocal arts quartet that has been featured at many European music festivals. Many of her performances have been broadcast on National Public Radio, including recitals at the Kennedy Center, Bach Cantatas at the Bethlehem Bach Festival, Spain in the New World with Hesperus, and Bach’s Christmas Oratorio with the Smithsonian Chamber Orchestra.

Margaret Mezzacappa, mezzo-soprano

A third-year resident artist at the Academy of Vocal Arts in Philadelphia, Margaret Mezzacappa received a bachelor’s degree in music performance from Baldwin-Wallace College Conservatory of Music.

Since 2008, the Euclid, Ohio, native has won numerous awards including the George London Award, George London Foundation Vocal Competition, 2012; regional winner, Metropolitan Opera National Council Auditions (Middle Atlantic), 2012; fourth prize, Giulio Gari Foundation International Vocal Competition, 2011 and top prize, Licia Albanese-Puccini Foundation International Vocal Competition, 2011.

Mezzacappa’s roles at the Academy of Vocal Arts have included Cuniza in Oberto, Mother’s Voice in Les Contes d’Hoffmann, Adelaide in Arabella, La zia Principessa in Suor Angelica, Frugola in Il tabarro, Azucena in excerpts from Il trovatore, and Mistress Quickly in Falstaff.

Matthew Smith, tenor

Matthew Smith is an accomplished tenor soloist, having performed with the Washington Bach Consort, the Cathedral Choral Society, the Washington Concert Opera, the Niagara Symphony Orchestra, the Pennsylvania Chamber Orchestra, and the Mendelssohn Club of Philadelphia.

Smith received the Carmel Bach Festival’s Adams Fellowship for performance and study of the music of Bach in 2008. His operetta and operatic roles have included Frederic in Pirates of Penzance, Baron Zsupàn in Countess Maritza, The Prologue in The Turn of the Screw, Kaspar in Amahl and the Night

Visitors, the Mayor in Albert Herring, and Torquemada in L’heure Espagnol.

Smith currently serves with the Air Force Singing Sergeants in Washington, D.C. With them, he performs at the White House, with the National Symphony Orchestra, for nationally televised events including the funerals of former Presidents Ronald Reagan and Gerald Ford, and on tours across the United States.

Kevin Deas, bass

American bass Kevin Deas is especially celebrated for his riveting portrayal of the title role in Porgy and Bess with the New York Philharmonic, National Symphony, St. Paul Chamber Orchestra, Philadelphia Orchestra, San Francisco, Atlanta, San Diego, Utah, Houston, Baltimore and Montreal symphony orchestras and at the Ravinia and Saratoga festivals.

His recent recordings include Die Meistersinger with the Chicago Symphony under the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO Ensemble under Ricardo Chailly, both on Decca/London. Other releases include Bach’s B minor Mass and Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To Hope! with the Cathedral Choral Society on the Telarc label.

Program Notes Messiah

George Frideric Handel

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

During the last decades of his life, beginning in the 1730s, Handel began to turn away from the world of the opera in order to devote more and more of his effort to the oratorio. The oratorio was a similar and closely related kind of musical presentation to the opera; it differed little outwardly in structure

applause at Strathmore • NOVEMBER/DECEMBER 2014 77

Saturday, December 20, 2014, 8 p.m. and Sunday, December 21, 2014, 3 p.m.

and content from the opera musically, but it required no costumes, scenery or staging, and the subjects, generally elevated and noble, were more often taken from the Bible, or classic myths or other legends.

Handel’s oratorios (and Messiah in particular) became the first “immortal masterpieces” and were performed over and over again long after their novelty was gone, even after their composer’s death. Unlike now, until some 75 years after Handel’s death, novelty was a supremely important factor in musical life. Music of the past, even of the recent past, was performed only with a sense of participating in a revival of something long gone. The then-current repertoire was always contemporary and, thus, always in flux.

Immediately, Handel’s oratorios captivated the English people. The fame of these oratorios inspired Haydn, Mozart and Beethoven when their popularity spread to the European continent. Gradually, the oratorios established the new idea that some “old” music was too good to abandon, and that, in fact, sometimes, established pieces should actually be given precedence over the new.

