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18 David Stahl Music Director

20 Robert Taylor

24 Sandra Barnhardt CSO Gospel Choir Music Director ARTISTIC AND ADMINISTRATIVE LEADERSHIP

24 Nathan Nelson

David Stahl, Music Director

CSO Spiritual Ensemble Director

Kathleen Wilson, Interim Executive Director Kathy Havis, Finance Manager Cynthia Branch, Director of Patron Services Anthony Pierce, Director of Artistic Operations Tara Scott, Director of Marketing Becca Walton-Evans, Personnel Coordinator Robert Taylor, CSO Chorus Director Sandra Barnhardt, CSO Gospel Choir Director Nathan Nelson, CSO Spiritual Ensemble Director

12 14 15 16 17 21 22

Contact the CSO Office at www.charlestonsymphony.com

The Charleston Symphony Orchestra Program is published by

1 Poston Road, Suite 190 Charleston, SC 29417 www.atlanticpublicationgrp.com

Message from the President Message from the Executive Director Board of Directors Message from the Music Director Charleston Symphony Orchestra Chorus Message from Founder & President, CSO Gospel Choir & CSO Spiritual Ensemble

Richard C. Marcus, YOLOW Music Director

843.723.7528 or on the web at

House Notes

25 25

CSO Gospel Choir

Charleston Symphony Orchestra

28 34 38 42 46 50 54 56 58 62 64 72

Merrill Lynch Masterworks I – Sept. 26, 2009

CSO Spiritual Ensemble

Backstage Pass I – Oct. 8, 2009

Merrill Lynch Masterworks II – Oct. 17, 2009 McCrady’s Charleston Pops I – Oct. 30 & 31, 2009 Backstage Pass II – Nov. 5, 2009

Merrill Lynch Masterworks III – Nov. 14, 2009 McCrady’s Charleston Pops II – Nov. 20 & 21, 2009 Holiday Pops – Dec. 19, 2009 Charleston Symphony Orchestra League CSO Education Outreach 7/1/08 – 7/15/09 Fiscal Year Contributors Special Thanks & Memorial Gifts

CONTENTS

CSO Chorus Conductor

House Notes 12

Welcome to this performance of the Charleston Symphony Orchestra. Here are some tips and suggestions to enhance the concert experience for everyone. Enjoy the concert. TICKET INFORMATION Season Tickets Season tickets are available by contacting the CSO office at (843) 723-7528, ext. 110.

Individual Concert Tickets

Student Discount

Individual tickets to CSO concerts are available for purchase on the web at www.charlestonsymphony.com, through Ticketmaster, at the Gaillard Box Office, or at the door on the evening of the performance. To charge tickets, call Ticketmaster Arts Line at (800) 982-2787 or visit our website at www.charlestonsymphony.com (convenience fees apply).

All full-time students with a valid ID may purchase tickets for $5 (some concerts excluded).

Group Discounts A 25% discount is available to groups of 20 or more for selected performances. Contact the CSO office for details, (843) 723-7528, ext. 110.

Senior Rush Senior citizens age 60 and older may purchase Masterworks concert tickets at the Gaillard box office one hour prior to concert for $20. Subject to availability.

DONâ&#x20AC;&#x2122;T LET YOUR GOOD SEATS GO TO WASTE! If you are unable to attend a concert, call the CSO at least 48 hours prior to the performance to exchange tickets for a future CSO concert or donate your unused tickets to the CSO for a tax-deductible contribution or pass along your unused tickets to friends or family. Tickets are non-refundable. Call 723-7528 ext. 110.

CSO E-NEWS â&#x20AC;&#x201C; SIGN UP FOR YOUR E-BLAST Would you like to receive information about CSO news, upcoming events, and concerts? Sign up for e-mails on the CSO Web site:

www.charlestonsymphony.com.

FOR THE ENJOYMENT OF ALL Quiet, Please! Please be sure to turn off all cell phones, paging devices, and watch alarms. In an effort to reduce distracting noises, complimentary natural herb cough drops are available in the lobby courtesy of Ricola USA, Inc. and Norman & Sharon Balderson.

Doors open one hour prior to performances.

Late Seating

Electronic Devices Cameras, audio recorders and video recorders are not permitted, as they may interfere with the musiciansâ&#x20AC;&#x2122; performance.

In consideration of both artists and audiences, latecomers will not be seated until an appropriate interval.

FOR YOUR COMFORT AND CONVENIENCE Accessibility

Restrooms

Main Level seating locations, elevators, and restrooms are provided for wheelchair patrons.

Restrooms are located on each level.

Elevators

Food and Beverage

Elevators are located on each level of the Gaillard Auditorium.

Bars serving soft drinks and wine are located in the main floor lobby. Food and beverages are not permitted in the hall.

MEET THE ARTIST

IMPORTANT NUMBERS

The Green Room and Stage Area are open to the audience after performances only.

Ticketmaster

FOR YOUR SAFETY

Administrative/Season Tickets

In the event of an emergency, please use the exit nearest your seat. This is your shortest route out of the hall. A police officer and staff member are in the lobby at all performances.

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(800) 982-2787 (843) 723-7528, ext. 110 For information about the Charleston Symphony Orchestra, call 723-7528; write to the CSO, 145 King St., Suite 311, Charleston, SC 29401; or visit our Web site at

www.charlestonsymphony.com.

Message from the President

Friends of the Charleston Symphony Orchestra, Welcome to the 2009-2010 season of the Charleston Symphony Orchestra, its 74th year of continuous operation. This season the orchestra will present eight concerts on Saturday nights at the Gaillard Auditorium in the Merrill Lynch Masterworks Series; five concerts on both Friday and Saturday nights at the Memminger Auditorium in the McCrady’s Pops Series; and four concerts on Thursday evenings at the Memminger Auditorium in the Backstage Pass Series. In addition, the orchestra will present the very popular Holiday Pops, Gospel Christmas, and MLK concerts. New this year will be a number of ensemble and chamber performances in churches and other venues throughout the greater Charleston community. And, as always, CSO musicians will provide a wide variety of educational programs and services to students and teachers in Charleston area schools. True to its mission, the CSO this year will help enrich the cultural life of the Lowcountry by providing lots of music of the highest artistic and technical quality. As all music lovers know, orchestras throughout the country have been working hard to sustain their excellence during these troubled economic times – and your Charleston Symphony Orchestra is no exception. The CSO has indeed had to tighten its belt to ensure it endures as a key player in the Charleston performing arts community – but in so doing it has not compromised in any way its vision to be a great artistic enterprise. Rather, programs have been selected to highlight and feature the very strengths of the orchestra and its many highly talented players. So throughout the season you will see and hear many of the CSO’s very best players as soloists. And, to introduce an element of “something new,” you will hear ten of the orchestra’s performances directed by guest conductors from around the country. Symphony orchestras in the U.S. can only survive and thrive with substantial financial support from private citizens and businesses who place high value on the role of the symphony in the community. Indeed, for the CSO to survive and thrive we need to secure fully one-half of the annual operating budget, which equates to about $1.2 million, from fundraising and sponsorship activities. And we need to do this every year! Your symphony needs each of you to subscribe to the series of your choice and/or purchase individual tickets to concerts that inspire you; and we need you to bring your family, friends and neighbors to introduce them to the magic of the symphony. But we also ask you to consider making the CSO a high priority in your charitable giving plans for the year. Doing so will be an investment that will generate returns for the entire community. I look forward to this exciting season and hope to see you at one or more concerts. Let’s all help keep the music playing.

Ted Legasey President, Board of Directors

Message from the Interim Executive Director Welcome to the Charleston Symphony Orchestraâ&#x20AC;&#x2122;s 2009-2010 season; a season dedicated to celebrating Charleston and the outstanding musical talent found here within our community. We will feature some of our own CSO musician core, several members of our local musical community and enhancing our relationship with the College of Charleston with several members of their outstanding music faculty as guest soloists during this season. It has been a privilege to serve as the principal harpist of the CSO for 22 seasons and an even greater privilege to become its interim Executive Director. From my years on the stage, I have seen the dedication and loyalty from our patrons, subscribers and benefactors as well as the tremendous commitment shown on behalf of the orchestra. I treasure and require your support now more than ever as we strive to build the orchestra and solidify our artistic and educational mission, while remaining the largest full-time performing arts organization in South Carolina. To hear the Charleston Symphony Orchestra for a first time is exhilarating and to sit within the orchestra and perform is truly magnificent and continuous source of pride. By helping to sustain and financially support the orchestra, it allows a wonderfully talented core of musicians the opportunity to express their highest level of musicianship. The ability to return your gift of support with sincere gratitude and performance of the highest caliber is vital to the purpose of the CSO and the calling of a professional musician. We perform for you, value your presence at our performances and ask that you become a part of the CSO family. Given that we are showcasing Charleston talent this season, please consider bringing friends and family who have never heard our orchestra perform and allow them to experience the richness, diversity of programming and vibrancy of a live symphony orchestra. I look forward to seeing and talking with many of you and sharing in the beauty of a Charleston Symphony Orchestra performance.

Kathleen Wilson Interim Executive Director

Board

of Directors - 2009 / 2010

EXECUTIVE COMMITTEE MEMBERS

Ted Legasey, President

Randy Gilmore, VP Development

Loren Carlson, VP Finance

Leo Fishman, Past President and VP Long Range Planning

Ellen Dressler Moryl, VP Artistic Margaret Strauss, CSOL President Barry Goldsmith, VP Education Clay Grayson, Secretary Charlie Cumbaa, VP Marketing

DIRECTORS Quentin Baxter Daniel Beckley R. Bruce Copeland Mary Hewlette Clyde Hiers

Fred Himmelein Sola Kim Marty Klaper Mariano LaVia

Andreas Mass Lee Pringle Bratton Riley Robert Schlau

David Simmons Libby Smith John H. Warren, III Bright Williamson

TRUSTEE COUNCIL Roger Ackerman Andy Anderson

Van Campbell John Dinkelspiel

Fred Kelsey Ted Halkyard

Jim Martin Walt Rosen

LIFETIME MEMBERS Margot Freudenberg Laura Hewitt

Max Hill, Jr. Marianne Mead

Eloise Pingry Burt Schools

Ed Sparkman

EX-OFFICIO MEMBERS Marty Besancon Tacy Edwards

Joseph Jenrette, III

Valerie Morris

Norman Smith

Message

from the Music Director The Charleston Symphony Orchestra was founded 74

years ago in the midst of the Great Depression of 1935. As we endure the worst economic times in our recent living history, the Charleston Symphony continues to be committed to presenting the most exciting and intriguing concerts of the highest quality. We are so proud that the level of musicianship and commitment to excellence has not wavered. Even in the darkest and most desperate times, it is art and the beauty of artistic creation that can nourish the soul, capture the imagination and feed the spirit. This season we will feature Charleston-based musicians and music, and you will have the great opportunity to hear first-hand many of our talented musicians in solo performances. I know what a great thrill this will be for you because every day in rehearsal and performance, I am continually amazed by the dedication and fantastic abilities of our players. As good as they sound together, you will delight in hearing many of them in a solo role. Charleston should be so proud of its orchestra and its musician who play such a significant role in the fabric of our community. I am also thrilled to be welcoming a number of very talented guest conductors who will lead a number of performances this season, Many of you many remember Stuart Malina, a former Associate Conductor of the CSO, who is Music Director of the Harrisburg (PA) Symphony, and has also won a Tony for his work on Broadway. In addition, Mikhail Agrest (whose father is in the CSO) grew up in Charleston and is having a phenomenal conducting career in Europe and around the world. Whether the music of Porgy and Bess, or Beethovenâ&#x20AC;&#x2122;s Eroica Symphony, Quentin Baxter or Yuriy Bekker, you will be treated to a kaleidoscope of sounds and musical riches this season. Join me in celebrating Charleston and its music!

David Stahl Music Director

PROFILE

unique figure in the cultural history of Charleston, David Stahl recently celebrated his 25th Anniversary Season as Music Director and Conductor of the Charleston Symphony Orchestra. During this quarter century, he has been at the center of leading the cultural and artistic renaissance in Charleston and has established himself as one of the most influential and charismatic personalities in the South. Equally in demand on both symphony and opera podiums around the world, he is among a select few who hold a Music Directorship of both a symphony orchestra and an opera house on both sides of the Atlantic. Since coming to Charleston, Mr. Stahl has literally transformed the CSO into a leading cultural institution in the region and has received a national award for imaginative programming from the American Symphony Orchestra League. Hundreds of thousands of listeners regularly hear the unique and vibrant sound of the CSO either live, in radio broadcasts, recordings or in telecasts over the years as they have performed all over North and South Carolina, on college campuses, in schools and parks. In addition, new generations of music lovers first came to hear live symphonic music through the hundreds of Young Peoples’ Concerts, Small Fry concerts, outreach programs and in-school performances that Maestro Stahl had initiated. David Stahl and the CSO have toured all over the U.S., Canada and Israel with Porgy and Bess. Two of the unforgettable moments in CSO history were performing for Prince Charles at the Dock St. Theater and the special Custom House concert performed two weeks after Hurricane Hugo which was telecast live statewide and lifted the community’s spirits. As a mentor and pedagogue, David Stahl has nurtured and encouraged countless young musicians, and dozens of former CSO musicians can be found in America’s great orchestras.