Handel composed Messiah during the few weeks from Aug. 22 to Sept. 14, 1741. Presumably, his friend Charles Jennens assembled the text from the Bible, assisted by his private chaplain and in consultation with the composer. This theory is not definitive, and there are others who hold that the text was the careful work of Handel’s secretary, a clergyman named Pooley. A few weeks after the score was complete, William Cavendish, Duke of Devonshire and Lord Lieutenant of Ireland, invited Handel to give some benefit concerts of his music in Dublin for several charities. He left London early in November, spent a few days at Chester awaiting good weather for the Irish Sea crossing and arrived on Nov. 18. In December, he began his successful series of subscription concerts.

On March 23, 1742, a notice appeared in two Dublin newspapers: “For the Relief of the Prisoners in the several

Gaols, and for the Support of Mercer’s Hospital, in Stephen’s-street, and of the Charitable Infirmary on the Inn’s Quay, on Monday, the 12th of April, will be performed at the Musick Hall in Fishamble-street, Mr. Handel’s new Grand Oratorio, called the Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some Concertos on the Organ, by Mr. Handel.”

A public rehearsal of the Messiah was held on April 8 before a large audience, and the next day, a newspaper reported, “It was allowed by the greatest Judges to be the finest Composition of Musick that ever was heard.” The paper also suggested that ladies should come to the concert without hoops and the gentlemen without swords in order to make room for a larger than normal audience.

The public cooperated and 700 people attended the premiere, although the hall really accommodated only 600.

Handel returned to London in the fall, and in March 1743, he began a series of performances of the Messiah at Covent Garden. London did not immediately share Dublin’s enthusiasm, and the clergy even attempted to close the theater on the grounds that “any Work about the Omnipotent should never be performed in a playhouse.”

However, Handel’s old patron, George II, attended the London premiere, and legend has it that he was so moved by the Hallelujah chorus that he rose and remained standing until its end. Of course, when the king stood up, the rest of the audience stood too, and, since that time, almost all audiences have traditionally risen at that point in the performance. Handel said of the Hallelujah that while composing it, “I did think I did see all Heaven before me, and the great God Himself.” It is a glorious musical moment, but cynical historians think that if the reputed incident took place at all, the king probably thought that intermission came before, not after it.

In 1749, Handel presented an organ to the chapel of the Foundling Hospital, a home for abandoned and maltreated children founded in 1739 by a retired American sea captain. On May 1, 1750,

78 applause at Strathmore • NOVEMBER/DECEMBER 2014

he dedicated the organ with a revival of the Messiah that turned out to be the first in a series of annual benefits that continued long after his death, and that initiated Messiah’s great popular appeal.

Handel himself made many changes in both the text and music during his lifetime, and in the long years since his death, countless variants have crept into the score. It is impossible now to hear the oratorio exactly as it was originally conceived and as it was performed in Handel’s time. No one absolutely authentic version of the music has come down to us. The singers’ art of decorating the composer’s simple melodic lines with brilliant ornament was lost for about 200 years and is now being revived only tentatively, or sometimes, clumsily. We no longer have the altered male sopranos and altos who sang the treble solos in Handel’s time. In addition, we do not know Handel’s exact scoring. Thirty years after Handel’s death, Mozart completely modernized the orchestration, and others have done so again and again since then.

Handel divided Messiah into three parts. Part I contains the prophecy and narrative of the Nativity. Part II is the passion and the resurrection. The final section, Part III, includes the resurrection of all mankind to the glory of God. The portion being performed in this concert is the Christmas portion, which traditionally includes Part I, the Hallelujah chorus from Part II, and the Amen from Part III. Handel’s Messiah is unique in that the text that the soloists and chorus sing are removed from outwardly dramatic situations; unlike in opera, or even choral cantatas or dramas that Handel had written, in the Messiah, the singing is an extension of devotional contemplation. Handel gives us the life of the Christ in all its phases covering the whole liturgical year Yet Messiah is not liturgical music.

Handel dealt with his subject as a nonsectarian humanist, glorifying the validity of just and moral action more than the dogmas of Christianity. ©Susan Halpern, 2014

Music Center at

Strathmore important information

please contact the Ticket Office for replacements.

patrons. Both main entrances have power- assisted doors.

CHILDREN

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

GROUP SALES, FUNDRAISERS

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

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

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

PARKING FACILITIES

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

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

Wednesday 10 a.m. – 9 p.m.

Saturday 10 a.m. – 2 p.m.

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

All tickets are prepaid and non-refundable.