Many of the legendary artists of our time have performed with David Stahl and the CSO including Itzhak Perlman, Pinchus Zukerman, Sherrill Milnes, John Browning, Joshua Bell, Gil Shaham, Nadja Salerno Sonenberg, Yefim Bronfman, Jean Yves Thibaudet, Lorin Hollander, Jerry Hadley, Carter Brey, Judy Collins, Chet Atkins and Paula Robison. His many recordings with the CSO include collaborations with both Paula Robison and Enrique Graf. For his long-standing commitment to the Charleston community and the State of South Carolina he has received numerous awards and honors including the Elizabeth Verner Award, the Order of the Palmetto, an Honorary Doctorate from the College of Charleston and the Governor’s Palmetto Ambassador Award as an official ambassador for the State of South Carolina. Mr. Stahl is also the Music Director and Chief Conductor of Munich’s beloved Staatstheater am Gärtnerplatz where in 12 seasons he has been credited with leading an “amazing metamorphosis of astounding proportions” (Opera News), raising the ranking of the Orchestra to major status and being named Munich’s “Man of the Year.” As one of

Since coming to Charleston, Mr. Stahl has literally transformed the CSO into a leading cultural institution in the region and has received a national award for imaginative programming from the American Symphony Orchestra League. the great musical and cultural capitals of the world, Munich has heard more than 30 operas conducted by David Stahl, including many seldom heard masterpieces of Mozart, Strauss, Tchaikovsky, Rossini, Puccini and Wagner. His performances of Wagner’s early opera Das Liebesverbot was hailed as one of the finest new productions of a Wagner opera in the past decade in Munich. He led the first ever Munich performances of Beethoven’s Leonore and conducts regularly at the Bavarian State Opera. His Berlin appearances both at the Berlin Philharmonic with the Deutsche Symphonie and at the Deutsche Opera Berlin in a revival of Weill’s Rise and Fall of the City of Mahagonny were major triumphs. Last season he led the first ever Munich performances of Rimsky Korsakov’s The Legend of Tsar Saltan and Britten’s Death in Venice in addition to a revival of Puccini’s Madama Butterfly. This season features Janacek’s Makropolous Affair and Verdi’s opera Giovanna D’Arco among others. He has conducted more than 100 orchestras and opera companies over the past quarter century on four continents. His German debut in Mannheim leading performances of Fidelio and Tristan und Isolde led to his invitation to first appear in Munich as Principal Guest Conductor of the Gärtnerplatz in 1996. His demanding artistic standards and popularity has led to countless performances and recordings with many of the world’s great orchestras including the Staatskappelle Dresden, Munich Philharmonic, NDR Orchestra of Hamburg, SDR Orchestra of Stuttgart, Frankfurt Radio Symphony, Bamberg Symphony, Helsinki Philharmonic, Toronto Symphony and Seoul

Philharmonic among many others. In North America, he has conducted The Great Gatsby at Lyric Opera of Chicago and has conducted the New York City Opera at Lincoln Center, the Washington Opera at the Kennedy Center and at the opera companies of Minnesota, Detroit, Montreal and Honolulu. He has also led many other symphony orchestras including those of Cincinnati, Pittsburgh, Dallas, Atlanta and Buffalo. In the 1980s, he conducted regularly in Italy where he appeared in Rome, Palermo, Genoa and Milan and, at the invitation of Gian Carlo Menotti, opened the 1989 Spoleto Festival of the Two Worlds with Tales of Hoffmann. The 25th Anniversary of his first Charleston appearance during the 1981 Spoleto Festival was commemorated when he led the 2006 Finale at Middleton Place. The son of German Jewish refugees, David Stahl was born and educated in New York City, and made his Carnegie Hall debut at the age of 23 with the Youth Symphony Orchestra of New York. He then was invited by Seiji Ozawa to become one of the select conducting fellows at Tanglewood where he first worked with the man who would become his mentor and colleague, Leonard Bernstein. The next year, Mr. Bernstein invited the 26-year-old Mr. Stahl to be Assistant Conductor of the New York Philharmonic and a few years later asked him to take over the music directorship of West Side Story on Broadway and for its European tour. After serving as Assistant Conductor of the Cincinnati Symphony for four seasons under Thomas Schippers, Mr. Bernstein again called on David Stahl to assist him when he made his legendary recording of West Side Story.

Robert Taylor CSO Chorus Director obert Taylor is Director of Choral Activities at the College of Charleston, the Director of the Charleston Symphony Orchestra Chorus and the CSO Chamber Singers, and the Founding Artistic Director of the Taylor Music Festival and Festival Choir. Called by critic Lindsay Koob a “rising star in the national choral scene,” Taylor’s choirs have been described as sounding “more musical than would seem possible,” (Charleston Post and Courier) and have received numerous plaudits from critics and choral specialists for their technical proficiency, musicality and beautiful sound production. Dr. Taylor’s ensembles have performed throughout the U.S. and Europe, and have been featured in numerous festivals and special concerts, including the 2008 American Choral Directors Association Southern Division Convention, the 2005 American Choral Directors Association National Convention in Los Angeles, CA, the 2004 American Choral Directors Association Southern Division Convention in Nashville, TN, the 2003 American Guild of Organists Region IV Convention, and annual appearances in Spoleto USA and the Piccolo Spoleto Festival. This season, his Taylor Festival Choir will perform at the 2009 ACDA National Convention in Oklahoma City, OK, while the C of C Concert Choir will perform in the 2008 National Collegiate Choral Organization National Convention in Cincinnati, OH. Dr. Taylor serves as Founding Conductor of the Taylor Festival Choir, a professional choral ensemble called by renowned composer Stephen Paulus, “one of the world’s finest.” This group’s first commercial recording – This is Thy Hour O Soul – has been released internationally on the Centaur label and called “a winning and varied array of 20th-Century and contemporary choral gems of exceptional tonal range, excellent diction and sensitive phrasing” (Koob). Taylor is also Artistic Director of the Taylor Music Group and the Taylor Music Festival, a summer festival named after his deceased father – a high school choral conductor of distinction. This festival incorporates music performance and education in classical, folk and Suzuki disciplines. Dr. Taylor has conducted over 30 major choral/orchestral works to critical acclaim. His recording of Vaughan Williams’s Epithalamion and An Oxford Elegy with Chorus Civitas of Baton Rouge, LA, was favorably reviewed by the American Record Guide and Fanfare magazine – Fanfare declaring the recording “a highly accomplished performance” and

PROFILE

stating that “Taylor and his forces capture (Vaughan Williams’ score’s) ebb and flow perfectly.” He has also prepared numerous choral/orchestral masterworks for performances with prestigious conductors such the Charleston Symphony Orchestra’s David Stahl and Scott Terrell, Dr. Joseph Flummerfelt (Spoleto USA, New York Choral Artists, and formerly Westminster Choir College) and Dr. Kenneth Fulton (Louisiana State University). Also in demand as a guest conductor, clinician and lecturer, Dr. Taylor has been featured in these capacities throughout the U.S., Canada and Ireland. He serves as coordinator for the Choral Artist Series in the renowned Piccolo Spoleto Festival, and serves on the national artistic board of the National Collegiate Choral Organization. He is editor of the Robert Taylor Choral Series in Colla Voce Publications, and has lectured and published studies on the music of Vaughan Williams, Stravinsky, and the use of bel canto era vocal principles in a choral setting. An experienced tenor soloist, Dr. Taylor has performed numerous operatic roles, including Belmonte in Mozart’s Abduction from the Seraglio, Kaspar in Menotti’s Amahl and the Night Visitors, Mayor Upfold in Britten’s Albert Herring, and Frederic and Ralph Rackstraw in Gilbert and Sullivan’s Pirates of Penzance and H.M.S. Pinafore. He has also appeared in concerts and recitals throughout the southwest and in South Carolina. Dr. Taylor holds a Doctorate of Musical Arts in Choral Conducting degree from Louisiana State University, a Masters of Music in Vocal Performance from Sam Houston State University, and a Bachelor in Music Education degree from the University of Central Arkansas. He has studied conducting with Dr. Kenneth Fulton, Dr. B. R. Henson, John Erwin, and his late father, Bob Taylor. Taylor is married to violinist/fiddler Mary Taylor, director of the popular Celtic ensemble Na Fidleiri, and a member of the string faculty at Ashley Hall. They have one child, Kiri Noelle, age thirteen.

CHARLESTON SYMPHONY ORCHESTRA CHORUS Dr. Robert Taylor, Director

CSOC Board of Directors he Charleston Symphony Orchestra Chorus enters its 31st season under the master baton of Dr. Robert Taylor, now in his 11th season as director. Founded in 1978 by Emily Remington as the Charleston Symphony Singers Guild, the chorus has garnered critical acclaim over the years in performances with the CSO and Spoleto Festival USA. The all-volunteer chorus has more than 100 members and has performed such demanding repertoire as Bernstein’s Kaddish Symphony, Beethoven’s Missa Solemnis, Barber’s Prayers of Kieerkegard, Brahms’ Requiem, Stravinsky’s Symphony of Psalms, Mozart’s Grand Mass, and Verdi’s Requiem.

Dr. Robert Taylor, Director Norman Smith, President Dwight Williams, Vice President Andrea Robertson, Secretary Christina Demos, Treasurer Karen Rider, Librarian In addition, the CSO Chamber Singers, a subset of the chorus, has presented such diverse works as Stephen Paulus’ Mass, Vaughan Williams’ Flos Campi and Serenade to Music, Monteverdi’s 1610 Vespers, and premiered works by contemporary composers such as Julian Wachner, Trevor Weston, David Maves, and Edward Hart.

2009-2010 presentations include: September 26 CSO Gala Opening Masterworks: Gershwin’s “Porgy and Bess” November 20 & 21 Salute to the Armed Forces, Memminger Auditorium December 10 Handel’s Messiah with the CSO, The Citadel December 11 Handel’s Messiah, Saint Theresa the Little Flower Catholic Church, Summerville December 19 Holiday Pops with the CSO January 18, 2010 Annual Martin Luther King Jr. Tribute with CSO and CSO Gospel Choir February 21, 2010 Choral Music with the CSO April 17, 2010 CSO Season Finale Masterworks: Haydn’s “The Creation”

www.cso-chorus.org

Message from the Founder and President, CSO Gospel Choir and CSO Spiritual Ensemble

photo by: Jonathan Reiss

22 This 2009-2010 season marks the Charleston Symphony Orchestra (CSO) Gospel Choir’s 10-year anniversary. Charleston can be proud that the Gospel Choir is one of the City’s most culturally diverse choral groups, a Choir that furthers the Symphony’s outreach efforts with a variety of musical offerings locally, regionally, and internationally. The CSO Gospel Choir has experienced considerable musical growth under the remarkably talented Directors Vivian E. Jones, followed by Glenn R. Nixon, and under the current direction of Sandra S. Barnhardt. These exceptional leaders have shared my vision for the Choir’s mission and have graciously accepted my production demands. Gospel Choir concerts that have thrilled and moved audiences include Crowns: Portraits of Black Women in Church Hats, Retrospection: African-American Sacred Songs, African in American Music, Wade in the Water, Soul Sanctuary, Homecoming and Pure Gospel: Authentic Reflections. The Gospel Choir has also collaborated with the CSO for annual Martin Luther King commemorative concerts and Orchestral Praise concerts in local churches and has performed in several European cities during three tours. So many deserve recognition and my sincere appreciation for their support of the CSO Gospel Choir: CSO Board, Maestro David Stahl, especially his support and passion to honor the legacy of Dr. Martin Luther King, Jr., Executive Office and Support Staff, and Symphony Orchestra Members for their continued support of the Gospel Choir; the insight of Leah Greenberg for encouraging the CSO Board to establish the CSO Board Committee, Community Partners (which I chaired for four seasons); Wally Seinsheimer for sharing his idea for Charleston’s Gospel Christmas; Dolphin Builders for their financial support over the years; Darrell Edwards for his support of the outreach efforts; Dr. and Mrs. James Allen for their financial assistance for that first Gospel Christmas concert; Ms. Emily Remington for supporting the Gospel Choir’s creation; CSO Chorus for providing such a high standard for us to follow; Robert Taylor, CSO Chorus Director; Lon Shull, Charleston Men’s Chorus for supporting the first Gospel Christmas concert; and Vincent L. Danner, Guest Conductor, for making Gospel Christmas so memorable every year. I would like to especially thank the current CSO Gospel Choir members (and the more than 800 alumni) for respectfully following my leadership and encouragement for the Choir’s first ten years as your President and Executive Producer. Know, too, the great joy I have found in sharing all the songs in the tenor section of the Gospel Choir these many years. In February 2010, the CSO Gospel Choir will continue with a new President and leadership team. I wish the Gospel Choir much success in their second decade. Please continue your journey with the CSO Gospel Choir and the newly formed CSO Spiritual Ensemble.

Lee Pringle

Sandra Barnhardt CSO Gospel Choir Music Director

PROFILE

rs. Barnhardt assumed the position of Music Director for the CSO Gospel Choir in July 2008. She is focused on preserving the cultural legacy and authenticity of African-American spirituals and gospel music. She is also committed to the Choir’s involvement with youth projects and partnerships. Teaching music has always been Mrs. Barnhardt’s passion. She began her teaching career in Orange, NJ, where her influential choral programs became a stepping-stone for actress and television personality Tisha Campbell. Mrs. Barnhardt served as the Coordinator of Music and Music Specialist (K-8) for the School District of South Orange-Maplewood, NJ, as well as the Program Director of the After School Center for Performing Arts Program at South Orange Middle School. Her recognized directorship of 200voice choirs won Mrs. Barnhardt the New Jersey Symphony Orchestra Master Collaboration award and her nomination for Master Teacher of the Year by the New Jersey Music Educators Association. During her tenure in South Orange-Maplewood, she was also instrumental in fostering the musical career of Lauryn Hill. Mrs. Barnhardt served as Director of Vocal Music for the Cicely Tyson School of Performing and Fine Arts, East Orange, NJ During this time, her choirs and voice major students performed at the

A native Charlestonian, Mr. Nelson began playing drums at his church at age eight. Seen as a child prodigy in local church circles, by the age of thirteen, his choral music calling took form when he began organizing and directing local gospel and school choirs. Mr. Nelson served as Minster of Music for the TriCounty Chapter of the Gospel Music Workshop of America and is a member of the Gospel Music Workshop of America, founded by the late Rev. James Cleveland, where he studied how to organize a music department and direct audio technology and music productions. Currently, he teaches in the public school system and is called upon to conduct choral clinics for church musicians and choral group throughout the southeast. He served as a vocal trainer and choir director for many renowned gospel singers and has shared the stage and

Rock and Roll Hall of Fame in Cleveland, OH. Mrs. Barnhardt’s choirs have also performed with Kirk Franklin, Sweet Honey in the Rock, the Metropolitan Opera Ensemble, the New Jersey Symphony, and at the 2005 Memorial Service for Rosa Parks in Washington, D.C. Her choir released the CD “From Handel to Smallwood” and toured Palermo, Venice, and Rome in 2004. When she became Organist-Director and Minister of Music for the St. Matthew AME Church of Orange, NJ, her choirs traveled throughout the U.S., in Canada, and in Bermuda. Her 40-voice male chorus was featured in concert with The Chieftains at the New Jersey Performing Arts Center and was documented in the PBS broadcast which won a regional Emmy. Mrs. Barnhardt earned a Master in Music Education from Montclair State College, NJ, and a BA in Voice from Stephens College, Columbia, MO. She is a member of the American Choral Directors Association and the South Carolina Music Educators Association. She continues her study of choral conducting under Roland Carter, noted composer and Music Department Chair at the University of Tennessee (Chattanooga). Currently, Mrs. Barnhardt is Assistant Minister of Music for the historic Ebenezer AME Church in Charleston, SC. She is also the music instructor for the Charleston Development Academy, with its acclaimed choir, the Singing Eagles. Mrs. Barnhardt resides in Adams Run, SC, with her husband Allen Barnhardt, retired New Jersey Fire Director.