Concert parking is located in the Grosvenor-Strathmore Metro garage off Tuckerman Lane. At the end of each ticketed event in the Music Center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. If you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the stanchion video camera at the exit gate to exit at no cost. For all non-ticketed events, Monday-Friday, parking in the garage is $5 and may be paid using a Metro SmarTrip card or major credit card.

Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the GrosvenorStrathmore Metro garage, walk across the glass-enclosed sky bridge located on the fourth level.

WILL CALL

PUBLIC TRANSPORTATION

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

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

TICKET POLICIES Unlike many venues, Strathmore allows tickets to be exchanged.

Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the Music Center. Exchanges must be for the same presenter within the same season. Ticket exchanges are NOT available for independently produced shows. Please contact the Ticket Office at (301) 581-5100 for details on how to exchange tickets.

If a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket Office for 30 days after the original scheduled performance date.

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

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

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

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

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

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

LOST AND FOUND During a show, please see an usher.

All other times, please call (301) 581-5100.

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

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

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

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

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

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

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

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

In the case of fire, use the stairs, not the elevators.

WARNINGS The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building.

Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

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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)

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The Jazz Samba Project was funded in part by an Art Works Grant from the National Endowment for the Arts.

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

Gabrielle Tillenburg Symphony Park Circles members Patrick and Sabrina McGowan with Giada De Laurentiis at Strathmore’s inaugural Appetite Festival.

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

Strathmore’s Summer Outdoor Concert series is sponsored by TD Bank and Giant and includes the best-loved strumming concert, UkeFest.

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

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

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 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 Operations Manager Madeline Waters Operations Assistant

Allen C. Clark Manager of Information Services Christopher S. Inman Manager of Security Aileen Roberts General Manager, AMP Chadwick Sands Ticket Office Manager Christian Simmelink Assistant Ticket Office Manager Jeffrey Higgins Box Office 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, Mansion and Retail Lorie Wickert Director, Retail Systems and Mansion Support

MARKETING AND COMMUNICATIONS

Alaina Sadick VP Marketing and Communications Shana Gerber Director of Marketing and Publications 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 August J. Chiasera Robert B. Coutts Alan S. Edelman* Sandy Feldman+, President, Baltimore Symphony Associates Sandra Levi Gerstung Michael G. Hansen* Denise Hargrove^, Governing Member Co-Chair Robert C. Knott Stephen M. Lans Ava Lias-Booker, Esq. Howard Majev, Esq. Liddy Manson Hilary B. Miller* E. Albert Reece, M.D. Barry F. Rosen 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 August 1, 2013 through September 10, 2014.

LEADERSHIP CIRCLE Arts and Humanities Council of Montgomery County Lori Laitman & Bruce Rosenblum The Andrew W. Mellon Foundation 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 Hearst Foundation, Inc. Howard County Arts Council Mr. and Mrs. Stephen M. Lans M&T Bank Sylvan/Laureate Foundation MAESTRA’S CIRCLE ($10,000-$24,999) Mr. and Mrs. A. G. W. Biddle, III Charlotte A. Cameron/Dan Cameron Family Foundation

Michael G. Hansen & Nancy E. Randa Joel and Liz Helke In memory of James Gavin Manson Hilary B. Miller & Dr. Katherine N. Bent Mr. and Mrs. Arnold Polinger Shugoll Research Total Wine & More GOVERNING MEMBERS GOLD ($5,000-$9,999) The Charles Delmar Foundation Ms. Marietta Ethier Susan Fisher Dr. David Leckrone & Marlene Berlin Dr. James and Jill Lipton Susan Liss and Family Ms. Janet L. Mahaney Jan S. Peterson & Alison E. Cole William B. and Sandra B. Rogers Mike & Janet Rowan Daniel and Sybil Silver John & Susan Warshawsky Clark Winchcole Foundation Georgetown Paper Stock of Rockville

82 Applause at Strathmore • november/december 2014

GOVERNING MEMBERS SILVER ($3,000-$4,999) Anonymous (2) Alan V Asay and Mary K Sturtevant Dr. Nancy D. Bridges Lt Gen (Ret) Frank B. and Karen Campbell Geri & David Cohen Jane C. Corrigan Kari Peterson and Benito R. and Ben De Leon J. Fainberg Sherry and Bruce Feldman S. Kann Sons Company Foundation, Amelie and Bernei Burgunder Christopher and Henrietta Keller Marc E. Lackritz & Mary DeOreo Burt & Karen Leete Mr. & Mrs. Howard Lehrer June Linowitz & Howard Eisner Dr. Diana Locke & Mr. Robert E. Toense Mr. James Lynch Howard and Linda Martin The Meisel Group Mr. & Mrs. Humayun Mirza Dr. William W. Mullins David Nickels & Gerri Hall Ms. Diane M. Perin Martin and Henriette Poretsky Bill and Shirley Rooker Patricia Smith and Dr. Frances Lussier Don Spero & Nancy Chasen Mr. Alan Strasser & Ms. Patricia Hartge Dr. Edward Whitman Sylvia and Peter Winik Ms. Deborah Wise/Edith and Herbert Lehman Foundation, Inc. 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 Joellen and Mark Roseman Roger and Barbara Schwarz Jennifer Kosh Stern and William H. Turner SYMPHONY SOCIETY SILVER ($1,200-$1,999) Anonymous (3) Mr. and Mrs. Anthony Abell Charles Alston and Susan Dentzer Mr. William J. Baer and Ms. Nancy H. Hendry Caroline W. and Rick Barnett 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 Dorothy R. Bloomfield Hon. & Mrs. Anthony Borwick Mr. Richard H. Broun & Ms. Karen E. Daly Gordon F. Brown Frances and Leonard Burka Mr. and Mrs. John Carr Mr. Vincent Castellano Cecil Chen & Betsy Haanes Dr. Mark Cinnamon & 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 Mr. and Mrs. Arthur P. Floor Mr. and Mrs. John Ford

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 Mr. & Mrs. Frank Goldstein Drs. Joseph Gootenberg & Susan Leibenhaut David and Anne Grizzle Mark & Lynne Groban Joan and Norman Gurevich Mr. & 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 & Herb Herscowitz David A. & 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 Michael & Judy Mael Mr. Winton Matthews Marie McCormack David and Kay McGoff David and Anne Menotti Dr. & Mrs. Stanley R. Milstein Ms. Zareen T. Mirza Mr. and Mrs. Glenn Miyamoto Douglas and Barbara Norland Mr. & 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. & Mrs. Richard Tullos Donna and Leonard Wartofsky David Wellman & Marjorie Coombs Wellman Ms. Susan Wellman Dr. Ann M. Willis Marc and Amy Wish H. Alan Young & Sharon Bob Young, Ph.D. BRITTEN LEVEL MEMBERS ($500-$1,199) Anonymous (3) Ms. Judith Agard Rhoda and Herman Alderman Donald Baker Mr. and Mrs. Robert Benna Nancy and Don Bliss Ms. Marcia D. Bond Judy and Peter Braham Ms. Sharon Phyllis Brown Mr. Stephen Buckingham Louis and June Carr Mr. and Mrs. James C. Cooper Dr. Connie C. Duncan Mr. and Mrs. Robert Fauver Drs. Charles and Cynthia Field Dr. & Mrs. David Firestone Robert and Carole Fontenrose Bernard A. Gelb Ms. Wendy Goldberg Ms. Alisa Goldstein Mr. Robert Green Frank & Susan Grefsheim

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 e-mail us at membership@BSOmusic.org. You may also visit us online at BSOmusic.org/giving.

Donors with BSO Principal Cellist Dariusz Skoraczewski at the Donor Appreciation Concert

Ms. Melanie Grishman & Mr. Herman Flay, MD Drs. Marlene and Bill Haffner Ms. Haesoon Hahn Ms. Lana Halpern Mr. Jeff D. Harvell and Mr. Ken Montgomery Mr. Lloyd Haugh Ms. Marilyn Henderson and Mr. Paul Henderson Mr. & Mrs. William L. Hickman Mr. & Mrs. Howard Iams Mr. William Isaacson and Ms. Sophia McCrocklin Ms. Katharine Jones Mr. and Mrs. Norman Kamerow Ms. Daryl Kaufman Dr. Richard D. Guerin and Dr. Linda Kohn Dr. Birgit Kovacs Ms. Delia Lang Ms. Flora Lee Ulrike Lichti and Stephen Leppla Harry and Carolyn Lincoln R. Mahon Mr. Mark Mattucci Mr. and Mrs. Martin McLean Merle and Thelma Meyer Ellen G. Miles and Neil R. Greene Mr. & Mrs. Walter Miller William and Patricia Morgan Mr. Koji Mukai Ms. Caren Novick Dr. Jon Oberg Amanda & Robert Ogren Mr. Joseph O’Hare Ms. Mary Padgett Mr. and Mrs. Philip Padgett Dr. and Mrs. J. Misha Petkevich Marie Pogozelski and Richard Belle Andrew and Melissa Polott Thomas Raslear and Lois Keck Mr. and Ms. Donald Regnell Ms. Marjorie Roher Harold Rosen Henry Roth Ms. Ellen Rye Norman and Virginia Schultz Mr. Allen Shaw and Ms. Tina Chisena Dr. Janet Shaw Donna and Steven Shriver Ms. Terry Shuch and Mr. Neal Meiselman Gloria and David Solomon Mr. and Mrs. Richard Swerdlow Mr. Peter Thomson Mr. and Mrs. Robert Wein Richard and Susan Westin 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) 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. & Mrs. John W. Beckwith Melvin Bell Alan Bergstein and Carol Joffe Mr. Donald Berlin Mr. Neal Bien Drs. Ernst and Nancy Scher Billig