Nathan L. Nelson CSO Spiritual Ensemble Director worked with the late Rev. James Cleveland, Shirley Caesar, Dorothy Norwood, Daryl Coley, Hezekiah Walker, Donald Malloy and Larnell Harris. His professional memberships include the Gospel Music Workshop of America and the National Associations for Music Education. He is Chairman of Perpetual Praise Ministries and a member of the Singers of Summerville in Summerville, SC. Nathan holds a Bachelor of Arts Degree in Choral Music and Secondary Education from Charleston Southern University. He currently serves as a vocal coach for studio singers, local choirs and volunteers with various community choirs. Mr. Nelson is the Assistant Director of Music at Charleston’s Mount Zion AME Church.

Charleston Symphony Orchestra Gospel Choir elebrating its tenth season, the Charleston Symphony Orchestra (CSO) Gospel Choir, Charlestonâ&#x20AC;&#x2122;s most culturally diverse choir, performs gospel, spirituals and sacred music for annual concert events including a Palm Sunday performance, the Charleston International Festival of Choirs, the CSO Gospel Christmas, Martin Luther King, Jr., commemoration concert , Piccolo Spoleto Festivals, as well as international and regional concerts throughout the season. Now under the musical direction of Sandra S. Barnhardt, the Choir has produced and performed critically acclaimed programs including Crowns: Portraits of Black Women in Church Hats, Palms: Music in Motion, Retrospection: African-American Sacred Songs, The African in American Music, Wade in The Water, Soul Sanctuary, Homecoming: Rediscovering

Sandra Barnhardt, Director

25 Roots and, Pure Gospel: Authentic Reflections. A live DVD of the Choir and accompanying compact disc Live at Ashley River Baptist Church was recorded in April 2009. The Choir returned from a tour of London and Paris this past summer. The CSO Gospel Choir debuts at Charlestonâ&#x20AC;&#x2122;s celebrated MOJA Arts Festival in October 2009.

Upcoming Performances Debut: MOJA Arts Festival, October 3, 6 p.m., St. Matthews Lutheran Church, Charleston 10th Anniversary CSO Gospel Christmas, December 5, 2009 7 p.m. Gaillard Auditorium, followed by Gala Reception at Francis Marion Hotel Annual Martin Luther King Jr. Tribute with CSO Chorus conducted by David Stahl, January 18, 4 p.m., Gaillard Municipal Auditorium For more information about the CSO Gospel Choir and upcoming concerts and events go to: www.csogospel.com

Charleston Symphony Orchestra Spiritual Ensemble nder the direction of Nathan L. Nelson, the CSO Spiritual Ensemble is a dream come true for its Founder and President, Lee Pringle. The 35-member Ensemble focuses on the African-American spiritual and sacred music. The Ensemble debuted to sold-out crowds at its February 2009 concert, the 2009 Charleston International Festival of Choirs, and the 2009 Piccolo Spoleto Festival. The Ensemble honors the musical tradition African-Americans formed as slaves after arriving in this country, and, in particular, its relevant history here in South Carolina.

Nathan L. Nelson, Director

Upcoming Performances A Lowcountry Spiritual Journey, September 19, 7 p.m., Christ Episcopal Church, Mt. Pleasant Debut: MOJA Arts Festival, October 1, 6 p.m. Mt. Zion A.M.E. Church A Spiritual Christmas at the YWCA of Greater Charleston, November 27, 6 p.m. Lift Every Voice and Sing! MLK Commemoration Concert, North Charleston, January 16, 2010; 6 p.m. Spiritual Classics II Town of Kiawah Concert, February 12, 2010; 7 p.m., Holy Spirit Catholic Church, Johns Island Annual YWCA Spiritual Brunch April 3, 2010 For more information go to www.csospiritual.com

DAVID STAHL, Music Director Robert Taylor, CSO Chorus Director Sandra Barnhardt, CSO Gospel Choir Director Richard C. Marcus, YOLOW Director

College of Charleston Faculty Member Charleston Southern University Faculty Member

On Leave 2009-2010 Season

Chair Donors have designated their gifts to sponsor a musician’s chair. For information on chair sponsorship, call 723-7528.

One year, 2009-2010 Season

VIOLIN

VIOLA

BASS

– Yuriy Bekker, Concertmaster – Amos Lawrence, Assistant Concertmaster

– Jan-Marie Christy Joyce, Principal – Alexander Agrest – Jill King

– Edward Allman, Principal

CELLO

FLUTE

– Norbert Lewandowski, Acting Principal – Damian Kremer – Timothy O’Malley

– Jessica Hull-Dambaugh, Principal – Regina Helcher Yost – Tacy Edwards

Chair Sponsor: Phyllis Miller

– Alan Molina, Principal Second Violin – Adda Kridler, Assistant Principal Second Violin – Megan Allison Chair Sponsors: Jack & Cathy McWhorter

– – – – –

Frances Hsieh Asako Kremer Nonoko Okada Brent Price Lauren Paul

Chair Sponsors: Paul and Becky Hilstad

Chair Sponsors: Paul and Mary Jane Roberts

– Tom Bresnick Chair Sponsor: Dr. Jim and Claire Allen

PICCOLO – Tacy Edwards

OBOE

HORN

BASS TROMBONE – Thomas Joyce

TUBA – Vacant Chair Sponsor: Mr. & Mrs. D.V. Marti

HARP

– Mark Gainer, Principal Chair Sponsor: Fred and Katie Kelsey

– Nicholas Masterson – Christine Worsham

ENGLISH HORN

– Brandon Nichols, Principal Chair Sponsor: Bob and Marcia Hider

– Audrey Good – Debra Sherrill – Anne Holmi

– Nicholas Masterson

TRUMPET

– Kathleen Wilson, Principal

CLARINET Chair Sponsor: Mrs. Virginia B. Falcon

TIMPANI

– Charles Messersmith, Principal – Gretchen Schneider Roper

– Karin Bliznik, Principal – Michael Smith, Acting Principal Chair Sponsor: Mr. and Mrs. Robert Rice

– Chris Fensom – Beth Albert, Principal

BASSOON

TROMBONE

– Katherine St. John

Chair Sponsor: Dr. S. D. Thomas

PERCUSSION

– William Zehfuss, Principal Chair Sponsor: Cal and Joyce East

– Ryan Leveille, Principal

Charleston Symphony Orchestra David Stahl, Music Director

Masterworks 1

MERRILL LYNCH MASTERWORKS - SAT. SEPT. 26, 2009 - 7:00 P.M. - GAILLARD AUDITORIUM

David Stahl, Conductor Alvy Powell, Porgy Roberta Laws, Bess Charleston Symphony Chorus - Robert Taylor, Director Charleston Symphony Gospel Choir - Sandra Barnhardt, Director

Gala Opening Night featuring highlights from

Porgy and Bess George Gershwin

Summertime A Woman is a Sometime Thing Gone, Gone, Gone Overflow My Man’s Gone Now The Promised Land I Got Plenty of Nuttin’ Bess You Is My Woman Now Oh, I Can’t Sit Down Ain’t Got No Shame It Ain’t Necessarily So Orchestral Prelude to Act III There’s a Boat That’s Leavin’ Soon for New York Oh Lawd, I’m On My Way

(1898-1937) arr. Bennett

60:00

(Tonight’s concert will be performed without an intermission)

The Charleston Symphony Orchestra receives public support from the City of Charleston, the Town of Kiawah Island, the County of Charleston, the South Carolina Arts Commission, and the Southern Arts Federation.

Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant. Tonight’s program will be broadcast October 12, 2009 on Carolina Concerts (FM 89.3) at 8 p.m.

Featured Per former

Soprano, Bess Soprano Roberta Laws brings thrilling force and artistic depth to her portrayal of some of opera’s most beloved heroines; and she has graced audiences worldwide with this winning combination. During the 2008/09 season, she sang the Porgy and Bess Suite with the Cincinnati Pops under Erich Kunzel, and in her debut with the Orquesta Sinfonica Nacional de Mexico under Carlos Miguel Prieto. A benefit concert with the Winnipeg Symphony was also part of that season.

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29 MERRILL LYNCH MASTERWORKS - SAT. SEPT. 26, 2009 - 7:00 P.M. - GAILLARD AUDITORIUM

Roberta Laws

Charleston Symphony and was subsequently invited to perform the role at both the Savolina Festival in Finland and the Grahamstown Festival in South Africa. Her charismatic performances with the Houston Grand Opera earned her both glowing notices and a nomination for the N.A.A.C.P. Image Award for Best Actress, as well as an invitation from Houston Grand Opera to participate in their Guest Artist in Residence Program. Ms. Laws has also portrayed the role of “Bess” on the stage with Opera Carolina, Opera Grand Rapids and the Den Norske Opera in Oslo for the King and Queen of Norway. She has earned accolades for her portrayal of “Angelica” in Suor Angelica, “Giorgetta” in Il Tabarro, “Musetta” in La Boheme and “Liu” in Turandot. The breadth of her performance experience is demonstrated by her interpretation of Iris in As a champion of American Mascagni's Iris, Suzel in opera, Ms. Laws is well known Mascagni's L’amico Fritz, for her portrayal of the role of “Margherita” in Boito’s “Bess” in Gershwin’s classic American opera Porgy and Bess. Mefistofele, “Mme. Lidoine” in Poulenc’s Les Dialogues des Following her debut performCarmelites and her debut role ance of the role with Opera with the Kennedy Center as the Columbus, she was invited by “Mother” in Menotti’s Amahl Maestro Gian Carlo Menotti to Spoletto/Melbourne, where she and the Night Visitors. Other gained international recognition engagements also include a Kennedy Center production of for her interpretation. Under Rodgers and Hammerstein’s the baton of Maestro David Carmen Jones with Placido Stahl, Ms. Laws gave a comDomingo conducting the mand performance for the National Symphony Orchestra. Prince of Wales with the

Featured Per former

MERRILL LYNCH MASTERWORKS - SAT. SEPT. 26, 2009 - 7:00 P.M. - GAILLARD AUDITORIUM

Revered by international audiences, Ms. Laws has sung in the opera houses and theaters of Stockholm, Sao Paola, Capetown, Pretoria, Hamburg, Frankfurt, Dusseldorf, Cologne, Leipzig, Bremen, Venice and Rome. In 1997, she was one of three Americans to receive an invi-

Alvy Powell Bass, Porgy

tation to perform at the gala opening of Moscow’s Novoya Opera House. Ms. Laws’ experience also extends to the concert stage where performances have included Poulenc’s Gloria and Beethoven’s Ninth Symphony with the Virginia Symphony as well as work with Peter

One of the world’s best known interpreters of the role of Porgy, Mr. Powell has performed the role over 1,200 time at La Scala, New York City Opera’s Live at Lincoln Center, San Francisco Opera and others. His interpretation of

(continued) Nero at the Philadelphia Pops, and Eric Kunzel at the Cincinnati Pops and Ravinia. She has also appeared with the Philadelphia Orchestra, Naples Philharmonic, Rochester Philharmonic and the Detroit, Alabama, Pacific, Charleston, Savannah, and Indianapolis Symphonies.

Porgy is on the newly released recording of Porgy and Bess with the Nashville Symphony on the DECCA label. Mr. Powell has appeared as Barolo from Le Nozze di Figaro with the Virginia Opera, Sharpless from Madame Butterfly with the Connecticut Opera, Coline in La Boheme with the Tulsa Opera and Timur in Turandot with Opera Carolina, Opera Grand Rapids and the Cleveland Opera. He made his Carnegie Hall debut in June 2008 in the role of Joe for the concert production of Show Boat and returned in 2009 to sing Porgy and Bess. Mr. Powell was bass soloist in the Verdi Requiem with the Rome Opera commemorating the centennial of the death of Giuseppe Verdi sponsored by the Vatican. He has sung at the White House, performed the Star Spangled Banner at the inauguration of President George Herbert Bush and, a Ford family favorite, was requested to sing at the funeral of President Gerald R. Ford.