Governing Members Robert Toense and Diana Locke with BSO at Strathmore Community Liaison Dick Spero

Ms. Ruth Bird Mr. Harold Black Ms. Marjory Blumenthal Ms. Monica M. Bradford Mr. and Mrs. Serefino Cambareri Ms. Patsy Clark Mr. Herbert Cohen Ms. June Colilla Dr. and Mrs. Eleanor Condliffe Marion Fitch Connell Mr. and Mrs. Herbert Cooper Mr. and Mrs. Charles Davenport Dr. & Mrs. James R. David Mr. David S. Davidson Anne and Arthur Delibert Ms. Sandra Kay Dusing Drs. Stephen and Irene Eckstrand Mr. Ahmed El-Hoshy Lionel and Sandra Epstein Claudia and Eliot Feldman Mr. Michael Finkelstein Mr. and Ms. Clifford and Betty Fishman Mr. & Mrs. Michael Scott Friedman Lucian & Lynn M. Furrow Roberta Geier Irwin Gerduk Mr. and Mrs. Stephen Giddings John Glenn and Blair Reid Ellen and Michael Gold Edward G. Griffin Brian and Mary Ann Harris Mrs. Jean N. Hayes Marylyn Heindl Mr. John C. Hendricks Mr. Robert Henry Ms. Patricia Hernandez Jeff Herring Joel and Linda Hertz Ms. Linda Lurie Hirsch Mr. Thomas Hormby Dr. and Mrs. Robert Horowitz Mr. & Mrs. Paul Hyman Ms. Susan Irwin Mrs. Lauri Joseph Mr. Peter Kaplan Dr. & Mrs. Robert W. Karp Lawrence & Jean Katz Mr. & Mrs. Robert Katz James and Tomoko Kempf Mr. William Kenety and Ms. Christine Kenety Ms. Jennifer Kimball Fred King Mr. William and Ms. Ellen D. Kominers Ms. Nancy Kopp Mr. Stephen Kramer Mr. and Mrs. Eugene Lambert Susan and Stephen Langley Robert Lanza Ms. Joanne LaPorte Michael Lazar & Sharon Fischman 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 Mr. David Marcos Mr. Michael Mccollum and Ms. Jennifer Ricks Anna Therese McGowan Mrs. Margit Meissner Sandra and Paul Meltzer Mr. Steve Metalitz Mr. Gary Metz Mrs. Rita Meyers

Guests from Folger Theatre with A Midsummer Night’s Dream actress Kate Eastwood Norris at the post-concert reception

Dr. and Mrs. Arve Michelsen Ms. Barbara Miles Naomi Miller Mr. Jose Muniz Mr. and Mrs. Robert and Mary Nisbet Dr. & Mrs. John R. Nuckols Mr. John P. Olguin and Mrs. Linda Cinciotta Olguin Mr. Thomas O’Rourke and Ms. Jeanine O’Rourke Mr. and Mrs. James Palmer Mr. Kevin Parker Ms. Johanna Pleijsier Mr. and Mrs. Edward Portner Mr. and Mrs. Stanley Rabin Mr. Samuel G. Reel Jr. Dr. and Mrs. Bernard Reich Linn Rhomberg Mr. William Robertson Lois and David Sacks Mr. & Mrs. Robert Sandler Ronald Schlesinger David and Louise Schmeltzer Hanita and Morry Schreiber Mr. J. Kenneth Schwartz