Program Notes George Gershwin (1898-1937) Porgy and Bess lyrics for the songs. A long search for a singer to be Porgy resulted in Todd Duncan being offered the role. After “tryout” performances in Boston, beginning September 30, 1935, the official opening of the opera was at New York’s Alvin Theater on October 10. It ran for 124 performances, not enough for the backers to recover their money and not a huge success by Broadway musical standards, but for an opera, this was unheard of. Gershwin referred to his composition as a “folk opera,” and there seems no good reason not to keep the composer’s label. Like Carmen it does have an exotic locations (Catfish Row and Kittiwah Island) and like Meistersinger there is a use of the large choral ensemble to represent the community, almost Wagnerian leitmotives, and a fugue to represent a fight. The on-stage piano originally found in the opening scene and some other details also show Gershwin’s familiarity with (of all works!) Alban Berg’s Wozzeck. (Gershwin met Berg in Europe and was present at the American premiere of the opera.) The operatic nature of Porgy and Bess diminished in the second major production, after Gershwin’s death, in which recitatives were replaced by spoken dialogue. This revival was done by Cheryl Crawford with mostly the same cast and conductor from the premiere, with New York performances beginning in January, 1942, following summer tryouts in New Jersey. This production’s run was over twice the length of the first

Program notes by William D. Gudger, The College of Charleston (emeritus)

(continued)

31 MERRILL LYNCH MASTERWORKS - SAT. SEPT. 26, 2009 - 7:00 P.M. - GAILLARD AUDITORIUM

“If I am successful it will resemble a combination of the drama and romance of [Bizet’s] Carmen and the beauty of [Wagner's] Meistersinger.” George Gershwin put this challenge to himself, issuing it as part of a press release while he was at work on the composition of Porgy and Bess. The genesis of this opera began in 1920s with the novel Porgy written by Charleston author DuBose Heyward (1885-1940). Heyward’s inspiration came from a newspaper article about a crippled beggar, Samuel Smalls, known as “Goat Sammy” for his use of a goat cart for mobility. Heyward drew upon his childhood memories of Charleston, its waterfront, and the hurricane of 1911 (which makes a vivid appearance in the opera). Gershwin read Porgy in 1926 and immediately was attracted to its story. But his use of it was put off by Heyward’s plans (in conjunction with his wife Dorothy) to turn the novel into a play and then later by Al Jolson’s interest in the story as a vehicle for a musical by Kern and Hammerstein in which he would play the title role. In any case, by November, 1933, the Theatre Guild, which had produced the play, announced that Gershwin would turn Porgy into an opera. Gershwin made several visits to Charleston beginning in December, 1933, in particular a long summer stay in 1934 on Folly Island. This trip included visits to the black communities on the surrounding islands, especially to hear singing in churches. In the meantime George’s brother Ira was working on the

Program Notes

MERRILL LYNCH MASTERWORKS - SAT. SEPT. 26, 2009 - 7:00 P.M. - GAILLARD AUDITORIUM

production, and it was followed by a major national tour. A revival in the 1950s was seen in America and Europe, helping launch the career of the singer of Bess, Leontyne Price. A film version, directed by Otto Preminger, opened in 1959. The Metropolitan Opera in New York, which had once commissioned a Jewish opera from Gershwin called The Dybbuk (never composed), took little interest in the original project in the 1930s, failed to mount a bicentennial year production in 1976, but finally produced the opera in 1985. Once integrated seating for the audience was possible, Charleston saw Porgy and Bess on stage first in 1970 (designed by Emmett Robinson), with further productions in 1985 and 1990. The Houston Grand Opera production of 1976 is usually credited as the first performance of Gershwin’s full score. Scholars and musicians are still arguing about the “definitive” version of the opera; like Carmen it will continue to exist both in fully sung versions (Gershwin’s original intention) and in a more Broadway musicallike form with spoken dialogue. A century after Gershwin’s birth, we can agree with Nicolas Slonimsky’s assessment of him as an “immensely gifted American composer.” Before anyone thought of the term “cross-over artist,” Gershwin was doing just that. His early successes were in the realm of Tin Pan Alley and the Broadway musical, and his early death cut off possible further achievements in “classical” music. Rhapsody in Blue is certainly the finest piano and orchestra piece written by an American during the 1920s, and arguably the most successful work ever to incorporate the idioms of jazz into “serious”

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composed music. Gershwin was every bit as good a song composer as, say, Schubert, and as a first opera, Porgy and Bess has little competition in any ear. Writing the definitive encyclopedia article on Porgy in the New Grove Dictionary of Opera, Richard Crawford says the following: “Ira Gershwin once described his brother’s imagination as ‘the reservoir of musical inventiveness, resourcefulness, and craftsmanship George could slip into.’ That ‘reservoir’ – nourished by a prodigious flow of inspiration and years of regular instruction, and disciplined by the habit of trusting a popular audience’s judgments – is the source of Porgy’s sweep and power. The work is infused at every level with song of remarkable variety.”

Porgy and Bess: Plot Summary The action takes place in and near Charleston during the 1920s. ACT I. SCENE 1: Catfish Row. The scene is set by the opening music, with Clara’s famous lullaby “Summertime.” Some of the men are playing a game of dice which leads to a quarrel in which Robbins is killed by the stevedore Crown. Bess, Crown’s girl, has nowhere to hide before the police arrive, but Porgy offers her sanctuary in his room. SCENE 2: Serena’s room. Robbins’ body is on a table and a lament is sung while money is collected for the funeral expenses. Police detectives enter and take away Peter, the Honeyman, as a material witness. Serena sings her lament. The act closes with Bess leading the spiritual “Leavin’ for the Promise’ Lan’.”

Program notes by William D. Gudger, The College of Charleston (emeritus)

The wind rises and the hurricane bell is heard. SCENE 4: Serena’s Room. The next day everyone is huddling together in prayer, trying to drown out the sounds of the hurricane. A knock is heard at the door: it is Crown looking for Bess. When Clara sees that Jake’s boat is upside down in the water, she leaves her baby with Bess and only Crown will go with her to help. ACT III. SCENE 1: Catfish Row. The storm is over and the women are mourning the loss of Clara, Jake, and Crown. But Sportin’ Life enters with the news that Crown has managed to survive. As he had promised, Crown returns, though injured, to confront Porgy, but Porgy is able to choke him to death. SCENE 2. The detective and coroner enter and drag Porgy off to identify Crown’s body. Sportin’ Life tempts Bess with a new life (“There’s a boat dat’s leavin’ soon for New York”) and leaves some of his “happy dust” for her. SCENE 3. A week later Porgy returns from jail in good spirits but can’t find Bess. He is told that Sportin’ Life took her off to New York. He calls for his goat cart and asks how far New York is: “A thousand mile from here...way up North pas’ de custom house.” He starts out (“Oh, Lawd, I’m on my way”) as the residents of Catfish Row bid him Godspeed.

33 MERRILL LYNCH MASTERWORKS - SAT. SEPT. 26, 2009 - 7:00 P.M. - GAILLARD AUDITORIUM

ACT II. SCENE 1: Catfish Row. A few weeks later the fisherman are repairing their nets. Clara warns about the storms this time of year, while Porgy sings about his contented life with Bess (“I got plenty o’ nuttin’”). Sportin’ Life enters and tries again to get Bess to go away with him, but he is chased off. After the unscrupulous lawyer Frazier and Mr. Archdale, a white man who will post bond for Peter, arrive and leave, Porgy and Bess sing their love duet (“Bess, you is my woman now”). Preparations are under way for a picnic on Kittiwah Island. Bess is persuaded by Porgy to go along on the picnic rather than staying home with him. SCENE 2: Kittiwah Island. Sportin’ Life entertains the crowd with his skeptical view of the Bible (“It ain’t necessarily so”). Everyone hears the whistle of the steamboat and prepares to leave. Bess discovers that Crown is hiding on the island. She tells him she is now living with Porgy but she reluctantly agrees to remain with Crown. SCENE 3: Catfish Row. At dawn about a week later, Jake and fishermen prepare to go out despite threatening storms. Bess is back in Porgy’s room and she is ill from her two days on the island with Crown. The cries of the Strawberry Woman, Honey Man, and Crab Man are heard in passing. Bess recovers from her delirium and tells Porgy everything; he forgives her.

Charleston Symphony Orchestra David Stahl, Music Director

Backstage Pass 1

BACKSTAGE PASS - THURS. OCT. 8, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

David Stahl, Conductor

Songs of Our Youth Anatoly Liadov

Eight Russian Folk Songs

13:00

(1855-1914) No. 1: Religious Chant No. 2: Christmas Carol No. 3: Plaintive Song No. 4: Humorous Song No. 5: Legend of the Birds No. 6: Cradle Song No. 7: Round Dance No. 8: Village-Dance Song

Edward Hart

Three Latin Rivers

20:00

Le Tombeau de Couperin

17:00

(b. 1965)

Maurice Ravel (1875-1937)

Prélude Forlane Menuet Rigaudon

(Tonight’s concert will be performed without an intermission)

Featured Per former

Composer Edward Hart’s music has been performed in the United States, Latin America, and Europe including performances in New York, Los Angeles, Kiev, Mexico City, Boston, Argentina, and at the Kennedy Center in Washington, D.C. Hart’s music was also featured at the opening of the 32nd Annual International Cervantino Festival in Guanajuato, Mexico with President Vicente Fox in attendance. Newspapers such

England Conservatory of Music and Darryl Taylor, founder of the African-American Art Song Alliance, as well as a concerto for Uruguayan pianist Enrique Graf. Hart’s choral music is published by Colla Voce. From 1994 to 2004, Hart was a co-founder and musical director of The Lowcountry Heritage Society, an arts organization dedicated to the production of new works of art, music, and literature about or inspired by the South Carolina Lowcountry. During that time, the Society commissioned over fifty new musical works by thirteen composers. Additionally, the Society produced two modern dance works, a ballet, two literary anthologies, an original play, and 14 visual art exhibits. Hart is a native of Charleston, S.C. and holds a Doctorate from the University of South Carolina where his primary composition teacher was Gordon “Dick” Goodwin. He is on the music faculty of the College of Charleston.

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35 BACKSTAGE PASS - THURS. OCT. 8, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

Edward Hart

as a.m. Leon (Mexico) have described his music as “… spiritual and emotional,” El Pais (Montevideo, Uruguay) as “…clearly visual,” Sun-Sentinel (South Florida) as “...well crafted, smartly scored and cast in an accessible style that clearly communicates to audiences,”and the Charleston Post and Courier as having “… great sweep and strong appeal.” His works include concertos for piano and guitar, various orchestral works, chamber music, solo piano compositions, choral music, and art songs. Ensembles that have performed his music include Orquesta de Baja California (Mexico), Philharmonica de Montevideo (Uruguay), Lviv Philharmonic (Ukraine), Symphony of the Americas, Kiev Philharmonic, Arpeggione Chamber Orchestra (Austria), the South Carolina Philharmonic, the Charleston Symphony Orchestra, the Carolina Amadeus Chamber Orchestra, and the Upton Trio. He has received many commissions including song cycles for D’Anna Fortunato of the New

Program Notes

BACKSTAGE PASS - THURS. OCT. 8, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

This evening’s array of music takes us from the romantic Russian folk tradition to the breezy elegance of French impressionism – with a detour via an up-and-coming contemporary American composer. Anatol Liadov was a master orchestrator and tone-painter who left us some very vivid sonic souvenirs of his native Russia: its special places, its folk-heritage and its dark soul. His Eight Russian Folk Songs (composed in 1906) were first widely heard as part of a ballet score (as performed by Serge Diaghilev’s famous company) that included three of Liadov’s other short orchestral pieces. These rare and delightful miniatures evoke a tremendous range of moods and emotions: fathomless sacred mystery (“Religious Chant” and “Christmas Carol”), melancholic misery (“Plaintive Song”), bumptious festivity (“Round Dance” and “Village-dance Song”), rustic whimsy (“Humorous Song”), maternal tenderness (“Cradle Song”), and mythic grandeur (“Legend of the Birds”). I can’t imagine why they’re not performed more often. Three Latin Rivers is the creation of Charleston’s own Dr. Edward Hart, Professor of Composition at the College of Charleston. The three-movement piece was the result of Hart’s sabbatical travels several years ago to various Hispanic rivers and their surrounding regions. He sought inspiration – not only from the rivers themselves – but from the associated regional landscapes, cultures and musical traditions. The opening ‘Rio Douro’ movement evokes the river that flows through the beautiful northern Portuguese city of Porto: the home of port wine, and a hotbed of Fado, Portugal’s signature musical form. Typically passionate and melancholic, Fado (“fate”) is melody-driven, with frequent major-minor shifts and vocal embellishments that reflect its Afro-Arabic influences. Also, listen for the pizzicato textures recalling the unique sound of the Portuguese guitar.

Hart takes a more environmental approach to ‘Rio Grande’ (straddled by the USA and Mexico) in the following movement. It’s a dreamy nocturne of sorts, depicting arid desert landscapes with subdued, spacious melodies and soft string harmonics. The final “Rio de la Plata” movement is essentially a reflection of cultural and musical contrasts – since the river separates Uruguay and Argentina: perhaps the most European-influenced nations in South America. Accordingly, listen for musical clashes between the hot-blooded opening Hispanic theme and a more genteel Germanic waltz ... until a faux-tango emerges by way of compromise. Think musical melting-pot. The evening’s final work is French impressionist master Maurice Ravel’s adaptation for small orchestra of selected movements from his earlier piano composition, Le Tombeau de Couperin (the tomb of Couperin). Based mostly upon the music of French Baroque composer François Couperin, the “tomb” part of the title bears further significance – in that several of Ravel’s dearest friends fell in the carnage of World War I, and he dedicated a movement to each of them. This elegant and vivacious music begins with an animated, triple-meter “Prelude,” based largely on pentatonic harmonies. Listen for perky, virtuoso playing from everybody (especially the woodwinds) plus some miraculously downy impressionist textures. The whimsical and lively “Forlane” (an ancient French dance-form) delights, with its syncopated accents, decorative touches, and ingenious instrumental blends. The poignant and pleading “Menuet” contrasts delicious, quiet modal harmonies against the darker drama of its central “musette” theme, with its droning cellos. “Rigaudon,” the cocky and dancing finale, gives way to a haunting oboe melody over plucked strings, before finishing with a jaunty reprise of its opening theme.

Program notes by Lindsay Koob

Charleston Symphony Orchestra David Stahl, Music Director

Masterworks 2

MERRILL LYNCH MASTERWORKS - SAT. OCT. 17, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

David Stahl, Conductor Sean Kennard, Piano

All Beethoven! Ludwig van Beethoven

9:00

Overture to Egmont op. 84

(1770-1827) Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 Allegro con brio Largo Rondo – Allegro Sean Kennard, piano

–––––––––––––––––––––

intermission ––––––––––––––––––––––––––––––––––––––––––––

Symphony No. 3 op. 55 E-flat major (Eroica) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

34:00

47:00

Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant. Tonight’s program will be broadcast November 23, 2009 on Carolina Concerts (FM 89.3) at 8 p.m.

Featured Per former

Piano Sean Kennard was the first prize winner of the 2007 Dr. Luis Sigall International Music Competition in Viña del Mar, Chile, and has also won top prizes in the Hilton Head International Piano Competition, National Chopin

Warsaw and in Carnegie Hall as part of the Hawaii Music Awards. Recently he gave his debut performance in Japan’s Tokyo Opera City Recital Hall. He began playing the piano in Hawaii with his first teacher Ellen Masaki and while he was her student gave a recital at the Academy of Arts in Honolulu performing the 24 Chopin Etudes. Three years after his first piano lesson he was accepted to the Curtis Institute of Music in Philadelphi and studied with Eleanor Sokoloff. In his final year there, he won the piano department’s Sergei Rachmaninoff Award, given to one graduating pianist each year. Currently Sean is working with Enrique Graf, first prize winner of the William Kapell International Piano Competition and Artist-in-Residence at the College of Charleston.

Program Notes Ludwig van Beethoven (1770-1827) Overture to Egmont, Opus 84 In the wonderful days when all theaters had live musicians in the pit at plays and ballets as well as operas, composers great and small wrote music to accompany theatrical spectacle. In 1810 a Viennese theater was preparing a production of Johann Wolfgang von Goethe’s play Egmont.

Goethe (1749-1832) worked on this play from 1775 to 1787 and first produced it in 1789. The plot comes from history, the tragic story of Lamoral, Count Egmont (1522-1568), who led the Netherlanders in an uprising against the Spanish under the Duke of Alba.

(continued) Program notes by William D. Gudger, The College of Charleston (emeritus)

39 MERRILL LYNCH MASTERWORKS - SAT. OCT. 17, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

Sean Kennard

Competition, Sendai International Music Competition, and Iowa Piano Competition. Sean was born in 1984 and began playing at age 10. In 1995 he made his recital debut, and since then has appeared as soloist with the Yomiuri Nippon Symphony Orchestra, Yamagata Symphony Orchestra, Sendai Philharmonic, Deutches Kammerorchester Frankfurt am Main, Orquesta Sinfonica de Chile, Orquesta Filarmónica de Montevideo, Orquesta Filarmónica Regional, Orquesta Sinfonica de Universidad de Concepción, Sinfonia Perugina, Indianapolis Chamber Orchestra, Honolulu Symphony Orchestra, Hilton Head Orchestra, Sioux City Symphony Orchestra, and Florida International University Orchestra. Sean has also performed at the Chopin Society in

Program Notes

MERRILL LYNCH MASTERWORKS - SAT. OCT. 17, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

Beethoven, a child of his time, that is, of the French Revolutionary and Napoleonic eras, was undoubtedly attracted to this story of political struggle, similar to the plot of his opera Fidelio, and he accepted a commission for an overture and incidental music for the play. Beethoven rarely met his deadlines, and so the music was not heard until June 15, 1810, the fourth performance of the play in Vienna. The overture to Egmont is kin to the Leonore overtures Beethoven wrote for Fidelio and also to the Fifth Symphony, with its struggle-to-victory subtext. After a solemn beginning in the minor mode,

(continued)

there is a short passage in which the tempo speeds up. The fast section makes much of the dot-dot-dot-dash rhythm which also pervades the first movement of the Fifth Symphony. A faster coda turns to the major mode for a conclusion, again not unlike the Fifth Symphony, with martial flourishes from the piccolo over a texture dominated by the brassy sounds of a military wind-band. When Liszt later developed the one-movement Symphonic Poem it was works of Beethoven like the Egmont Overture which suggested that a single movement work could stand as a complete, condensed symphonic form.

Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 Though Beethoven began sketching this work as early as 1796, it was apparently not finished in 1800 when he needed a concerto for a public appearance, and he substituted the recently revised C-major Concerto (published as No. 1). So the C-minor Concerto was premiered in what would one of Beethoven’s famous marathon concerts of new works. In Vienna on April 5, 1803, Beethoven presented the first performances of his Second Symphony and the oratorio Christ on the Mount of Olives, along with himself as soloist in the C-minor Piano Concerto – plus a repeat performance of the First Symphony, with a few additional planned works dropped from the program at the last minute! What’s more, we have an eye-witness account from Beethoven’s pageturner, who reported that many passages in the piano solo part were blank, Beethoven probably playing from memory. He did have to finish writing out the solo piano part so his pupil Ferdinand Ries could play the concerto later that same year. The Concerto was published in 1804, with a dedication to Prince Louis Ferdinand of Prussia, the music-loving nephew of Frederick the Great. The choice of C minor relates this work to other Beethoven works, especially the “Pathétique” Sonata and the Fifth Symphony, as well as the C-minor Piano Concerto, K. 491, of

Mozart, which Beethoven admired so much. The opening gesture of the orchestra outlines the minor triad, ending with a drum-like figure, which will be assigned to the tympani in the remarkable coda to this movement. The marchlike character of this first material stands in contrast to the lyrical singing theme which is the second idea. After the exposition for the piano, the piano is given rich figuration in the development section. Beethoven left an extensive cadenza for this movement, which he probably wrote around 1809. The connection back to the end of the first movement comes on an unexpected chord with the tympani taking up the aforementioned motive. The note A-flat, a half-step above the important G, the “dominant” degree of C-minor, is the same note on the keyboard as the prominent G-sharp in the second movement, which moves unexpectedly to the distant key of E major. The piano begins both the second and third movements, as if to balance the long orchestral passage which began the first movement. At the start of the concluding Rondo the piano begins with the notes G and A-flat, one of those small-scale details which Beethoven was beginning to use to generate large-scale structure. In fact, one of the playful digressions in the last movement also moves from C minor to E major by the same equivalency of A-flat and G-sharp.

Program notes by William D. Gudger, The College of Charleston (emeritus)

Symphony No. 3 in E-flat major (“Eroica”), Opus 55 long periods he required to complete works. Prince Lobkowitz not only paid for the dedication but also arranged for rehearsals of the music to be held at his palace before the first public performance. All of the musical material in the Eroica derives from the essential elements of the key of E-flat. The theme of the finale sets forth the tonic and dominant pitches of the scale, and the first movement has a theme built around the E-flat triad: E-flat, G, B-flat. The scope of the first movement is wide-ranging. The development goes as far afield as E minor where is heard what seems like a new theme (though it, too, can be derived from the triadic first theme), this following very dissonant chords. And at the end of the development there is the famous passage where the French horn gives out the main theme in E-flat while the strings are still on the chord of B-flat – a striking foreshadowing of the recapitulation. No less unusual is the lengthy coda (ending section) to the first movement, in effect a second development section. The second movement, a funeral march, is no less remarkable, the musical material subjected to extensive development. The fragmentation of the melodic material adds to the grief expressed by this movement. At this point composer Hector Berlioz heard “shreds of the lugubrious melody, alone, naked, broken, crushed,” with the winds “shouting a cry, a last farewell of the warriors to their companions at arms.” The third movement is not Beethoven’s first scherzo (there are earlier ones and examples in Haydn as well), but it certainly was the movement that more or less banished the minuet from the symphony for good. “Scherzo” means “joke” and the jesting here is with rhythmic groupings and phrase lengths, which are not always what you expect in triple meter. After a trio with triadic horn calls (again material derived from the basic chord of the key of E-flat), the return of the main scherzo theme introduces a totally unexpected passage with awkward-sounding duplets replacing the triplets. In the finale the series of variations is notable for its presentation of the bass line first, only later decorated with a melody, heard first in the oboe. The range of expression is great, and Beethoven is clearly grasping with the idea of how to make the last movement a real finale, a climax to the whole symphony, and not merely an additional fourth movement. The use of theme and variations as a symphonic finale is probably without precedent.

41 MERRILL LYNCH MASTERWORKS - SAT. OCT. 17, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

After two symphonies in which Beethoven synthesized the symphonic style and form of Haydn and Mozart, he set out on what was to be a pathbreaking project. Beethoven rarely reused thematic material, but an exception was the theme that is the foundation for a series of variations in the finale of the Third Symphony. This theme first appears in his ballet music “The Creatures of Prometheus,” first performed in 1801, and then was worked out more completely in the 1802 set of Piano Variations, published as Opus 35. Around this time come the first sketches for a symphony in E-flat, and it is clear that the theme and variations (later greatly expanded) will form the last movement of the symphony. The sketching process, which with Beethoven was always extensive, continued through most of 1803. Beethoven kept touching up the music until the first performance, which he himself conducted in Vienna on April 7, 1805. The publication of the Third Symphony followed a year later. It is not just the length and complexity of the Third Symphony that was revolutionary (it is twice as long as Mozart’s “Jupiter” Symphony) but for the first time there are specific extra-musical associations. According to one account the Symphony was initially written in memory of a fallen war hero, General Abercromby, but early on Beethoven decided to dedicate the work to Napoleon Bonaparte. When news reached Vienna that Napoleon had proclaimed himself emperor, Beethoven reportedly tore up the title page, screaming “Is he too nothing more than an ordinary man? Now he too will trample on all human rights.” Whether this is true or not there still exists a manuscript copy of the score of the symphony where Napoleon’s name is so heavily deleted that there is a hole in paper. Beethoven finally decided to call the work “Sinfonia Eroica,” “Heroic Symphony,” the first edition proclaiming the work to be a “Heroic Symphony composed to celebrate the memory of a great man.” Thus Beethoven’s original thoughts about Napoleon are still here, though many see Beethoven himself, the struggling artist, to be the hero of the Symphony. The dedication of the symphony finally went to Prince Franz Maximilian Lobkowitz, one of Beethoven’s important Viennese patrons. It was with Beethoven that the patronage system began to change: rather than being in the direct employ of a nobleman as Haydn was with the Esterhazys or Mozart with the Archbishop of Salzburg, Beethoven’s modern-thinking patrons recognized his genius and were willing to support him financially during the

Charleston Symphony Orchestra David Stahl, Music Director

MCCRADY’S POPS 1 - FRI. OCT. 30, SAT. OCT. 31, 2009 - 8:00 P.M. - MEMMINGER AUDITORIUM

Stuart Malina, Guest Conductor Hilary Kole, Guest Soloist

“Bond, James Bond” John Barry

From Russia with Love 007 Theme – From Russia with Love Goldfinger Dawn Raid at Fort Knox from Goldfinger Diamonds are Forever Thunderball You Only Live Twice

Marvin Hamlisch

Nobody Does it Better from The Spy Who Loved Me Ride to Atlantis and The Tanker from The Spy Who Loved Me

James Norman

James Bond Theme

––––––––––––––––

intermission ––––––––––––––––––––––––––––––––––––––––––––––––––

Bill Conti

For Your Eyes Only

John Barry

Ski Chase from On Her Majesty’s Secret Service We Have All the Time in the World from On Her Majesty’s Secret Service

Paul McCartney

Live & Let Die

John Barry

All Time High from Octopussy The Living Daylights Suite

Michael Kamen

License to Kill

Norman/Altman

Tank Chase from Golden Eye

Bono and the Edge

Golden Eye

Featured Per former

Stuart Malina

United States and in London. Maestro Malina has also served as Associate Conductor of the National touring company of West Side Story and as conductor of the Charleston production of Porgy and Bess with performances in the United States, Canada, and the Israel Festival. In 1995, in a strange turn of events, Malina appeared on stage, acting opposite Broadway legend Zoe Caldwell in Terrence McNally’s Tony-winning drama Master Class for its run at the Kennedy Center in Washington, D.C. An accomplished concert pianist, Maestro Malina has impressive credits as soloist, having concertized throughout the Northeast, the Netherlands, and with the acclaimed Piccolo Spoleto Contemporary Music Festival. His recent chamber music activities include presentations of Messaien’s Quartet for the End of Time on the Linton Series in Cincinnati, and performances with the Enzo Quartet, and the Fry Street Quartet. He has been frequently engaged for the Market Square Concert series in Central Pennsylvania, as well as Music for a Great Space in North Carolina. He performs regularly with former concertmaster of the Royal Concertgebouw Orchestra Alexander Kerr, HSO concertmaster Odin Rathnam, world-renowned cellist Daniel Gaisford, and oboist Gerard Reuter. Maestro Malina holds degrees from Harvard University, the Yale School of Music, and the Curtis Institute of Music, where he studied conducting with OttoWerner Mueller. He studied piano with Drora and Baruch Arnon and with Keiko Sato.