Mr. Paul Seidman Ms. Debra Shapiro Ms. Deborah Sherrill Mr. & Mrs. Larry Shulman Mr. and Mrs. Micheal D. Slack Ms. Deborah Smith Richard Sniffin Mr. Andrew Sonner Mr. Howard Spira Bill Grossman Fund of the Isidore Grossman Foundation Mr. and Mrs. Charles Steinecke III Erica Summers Margot & Phil Sunshine John and Susan Symons Dr. Andrew Tangborn Mr. Alan Thomas Alan and Diane Thompson Mr. & Mrs. Robert Thompson Mr. John Townsley Mr. Mallory Walker Mr. and Mrs. Elliot and Esther Wilner Mrs. Janet Wolfe Mrs. Sandra Wool Dr. & Mrs. Richard N. Wright Dr. David Yaney

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 Matthew Spivey, Vice President of Artistic Operations ARTISTIC OPERATIONS Nishi Badhwar, Director of Orchestra Personnel Toby Blumenthal, Director of Rentals and Presentations 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, General Manager of BSYO and OrchKids Annemarie Guzy, Director of Education Johnnia Stigall, Education Program Coordinator Nick Skinner, OrchKids Director of Operations Larry Townsend, Education Assistant Dan Trahey, OrchKids Artistic Director Mollie Westbrook, Education Assistant DEVELOPMENT Jessica Abel, Grants Program Manager Jordan Allen, Institutional Giving Coordinator Katie Applefeld, Director of External Affairs for OrchKids Megan Beck, Manager of Donor Engagement and Special Events Kate Caldwell, Director of Philanthropic Services Sara 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 Anna Hoge, Digital Content Coordinator Derek A. Johnson, Senior Marketing Manager Theresa Kopasek, Marketing and PR Associate Bryan Joseph Lee, Marketing and PR Manager, BSO at Strathmore Ricky O’Bannon, Writer in Residence 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 Michael Suit, Ticket Service Agent Thomas Treasure, Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Sandy Feldman, President Larry Albrecht, Symphony Store Volunteer Manager Louise Reiner, Office Manager

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GIFTS OF $25,000+ Dale Collinson Family 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

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 October 1, 2014

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

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

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

ORGANIZATIONS MAESTRO CIRCLE 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 CONCERTMASTER CIRCLE Clark-Winchcole Foundation Embassy of Poland The Gazette 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 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 PATRON American String Teachers’ Association DC/MD Chapter Gailes Violin Shop, Inc. GE Foundation IBM Lashof Violins Potter Violin Company Washington Music Center CONTRIBUTOR Brobst Violin Shop Violin House of Weaver

INDIVIDUALS GIFTS OF $50,000+ Ms. Anne Claysmith* for the Chorale Chair-Soprano II Fund Robert & Margaret Hazen for the Second Chair Trumpet Fund Mrs. Margaret Makris

84 Applause at Strathmore • november/december 2014

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 MAESTRO CIRCLE Anonymous (2) Robert B. Anderson Dr. & Mrs. Val G. Hemming Daniel Nir & Jill Braufman Family Foundation Laszlo N. Tauber Family Foundation, Inc. PRINCIPAL CIRCLE Anonymous Dr. Ryszard Gajewski PHILHARMONIC CIRCLE 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. 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 Mrs. Ruth Berman 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) 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 * Mrs. Eleanor D. McIntire * Dr. Wayne Meyer * Mr. & Mrs. David Mosher Mr. & Mrs. Raymond Mountain Susan & Jim Murray * Mr. Thomas Nessinger * Ms. Martha Newman * David Nickels & Gerri Hall Dr. & Mrs. Goetz Oertel Mr. & Mrs. William Pairo Mr. & Mrs. Ellis Parker Mr. & Mrs. Jerome Pinson, includes match by GE Foundation 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. Joel Alper 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. Katherine Nelson-Tracey* 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

National Philharmonic Concertmaster Colin Sorgi, pianist Brian Ganz and National Philharmonic Principal Cello Lori Barnet performed at a recent free concert.