43 MCCRADY’S POPS 1 - FRI. OCT. 30, SAT. OCT. 31, 2009 - 8:00 P.M. - MEMMINGER AUDITORIUM

Orchestra, as well as the Eastern Music Festival, at which he conducted the world premiere of Billy Joel’s Symphonic Fantasies for Piano and Orchestra. In 2006, he debuted with the Pittsburgh Symphony Orchestra, and in 2007 with the Naples Philharmonic, after which he was re-engaged for concerts in 2008 and 2009. He will be appearing this season with the New Mexico Symphony Orchestra and the Hong Kong Philharmonic, as well as return engagements with the Charleston Conductor Symphony Orchestra and the Greensboro Symphony Orchestra. Maestro Stuart Malina is one He has had multiple appearances of America’s most versatile and with the Chautauqua Institution accomplished conductors and Orchestra, as well as concerts served as the CSO’s Associate with Detroit Symphony Conductor in the 1990’s. In a Orchestra, Buffalo Philharmonic wide variety of concerts, from Orchestra, Orchestra of St. masterworks and grand opera to Luke’s, Kansas City Symphony, pops, Maestro Malina’s ease on Youngstown Symphony, AIMS the podium, engaging personali- Festival Orchestra (Graz, ty, and insightful interpretations Austria), North Carolina have thrilled audiences and Symphony Orchestra, Louisville helped to break down the Orchestra and Queens barriers between performer and Symphony Orchestra. listener wherever he has worked. On the opera podium Maestro Music Director and Conductor of Malina’s recent production the Harrisburg Symphony engagements include Opera Orchestra since June 2000, Delaware (Porgy and Bess), Stuart Malina has also held Piedmont Opera (Massenet’s appointments at the Greensboro Manon) and Greensboro Opera Symphony Orchestra (Music (Il barbiere di Siviglia). He has Director, 1996-2003), and the also conducted many operas in Charleston Symphony Orchestra concert, including Tosca and (Associate Conductor, 1993-97). several Gilbert and Sullivan Maestro Malina made his operettas. Carnegie Hall debut in February Maestro Malina’s activities of 2007, conducting the New York also extend to Broadway. In June Pops in an all-Gershwin tribute 2003, he won the prestigious including Rhapsody in Blue, TONY award for orchestration which he conducted from the with Billy Joel for the musical keyboard, and returned to Movin’ Out, which Malina helped Carnegie and the Pops in October create with director/choreograof 2007. Maestro Malina has had pher Twyla Tharp. He has served multiple engagements with the as music supervisor for every proIndianapolis Symphony duction of the show, both in the

Featured Per former

MCCRADYâ&#x20AC;&#x2122;S POPS 1 - FRI. OCT. 30, SAT. OCT. 31, 2009 - 8:00 P.M. - MEMMINGER AUDITORIUM

Peterson at Roy Thompson Hall alongside Quincy Jones, Herbie Hancock, and Nancy Wilson. guest soloist Hilary has appeared as a headliner in New York City at Town Hall Hilary Kole co-created and (Nightlife Awards), Birdland, The originated the lead female roles in Blue Note, Iridium, the Jazz the critically acclaimed, award Standard, and at Carnegie Hall winning Off-Broadway musicals, with Michael Feinstein. Our Sinatra. (2000 MAC Award) Apart from appearing and Singing Astaire. throughout the country with her Ms. Kole began her profession- two shows, Our Sinatra and al career at the legendary Singing Astaire, Hilary is also a Rainbow Room as the youngest favorite at the Continental singer ever to grace the stage. Airlines Arena, singing the From there, she appeared in a National Anthem for sporting sold-out run at the famed Oak events, as well as at the 92nd Room at the Algonquin Hotel, Street YMHA concert series made her concert hall debut at Lyrics and Lyricists and Jazz in Lincoln Center as part of the July with pianist Dick Hyman. In American Songbook Series with 2005, Hilary debuted in Perugia, Jonathan Schwartz, and in June Italy at the famed Umbria Jazz of 2007, appeared at Carnegie Festival, as well as the Nairn Jazz Hall during a Tribute to Oscar Festival in Narin, Scotland and Peterson, and in January, 2008, at throughout Spain. the Canadian Tribute to Dr.

Hilary Kole

In the past year, Hilary had the honor of recording with Jazz legends Oscar Peterson and Hank Jones, as well as master composer, Michel LeGrand. Ms. Kole has also appeared alongside Alan Broadbent, Lee Musiker, Dave Frishberg, Roger Kellaway, Tedd Firth, Houston Person, Harry Allen, Joel Frahm, Russell Malone, John Pizzarelli, Paul Meyers, Gene Bertoncini, Lewis Nash, Mark McLean and Paul Gill among others. Upon graduating high school, she was granted a scholarship by the Oakley Foundation to study composition at Manhattan School of Music. Hilaryâ&#x20AC;&#x2122;s compositions have been performed by the New England Brass Quintet, the Peabody Trio, and the Manhattan School of Music Jazz Vocal Ensemble, among others.

Charleston Symphony Orchestra David Stahl, Music Director

Backstage Pass 2

BACKSTAGE PASS - THURS. NOV. 5, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

Stuart Malina, Conductor Alan Molina, violin Adda Kridler, violin

Both Sublime and Ridiculous 13:00

Wolfgang Amadeus Mozart (1756-1791)

Serenade No. 6, K. 239, D major (Serenata notturna) Marcia (maestoso) Minuetto Rondo (allegretto)

Wolfgang Amadeus Mozart

Ave verum corpus, K. 618

8:00

Daniel Kellogg (b. 1976)

Mozart’s Hymn

8:00

Joseph Haydn (1732-1809)

Symphony No. 45, F-sharp minor (Farewell) Finale

8:00

Alfred Schnittke (1934-1998)

Moz-Art a la Haydn Alan Molina, violin Adda Kridler, violin

12:00

(Tonight’s concert will be performed without an intermission)

Featured Per former

Stuart Malina

(continued)

47 BACKSTAGE PASS - THURS. NOV. 5, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

Featured Per formers

BACKSTAGE PASS - THURS. NOV. 5, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

and the Southern Theatre in Columbus among many others. As a former member of the Rembrandt String Quartet, she held a residency with the Bravo! Vail Valley Music Festival, and appeared in recital across New England and Colorado. Ms. Kridler also appeared regularly on the Bravo! Festival’s Chamber Classics Series with such eminent musicians as Eugenia Zukerman, Roberto Diaz, Chee-Yun and others. An enthusiastic proponent of contemporary music, she was a member of the Callithumpian violin Consort and the Boston Modern Orchestra Project, and appears Violinist Adda Kridler has on several recordings on been performing extensively Mapleshade, Mode and Naxos since she began her musical Records. study at the age of three. As a member of the New Following a debut with the Knox World Symphony in Miami County (Ohio) Symphony at age Beach, FL, Ms. Kridler served as seven, Ms.Kridler has been a concertmaster and associate featured soloist at such diverse concertmaster under the baton venues as Severance Hall in of conductors Michael Tilson Cleveland, Boston’s Jordan Hall, Thomas, Sir Roger Norrington

and Reinbert de Leeuw. A graduate of the New England Conservatory, where she received her master’s degree studying with James Buswell, Ms. Kridler also holds a bachelor’s degree in psychology from Harvard University. She has studied violin and chamber music from some of the great musicians of her day including Robert Levin, Roland and Almita Vamos, Gregory Fulkerson and members of the Takacs Quartet. Also a dedicated teacher, Ms. Kridler served as Assistant Professor of Violin at Ball State University in Muncie, IN in 2005-2006 and was on the Chamber Music Faculty of the 2006 ARIA International Festival. Ms. Kridler is currently Assistant Principal Second Violin of the Charleston Symphony Orchestra and Concertmaster of the Seraphic Fire Firebird Chamber Orchestra in Miami, FL.

Alan Molina began his violin studies at the age of three with Betty Haag-Kuhnke and later with Cyrus Forough. He received his bachelor’s degree in violin performance at Indiana University where he was a student and teaching assistant to Mauricio Fuks. Alan went on to earn his master’s degree in chamber music at the San Francisco Conservatory where he had the opportunity to perform with acclaimed artists such as Menahem Pressler, Jorja Fleezanis, Gilbert Kalish, and Ian Swensen. Mr. Molina spent two seasons with the New World Symphony under the direction of Michael Tilson Thomas and

other conductors such as Robert Spano, Franz Welser-Möst, Roberto Abbado, and Sir Roger Norrington. During his time in San Francisco, Alan began working in recording studios, playing the violin for rock bands and films. Some of these recordings are “Ghosts of the Great Highway” by Sun Kil Moon which reached number one on the college radio charts, and the film “Ballets Russes” which was recorded at Skywalker Sound. Mr. Molina is currently in his third season as Principal Second Violin with the Charleston Symphony.

Adda Kridler

Alan Molina violin

Program Notes The original title alludes to the “foretaste of heaven” from the motet’s choral text. The music cloaks Mozart’s “wonderful harmonic progressions” in Kellogg’s own lush string tapestries, with the old master’s familiar strains emerging – as one writer put it – as if through a “gauze of hazy dissonance.” In similar fashion, the following number – the final movement from Joseph Haydn’s “Farewell” Symphony (No. 45) – is offered here as a prelude to the work that follows. Unlike Mozart’s archbishop, Haydn got along well with his own boss and patron, Prince Nikolaus Esterhazy – who had kept his court musicians away from their homes and families during an extended stay at his isolated summer palace in Hungary. With morale suffering, Haydn dropped a strong symphonic hint late in the movement, by having his players get up, snuff out their music-stand candles, and depart the stage a few at a time, leaving only Haydn and his concertmaster onstage by the end. The good prince got the message, and sent his grateful musicians home the next day. And the same thing happens in our final work: Alfred Schnittke’s modern musical joke, Moz-Art à la Haydn. But Schnittke didn’t leave it at that. The music – scored for pairs of small string ensembles and solo violins – is based on the fragmentary remains of Mozart’s Pantomime Music, K. 446 (mostly just the first violin part). The music begins in total darkness, with the players noodling around aimlessly with Mozart’s theme. But a crashing tremolo chord sounds as the lights return...and from there, the merry musicians dive into a carnival-atmosphere fantasia on the theme, evoking (in the words of critic David Fanning) “...the detached bemusement of a visitor from outer space confronting an artifact from a dead civilization.” The piece ends as one soloist de-tunes his violin, and – as the lights go down again – the players begin to wander offstage à la Haydn, finally leaving the conductor beating time to an otherwise empty stage. Even serious composers like to have a little fun every now and then. And our musicians will get to go home afterwards, too.

Program notes by Lindsay Koob

49 BACKSTAGE PASS - THURS. NOV. 5, 2009 - 7:00 P.M. - MEMMINGER AUDITORIUM

Despite the various composers listed in the program, this evening’s concert is mostly Mozartrelated – but don’t think that means it’s all serious business: get ready for some grins and giggles before it’s over. The first work – the Austrian master’s famous Serenata Notturna, for strings and timpani – is one of his most unique smaller-scale orchestral works. Like most of Mozart’s charming instrumental serenades and divertimentos, this one was intended as elegant background music for the snooty court soirees and garden parties thrown by his long-term employer, the Archbishop of Salzburg. The scoring is very unconventional: for a solo quartet, on top of its companion orchestra. In the course of its three movements (fewer than most Mozart serenades), the quartet weaves its way, concertante-style, in and out of the orchestra’s sonorities – often in witty and graceful repartee to the bigger band’s more emphatic and solemn statements. The grandiose opening march gives way to a bombastic minuet that seems to poke fun at his boss’s “powdered-wigs-and-teacups” social milieu. The final rondo delights with its exquisite poise and energetic warmth. The next work, the beloved sacred motet Ave Verum Corpus, is the first of a coupling of related works, ancient and modern. Originally composed for choir plus organ and strings, it is Mozart’s final complete sacred work (his Requiem remained unfinished at his death). It’s heard here in an arrangement for strings. Serene and full of ingenious harmonic touches, it’s a shining example of Mozart’s uncanny knack for achieving music of true genius with the simplest of means. It’s offered here as a sort of introductory prelude to the modern work that follows. Daniel Kellogg’s Mozart’s Hymn (originally entitled Praegustatum), for sixteen strings, was commissioned by a French orchestra in 2006 to help commemorate the 250th anniversary of Mozart’s birth. Kellogg decided to base his piece on the lovely and familiar choral piece that he’d known since childhood.

Charleston Symphony Orchestra David Stahl, Music Director

Masterworks 3

MERRILL LYNCH MASTERWORKS - SAT. NOV. 14, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

David Stahl, Conductor Karin Bliznik, trumpet

Sonic Splendour Edvard Grieg (1843-1907)

Joseph Haydn (1732-1809)

Peer Gynt Suite No. 1 Morgenstemning (Morning Mood) Åses død (Aase’s Death) Anitras Dans (Anitra’s Dance) I Dovregubbens hall (In the Hall of the Mountain King)

15:00

Concerto for Trumpet, E-flat major Allegro Andante Finale Allegro Karin Bliznik, trumpet

13:00

––––––––––––––––––––––– intermission ––––––––––––––––––––––––––––––––––––––––––

Felix Mendelssohn (1809-1847)

Symphony No. 3 (“Scottish”) Andante con moto – Allegro un poco agitato Vivace non troppo Adagio Allegro vivaccissimo – Allegro maestoso assai

40:00

Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant. Tonight’s program will be broadcast January 18, 2010 on Carolina Concerts (FM 89.3) at 8 p.m.

Featured Per former

(continued)

51 MERRILL LYNCH MASTERWORKS - SAT. NOV. 14, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

abroad at London’s Royal College of Music, where her teachers included the London trumpet Philharmonic’s Paul Beniston, and Paul Archibald, formerly of the Royal Opera House at Karin Bliznik, from Covent Garden. Among the Brockton, Massachusetts, many music festivals in which currently holds the Principal she has appeared are Spoleto, Trumpet position with the Charlotte Symphony Orchestra, Aspen, and Eastern Music Festivals, and most recently, the while on leave from her Principal Trumpet position with Pacific Music Festival in Sapporo, Japan, and the the Charleston Symphony Lucerne Music Festival in Orchestra. She received her Lucerne, Switzerland. She also Master of Music degree from Northwestern University where spent two years as a Fellow at she studied with Barbara Butler, the Tanglewood Music Center. Ms. Bliznik has had the opporCharles Geyer and Christopher tunity to perform with many Martin, and her Bachelor of orchestras including the London Music degree from Boston Philharmonic Orchestra on their University where she studied with Terry Everson and Thomas tour of the United States, the Boston Pops Esplanade Rolfs. Ms. Bliznik studied

Karin Bliznik

Orchestra, and the New World Symphony, as well as frequently performing with the Savannah Philharmonic and the Hilton Head Orchestra during her time in South Carolina. Ms. Bliznik enjoys playing many genres of music. This year she joined the Burning River Brass ensemble on two tours of the United States. While in Chicago she performed at a variety of venues, most notably the Green Mill Jazz Club and the House of Blues with Kayne West, and in Charleston often appeared as a guest artist with the rock band Bodies Full of Magic. As a soloist, Ms. Bliznik recently performed in a recital at the 2009 International Trumpet Guild Conference in Harrisburg, Pa. In 2008 she premiered “Voyage VII” with the Pacific Music Festival Orchestra, written by Tokyo Symphony Orchestra composer in residence, Toshio Hosokawa. She performed at the Kennedy Center in which she represented Northwestern University as part of The Conservatory Project recital series. Additionally, in 2007 Ms. Bliznik won First Place both in the Masters Division of the National Trumpet Competition in Washington, DC, and in the Ensemble Division as a part of the Northwestern Trumpet Ensemble.

Program Notes Edvard Grieg (1843-1907) Peer Gynt Suite No. 1, Opus 46

MERRILL LYNCH MASTERWORKS - SAT. NOV. 14, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

The playwright Henrik Ibsen (1828-1906) wrote Grieg in 1874 proposing that he write incidental music for Ibsen’s play “Peer Gynt,” about a Don Juan-like character, a charming liar and adventurer. Grieg, not entirely happy with the collaboration, nonetheless provided some twenty-three pieces of incidental music, which were performed with the play on February 24, 1876, a theater in the Norwegian capital, Christiana (now Oslo). Shortly there after Grieg

extracted two suites from the music, not to create a retelling of the story, but to get these wonderful Romantic miniatures before a larger audience. The First Suite has the four most familiar bits in it: the cheerful “Morning Mood”; “Aase’s Death” (Aase is Peer’s mother); “Anitra’s Dance,” which recalls Peer’s exploits disguised as a Bedouin and tricked by the Arab girl Anitra; and “In the Hall of the Mountain King,” Peer’s scary experience encountering trolls in the Norwegian mountains.

Franz Joseph Haydn (1732-1809) Concerto for Trumpet and Orchestra in E-flat major 2009 marks the 200th anniversary of Haydn’s death. While he invented neither form, he deserves his designations as “Father of the Symphony” and “Father of the String Quartet.” He was not as prolific or influential a composer of concertos as Mozart, but his Trumpet Concerto is a singular example from the era of the great three Viennese Classical period masters, Haydn, Mozart, and Beethoven. Haydn’s colleague Anton Weidinger (17661852) began experimenting with putting flute-like keys on the trumpet in order to extend its usefulness with more melodic writing. The art of Baroque high trumpet playing (exemplified by works like Bach’s Brandenburg Concerto No. 2 and Handel’s “The trumpet shall sound” in Messiah) was dead, and the trumpet had to take a back seat for a number years. Though Weidinger’s experiment did not entirely solve the problem, the use of valves rather than keys beginning in the 1830s did, and composers could write

for the trumpet in more distant keys and with more chromatic inflections. (A simpler explanation: on a natural trumpet like those used in the orchestra of Haydn’s time, if pitched in C, in the octave above middle C the trumpet could play only C, E, G, and a rather out-of-tune B-flat—in other words you were stuck in C major and had not even enough notes to play a scale or simple melody, just fanfare-like calls.) For Weidinger and his keyed trumpet in 1796 Haydn wrote this fine three-movement concerto, the premiere performance being on March 22, 1880, in Vienna’s Old Burgtheater. Weidinger’s virtuosity was put to its test, especially in the outer fast movements. The middle movement is a charming Andante in which Haydn shows himself master of good tune writing. Haydn’s successor as music-master to the Esterházy family, Johann Nepomuk Hummel, also wrote a concerto for Weidinger

Program notes by William D. Gudger, The College of Charleston (emeritus)

Program Notes Felix Mendelssohn (1809-1847) Symphony No. 3 in A minor, Opus 56 (“Scottish”) pauses.” The opening Andante, with its brooding theme dominated by woodwind colors, may have been inspired by the visit to Holyrood Palace. This gives way to an agitated Allegro in which one might imagine the tempestuous sea voyage or at the very least the wildly changeable weather of Scotland. The opening Andante is recalled before a pizzicato cadence ends this movement. The second movement contains the most Scottish-like theme of the symphony, presented in the clarinet. Mendelssohn reportedly disliked music which directly quoted folksong, so the tune must be his own. It does seem to be built out of the five-note scale of much bagpipe music and its phrases end with the syncopated rhythm of the “Scotch snap.” The scherzo ends with another fade-out and pizzicato chords. The slow movement which follows can be heard as a lament (Mary Stuart again?); Mendelssohn wanted the program to read merely “Adagio cantabile” (“Singing adagio”). Mendelssohn described the finale as an “Allegro guerriero,” evoking the warlike past of the Scottish clans. The second theme of the movement is derived from the opening bars of the symphony. The major mode finally appears at the end, in a song of thanksgiving perhaps inspired by the “Shepherd’s Song: Happy and Thankful Feelings after the Storm” which closed Beethoven’s Symphony No. 6 (“Pastoral”).

53 MERRILL LYNCH MASTERWORKS - SAT. NOV. 14, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

2009 marks the 200th anniversary of the composer’s birth. In his early twenties Mendelssohn enjoyed the privilege of traveling around Europe. In 1829 he visited the British Isles, and the romantic landscape of Scotland immediately inspired musical thoughts. He met Sir Walter Scott, he toured Holyrood Palace (and its associated tragedy of Mary, Queen of Scots), and he took his famous sea journey to the Hebrides Islands. This last excursion was described musically in the “Hebrides” Overture. The “Scottish Symphony” had a much longer gestation period: it was begun in Edinburgh in 1829 but not completed until 1841-42. Mendelssohn dedicated the work to Queen Victoria, she and her German-born husband Albert having become great admirers of the composer. Mendelssohn conducted the first performance in Leipzig, where he was director of the conservatory, with the Gewandhaus Orchestra on March 3, 1842. Like so many of the numbering schemes applied to symphonies, the numbers 1 to 5 represent the order of publication. The “Scottish Symphony” was Mendelssohn’s last and (according to most commentators) greatest essay in the symphonic form. The organization of the Scottish Symphony is particularly tight, with a note on the published score asking that “the movements of this symphony must follow one another immediately, and must not be separated by the customary long

Charleston Symphony Orchestra David Stahl, Music Director

MCCRADY’S POPS - SAT. & SUN.. NOV. 20 & 21, 2009 - 8:00 P.M. - MEMMINGER AUDITORIUM

David Stahl, Conductor Charleston Symphony Orchestra Chorus

Armed Forces Salute arr. Bennett

Victory at Sea

Rutter

Battle Hymn of the Republic (with chorus)

Gould

American Salute

Traditional

Shenandoah

Sousa

Semper Fidelis

Alford

Colonel Bogey March (with chorus)

Berlin

God Bless America (with chorus)

arr. Ringwald ––––––––––––––––––– intermission ––––––––––––––––––––––––––––––––––––––––––

Gershwin

Strike up the Band

Cohan

Over There (with chorus)

Ives

Variations on America

Gershwin/Mays

This Land We Love

Steiner

Casablanca Suite

Lowden

Armed Forces Salute

Williams

Hymn to the Fallen

Dragon

America the Beautiful

Charleston Symphony Orchestra David Stahl, Music Director

MCCRADY’S POPS - SAT. DEC. 19, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

Darko Butorac, Conductor Charleston Symphony Chorus, Robert Taylor, Director Charleston Children’s Chorus, Todd Monsell, Director

Holiday Pops Christian Lumbye arr. Ployhar arr. Lowden arr. Howard Cable

arr. Harris arr. Bass

Pyotr Ilyich Tchaikovsky

Champagne Gallop Let It Snow Silver Bells Two Old World Carols Patapan Fum Fum Fum First Noel A Feast of Carols Gloucester Wassail Il est neé, le divin enfant, O Come, O Come Emanuel The Holly and the Ivy God Rest Ye, Merry Gentlemen We Wish You a Merry Christmas Nutcracker Selections Overture Sugar Plum Fairy Arabian Dance Pas de Deux

––––––––––––––––––––––––– intermission –––––––––––––––––––––––––––––––––––––––––– arr. Harris Franz Schubert arr. Sunnarborg arr. Tyzik

Courtney Leroy Anderson Berlin/arr.Ringwald arr. Mack Wilberg

Hark the Herald Angels Sing Ave Maria Silent Night Holiday Moods Suite No. 2 Deck the Halls O Christmas Tree Here We Come A-Wassailing Carol of the Bells Jingle Bells Musicological Days of Christmas Sleigh Ride White Christmas Joy to the World

Featured Per former

57 MCCRADY’S POPS - SAT. DEC. 19, 2009 - 8:00 P.M. - GAILLARD AUDITORIUM

awarded the Audience Favorite Prize. As a result, this led to professional engagements conductor across three continents during the 2006-2008 seasons. Throughout his career, Darko Butorac is the Music Butorac has worked with such Director of the Missoula orchestras as the National Arts Symphony Orchestra and the Principal Conductor of the 2009 Centre Orchestra in Ottawa, the Trondheim Symphony in Northwest Mahler Festival in Norway, the Mendoza Symphony Seattle. in Argentina, the Xiamen Butorac is the 2004 Grand Philharmonic in China, the Prize Winner of the Fourth Vakhtang Jordania International Kharkov Symphony Orchestra Conducting Competition where and Kharkov Philharmonic in the Ukraine and the Canton he was selected out of 24 comSymphony Orchestra. He has petitors from 17 different also appeared with the Danish countries for the Gold Medal National Radio Symphony as and Grand Prix. He also was

Darko Butorac

part of the prestigious Nikolai Malko Conducting Competition. Future engagements include performances at the Fidenza Opera Festival in Italy, the Montana Lyric Opera, the Rainier Symphony in Seattle and return engagements with the Kharkov Symphony and the Xiamen Philharmonic. Previously, Butorac served as the Director of Orchestras at Northern Arizona University. During his tenure the orchestra program expanded significantly – the concert season grew to eight concerts plus and two fully staged operas. He also helped establish a visiting guest artist residency and presented numerous concerts that featured enhanced use of multi-media. Butorac studied at the renowned American Academy of Conducting at the Aspen Music Festival in 2003 and 2004, and was named the Assistant Conductor of the Aspen Opera Theater Center during his second summer, assisting noted opera conductors Arnold Oestman and Julius Rudel. Darko Butorac received his Master of Music degree from Indiana University, where he conducted over 30 concerts with the school’s five major ensembles. He has also worked extensively at the Brevard Music Center, Aspen Music Festival and the University of Toronto, his alma mater. His principal mentors are David Effron, Jorma Panula and David Zinman.

Message from the CSO League President

The Charleston Symphony Orchestra League is a volunteer organization of over 400 men and women. Our purpose is to support the Charleston Symphony Orchestra through educational scholarships and programs, audience development and fundraising projects. We are proud to be the largest single supporter of the CSO. In addition to supporting the CSO’s annual budget, the League also sustains its viability. In May 2009 the League made its final payment of a $250,000 pledge for the endowmwnt of the Principal Cello Chair. This was a twelve year commitment. We provide $30,000 annually for music scholarships and grants to talented students and to our orchestra members. We are also planning to re-establish an educational program called “The Instrumental Petting Zoo”. This program introduces preschoolers to instruments of the orchestra. It provides them the opportunity to touch, play and to hear the sounds of these instruments...a perfect introduction to the orchestra! We also support the CSO in subscription renewals; provide ushers to general concerts and to youth concerts and work to develop community awareness. Our fundraising takes place throughout the year. We begin with “Black Tie and Pearls”, a celebration of the opening of the concert season, followed by the Kiawah Island House Tour and Concert to be held on November 7. Throughout the year other projects include: the Car Sponsorship, Revels (a series of unique events), Parties of Note (a series of house parties) and finally the year concludes with The Designer Showhouse. You can help to support the CSO by participating in any or all of these events. We are just a click away. Find out more about who we are and what we do by visiting our website: www.csolinc.org. Also, look for special merchandise at our kiosk at each Masterworks Concert. We have a variety of items for purchase including our own cookbook. You may just find the perfect hostess gift or present for that special person. Membership in the League is open to all. If you want to have fun, do something that is worthwhile AND make new friends, then consider joining the League and help to keep the music playing.

Margaret Strauss President, CSO League

Charleston Symphony Orchestra League

Board of Directors President, Margaret Strauss Recording Secretary, Sue Ingram President Elect, Cathy McWhorter Corresponding Secretary, Carol Lou Yaeger VP Planning, Kitty Reid Treasurer, Jim Bennett VP Education, Julie Fenimore Parliamentarian, Gwen Gilmore VP Projects, Caroline Thibault Past President, Tacy Edwards VP Membership, Debora Brandt

Committee Chairs Carol Wood Ray Brock Anna Thomas Kitty Reid Lucy Preyer Bonnie Merkel Barbara Brock Gerry Urbanic Jane Wainwright Becky Hilstad Janet Knorr Betsey Carter Pat McKee Mary Jo Daugherty

T hank You The 2009 Symphony Designer Showhouse Extends Sincere Thanks To:

Robert Mulholland Teri Bergin Maison du PrĂŠ, the Inn of Historic Elegance Thomas Lyles Tidelands Bank Ellen McGauley, Editor Charleston Home Magazine Tyler Bergin Agent Owned Realty Jane S. Smith Carriage Properties Brian Mello Ralph Dandridge Steve Wray ColorWheel Paint Taite Bergin Bergin Meeting Design Tom Smith Catering Josh Brizendine Holy City Restorations Colleen Carducci Dwight Potter Republic Parking Ellen Dressler Moryl Joan A. Davis V.L. Duffy Jennifer and Rick Van Brunt Allegra Print and Imaging King Street Kitchen Company

Jay Rauton Rob Leahy Fine Rugs of Charleston Roberta and Tom Ketchin Jan Clouse Carolina Lanterns Carlos Newton Rosalyn Lawson Coastal Cleaning Services Sticky Fingers Restaurant Snyder Party Rentals McGrewâ&#x20AC;&#x2122;s Carpet Sales Piggly Wiggly of the Carolinas Jeff Harrell Newton Farms at Freshfields Village Jennifer Poole Molly Maids of Greater Charleston Joe Malecki The Post and Courier Historic Charleston Foundation Rodney Taylor John Alexander Our several hundred Showhouse volunteers Our talented Showhouse designers Boutique vendors and artisans Musicians of the CSO and community All of our local merchants

Tidelands Bancshares, Inc., the Official Bank of the CSOL Proud sponsor of the 2009 Symphony Designer Showhouse

Charleston Home Magazine, the Official Program Sponsor of the 2009 Symphony Designer Showhouse

Lexus of Charleston, the Official Car of the CSOL Proud sponsor of the Car Sponsorship Program And the 2009 Opening Night Gala

View www.csolinc.org for CSOL information Charleston Symphony Orchestra League, Inc., PO Box 22613, Charleston, SC 29413.