Dale Collinson Mrs. Patsy Clark Ms. Irene Cooperman Mr. & Mrs. J. Steed Edwards Ms. Linda Edwards Mr. & Mrs. Dwight Ellis, in memory of Dale Collinson Claudia & Eliot Feldman Ms. Shannon Finnegan Mr. Philip Fleming Mr. & Mrs. William Gibb Dr. William & Dr. Marlene Haffner Ms. Jacqueline Havener Dr. & Mrs. John Helmsen 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 * Mr. Steven Lainoff, in memory of Dale Collinson Ms. Rachel Leiton Dr. Marcia D. Litwack Dr. Susan Lotarski 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 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 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 Gen. & Mrs. William Usher Dr. & Mrs. Richard Wright MEMBER Anonymous Mr. Dan Abbott Mr. Jose Apud Mr. Robert Barash Mrs. Barbara Botsford

Participants in the National Philharmonic’s Summer String Institute program.

Ms. Cheryl A. Branham* Mr. & Mrs. Herman Branson Mr. & Mrs. Frederick Brown John & Rosemary Buckley Ms. Patricia Bulhack 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 F.W. England Mr. & Mrs. Lionel Epstein Dr. & Mrs. Joseph Fainberg Mr. & Mrs. Elliott Fein Dr. John Ferguson Mr. & Mrs. Frank Forman Mr. Harold Freeman CAPT. Bruce & Eva French Mr. Bernard Gelb Mr. & Mrs. Richard O. Gilbert Mr. & Mrs. Mitch Green Ms. Melanie Grishman Ms. Lucy Hamacheck 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 Dr. Elke Jordan Mr. & Mrs. Gerald Kaiz Ms. Kari Keaton Ms. Elizabeth King Mr. Dale Krumviede Ms. Michelle Lee 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 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 Mr. Stephen Nordlinger Mr. James Norris Dr. Sammy S. Noumbissi Mr. & Mrs. Kenneth Oldham

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. Donna H. Runyan Mr. & Mrs. Joel Schenk Dr. Walter Schimmerling Mr. & Mrs. Sydney Schneider 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 Ms. Sarah Thomas Mr. & Mrs. Carl Tretter Ms. Virginia W. Van Brunt * Mr. & Mrs. Gerald Vogel Mr. & Mrs. William Wadsworth Mr. David B. Ward Ms. Krystyna Wasserman Mr. Stephen Welsh Ms. Claire Winestock Dr. & Mrs. Kevin Woods * Mr. Hans Wyss Ms. Katherine Yoder * Chorale members

Chorale Sustainers Circle

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

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

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

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

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 Leanne Ferfolia, Vice President Filbert Hong, Director of Artistic Operations Deborah Birnbaum, Director of Marketing & PR

Katie Tukey, Associate Director 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 • november/december 2014 85

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 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 Tom Gallagher Bruce Gates* Felecia Love Greer, Esq. Jay M. Hammer* (c) Grace Hobelman (c) Patricia Howell Jake Jones* David Kamenetzky* Edmond Lelo Tony Otten

Rachel Tinsley Pearson* Elaine Rose* Irene Roth 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 Ambassador Arturo Sarukhan* 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 Sept. 1, 2014

WaShington performing arts Annual Fund Washington Performing Arts gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of 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

86 Applause at Strathmore • november/december 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) $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 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 $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 Roger Whyte II Director of Special Events Stephanie Johnson Assistant Director of Major Gifts 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 and Community Programs Manager Koto Maesaka Education Associate Finance and Administration Erica Hogan Accounting Manager

Rebecca Tailsman Accounting Associate Robert Ferguson Database Administrator External Relations Matthew Campbell Director of External Relations Hannah Grove-DeJarnett Associate Director of External Relations Scott Thureen Creative Media and Analytics Manager Wynsor Taylor Audience Engagement Manager Celia Anderson Graphic Designer Bucklesweet Media 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, Gospel Choirs Ticket Services Office Folashade Oyegbola Ticket Services Manager Jessica Mallow Ticketing and Marketing Coordinator 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

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

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

Julian Wachner, Music Director

A CANDLELIGHT CHRISTMAS photo: chris Weymouth

With the splendor of brass, organ, percussion and the 200-voice chorus, this beloved holiday event features christmas classics, sing-alongs and the glorious candlelight processional.These concerts sell out early. order your tickets now!

Sunday, December 14 at 2 PM & 5 PM Saturday, December 20 at 4 PM Monday, December 22 at 7 PM Kennedy Center Concert Hall Tuesday, December 23 at 7:30 PM Music Center at Strathmore To PurchaSe TickeTS: caLL The Washington chorus: 202.342.6221 oNLiNe thewashingtonchorus.org kennedy-center.org strathmore.org

Power Passion Magic 88 Applause at Strathmore • november/december 2014