843-723-0020

THE CSOL THANKS THE FOLLOWING FOR THEIR GENEROUS AND KIND SUPPORT: MOONLIGHT SERENADE Sterling Sponsors Jamie & Marcia Constance Maverick Southern Kitchens Gloria & John Mitchell Vivian & Roger Steel Alex & Benny Tumbleston Silver Sponsors Dr. & Mrs. Louis E. Costa Franz & Gaby Fehrenbach Heinz F. Hutter Tricia & Ted Legasey Valerie & John Luther Dr. & Mrs. Michael Maginnis Elizabeth B. O’Connor Eloise Pingry Marion & Burt Schools Catherine & Hilton Smith Martha & Richard Ulmer Peggy & Don Vann Karen & Jim Wordsworth DONATIONS Benefactors Mr. & Mrs. Stuart Christie Linda & Ralph Davis Linda Ketner Mr. & Mrs. Joseph H. McGee David & Marianne Mead Marilyn & Tony Roe Susan & Robert Rosen Patrons Pat Benzien Mr. & Mrs. Harry Bonyun Mr. & Mrs. Leo Fishman Dr. & Mrs. Fritz Goulding Barnie & Bill Howell Sonja Marchant Lucy & Norris Preyer Mr. & Mrs. Louis Sleboda Marlies G.Tindall Friends Mr. & Mrs. William B. Austin Jean Berner Mr. & Mrs. Nigel Bowers Virginia Duys James B. Edwards, DMD Dr. & Mrs. Haskell Ellison Else H. Froberg William L. Harris, Ph.D. Lillian & Bob Hoopman Joan L. Jenkins Ann & Dennis Maxwell

Mrs. Claudia Morton Diane Musgrove Weezie & Tradd Newton Barbara & Gardner Patrick Lt. Col. Wilson R. Pierpont Elaine & Bill Simpson Linda J. Thomas Marcia & Bob Wolfe Shelley & Marty Yonas Frances & Charles Zoccoli Donated Goods and /or Services Lowcountry Eats The Links at Stono Ferry Bauer International Palmetto Exterminators, Inc. Zeta Gamma Chapter of Chi Omega Fraternity, College of Charleston deVlaming Design, Inc. Ketchin Interiors, Inc. The Hull Design Elegant Events by Elizabeth Hamilton, LLC Butch Anderson Landscaping & Pool Services Stono Ferry Owners Association Croghan’s Jewel Box Marion and Burt Schools Ables Landscapes Nancy’s Exotic Plants Discounted Goods and /or Services Charleston Place Hotel and the Charleston Grill Snyder’s Event Rental First Class Band Absolutely Charleston Access Portable Toilets, Inc. Hope Sound, Inc. Allegra Print and Imaging Minuteman Press Charleston Photo Company 2009 Gala A Shore Thang Charters, Inc. Revels PIGGLY WIGGLY CHARLESTON RIVERDOGS FAMILY CIRCLE CUP DANIEL ISLAND REAL ESTATE BEN SILVER PALMETTO BREEZE

Commitment to 62

EDUCATION

With a full-time ensemble of professional musicians performing on stage and throughout the state in numerous education and outreach programs, the CSO reaches more than 67,000 Lowcountry residents and tourists each year. Last year the CSO served over 17,000 students at over 75 schools in five South Carolina counties. Over 40 percent of those children would have had no access to professional musicians were it not for the CSOâ&#x20AC;&#x2122;s interactive demonstrations. The CSO provides artistic leadership by advancing the music with its ensemble of curious, inventive, high skilled musicians committed to creating programs that connect deeply with its audiences. Included are chamber music

performances in intimate settings as well as collaborative productions with area organizations and colleges that foster the arts in general. The CSOâ&#x20AC;&#x2122;s commitment to creating enduring relations with area schools is an artistic priority demonstrated through free or low charge programs and services to children, teachers and families who may not have access to traditional performance venues. Musical education of our young people is a hallmark of the Charleston Symphony Orchestraâ&#x20AC;&#x2122;s mission creating strong, more well-informed generations of Lowcountry residents.

www.charlestonsymphony.com

DONORS

The following businesses, individuals and foundations gave generously to support the Charleston Symphony Orchestra during our fiscal year beginning July 1, 2008, or have pledged support for our upcoming season. We greatly appreciate their gifts and could not have had a successful season without them.

Diamond Circle $100,000+ Anonymous City of Charleston CSOL, Inc. Gaylord & Dorothy Donnelley Foundation Estate of Mary C. Everts Town of Kiawah Island McCradyâ&#x20AC;&#x2122;s Restaurant Estate of Donald F. Wahl

Platinum Circle $50,000+ Dr. and Mrs. James C. Allen Charleston Harbor Benefactors Society King & Queen Company Mr. and Mrs. William D. Saal Joseph J. Schott Foundation

Music Director Circle $25,000+ Anonymous Mr. and Mrs. Anthony E. Bakker Mr. and Mrs. Edward E. Legasey Mr. Anthony McAlister Merrill Lynch

Barter Family Fund of The Coastal Community Foundation Robert Bosch Corporation Loren and Lynn Carlson Mr. and Mrs. Gerald T. Chapman County of Charleston Mr. and Mrs. Stuart A. Christie Cypress Healthcare Foundation Daniel Island Community Fund Linda and Ralph Davis Dixon Hughes PLLC First Federal of Charleston City of Goose Creek Mr. and Mrs. Hans-Werner Hector Dr. Edward S. Holcomb Lucey Mortgage Corporation McDonald Foundation Charitable Trust Mrs. Phyllis Miller Piggly Wiggly Carolina Co. Inc. SC Arts Commission Town of Seabrook Island Seabrook Island Real Estate Inc SIM Group Mr. Gary Thornhill Henry & Sylvia Yaschik Foundation, Inc.

Silver Circle $5,000+ Anonymous Dr. Cynthia Cleland Austin Mr. and Mrs. Norman Balderson Mr. and Mrs. T. G. Burke Coastal Community Foundation of SC Mr. Nigel W. Cooper Dr. and Mrs. William T. Creasman Mr. and Mrs. Charles T. Cumbaa Mr. and Mrs. Richard Gridley Herzman-Fishman Foundation Mr. and Mrs. Frederick T. Kelsey Mrs. Elizabeth Rivers Lewine Mr. and Mrs. Richard M. Lilly Dr. and Mrs. Michael Maginnis Newberry Opera House City of North Charleston

Post and Courier Foundation Publix Super Market Charities Mr. and Mrs. Burton R. Schools Ginger and David Scott Ms. Libby Smith Mr. and Mrs. Linton Snapp Walmart Stores, Inc.

Musician Circle $2,500+ Blackbaud Buck and Jean Carlton Charleston Ballet Theatre Dr. and Mrs. Malcolm Clark Mr. and Mrs. Larry Codey Mr. and Mrs. Calvin H. East Peter and Marianne Fritts Ann and Gordon Getty Foundation Randy and Gwen Gilmore The Gray Charitable Trust JoAnne and Nelson Hicks Dr. Sola Kim Dr. and Mrs. Mariano F. LaVia Mr. and Mrs. Donald V. Marti John and Cathy McWhorter PURE Mr. and Mrs. Robert Rice Wilbur S. Smith & Sally J. Smith Foundation, Inc. Mr. and Mrs. George W. Smyth, Jr. Southern Arts Federation Mr. and Mrs. John D. Stewart Dr. and Mrs. George Taylor Dr. and Mrs. Richard E. Ulmer Mr. and Mrs. William C. Warner WWW Foundation

Conductorâ&#x20AC;&#x2122;s Circle $1,000+ AbundaTrade.com Mr. Donald B. Allen Mr. and Mrs. Ivan V. Anderson Stephen T. Bajjaly Ms. Susan Parsons and Dr. Angus Baker Charles and Sharon Barnett Drs. Lisa and Paul Baron Gary and Karen Beeler Mr. and Mrs. John T. Benton Mr. and Mrs. J. Anderson Berly, III Dr. and Mrs. Stephen Berque

(continued)

65 DONORS

Gold Circle $10,000+

DONORS

Blackbaud Fund of The Coastal Community Foundation W. O. Blackstone & Company, Inc. Dr. and Mrs. Robert P. Bland, Jr. Dr. and Mrs. R. Cary Bocklet Mrs. Charlotte Bogert Elizabeth Calvin Bonner Foundation Benjamin C. Boylston Boylston Family Fund of The Coastal Community Foundation John & Jean Breza Howard and Marilyn Brilliant Drs. David and Tina Brollier Alma and Greg Brown Mary Bullen and Polly Kronenberger Mrs. Ilse Calcagno Mr. Jeffry C. Caswell John and Jill Chalsty Chitwood Family Fund of Ayco Charitable Foundation Mr. and Mrs. Richard B. Clarke James and Susanne Clinger Ethel A. Corcoran Mr. and Mrs. Robert R. Cox, Jr. Mr. and Mrs. G. Joseph Crispyn Dr. and Mrs. C. Richard Crosby Mrs. Marilyn Curry Mrs. Carol S. Davie Gary W. Dietrich Family Foundation Shani Diggs Mr. and Mrs. John Dolven Dunes Properties Dr. and Mrs. Haskell Ellison The Elston Family Foundation John and Jean Feldman Mr. and Mrs. Arthur G. Field William A. Finn and Prudence A. Finn Mr. and Mrs. George Flynn Francis Marion Hotel Dr. James W. Freston Dr. Richard J. Friedman The Fund for the Arts of the Coastal Community Foundation Mr. and Mrs. Richard H. Gadsden Joe and Sylvia Gamboa Gerry and Joyce Gherlein Dr. Rew A. Godow, Jr. Mr. and Mrs. Ben Goldberg Mr. and Mrs. Barry Goldsmith Ms. Sandra Gordon Dr. and Mrs. Frederick J. Goulding

Dr. and Mrs. Fitzhugh N. Hamrick Charles and Celia Hansult Mrs. Charlotte McCrady Hastie Bob and Marcia Hider Mr. and Mrs. Robert G. Hill, Jr. Paul and Becky Hilstad Mr. and Mrs. Frederick T. Himmelein Bill and Ruth Hindman Dr. and Mrs. W. Howard Holl, III Jack and Beverly Hoover Horne Guest Health Insurance Agency Dr. and Mrs. Roy A. Howell, Jr. Mr. Heinz Hutter Hutter Family Foundation Mr. Harold Jacobs and Ms. Bobbi Cohn Harold and Jackie Jacobs Dr. and Mrs. Joseph M. Jenrette, III Ms. Judith Johnson Sheila and Tony Kelly Mr. and Mrs. James H. Keyes Lois King and James Talmage Kuhn and Kuhn Law Firm Landscapes Limited of Charleston, Inc. Charles and Brenda Larsen Anne and Cisco Lindsey Mr. James D. Lubs Valerie and John Luther Nat and Linda Malcolm David Mandell Dr. David Maves Dr. and Mrs. Layton McCurdy Joseph and Evelyn McGee Fund of The Coastal Community Foundation Mr. and Mrs. Charles Measter Mr. and Mrs. Robert Mesel Mr. and Mrs. Lawrence D. Middaugh Mrs. Ellen Moryl Mr. Michael Mrlik Mr. Adolph Mueller Mr. and Mrs. Thomas W. Myers Mrs. Elizabeth B. Oâ&#x20AC;&#x2122;Connor Bettye and Jim Orr Ron and Gene Oswalt Mr. and Mrs. Lynn Pagliaro John and Normal Palms Barbara and Gardner Patrick Mr. Charles and Dr. Celeste Patrick Lt. Col. Wilson R. Pierpont Mrs. Eloise Pingry Mr. Norris and Dr. Lucy Preyer

Patron $500+ Mr. and Mrs. James P. Anderson Robert and Kathleen Anderson Awendaw Green Drs. James and Lisa Barclay Frank and Rosemary Beane Ms. Patricia Benzien Mr. and Mrs. John D. Bowe Mr. and Mrs. Jack Brickman Frank and Kathy Cassidy Barbara Christie Dr. H. Paul Cooler The Corvette Charitable Giving Fund of Schwab Gail and David Corvette Ms. Margaret Cotton Ms. Susan F. Cusson Laura and Mark Deaton Decker Family Fund of The Coastal Community Foundation George and Phyllis Dickinson Mr. and Mrs. Howard D Edwards ELifespaces Dr. and Mrs. David M. Ellison Janet K. Elshazly Mr. and Mrs. F. Beaven Ennis Etan Consulting, LLC Mrs. Paul Gourary Mr. Enrique Graf Peter and Kirk Grant Clay Grayson and Manoli Davani Greater Charleston Labor, AFL-CIO Dr. and Mrs. Allen L. Harrell C. Stephen Heard and Susan G. Renfrew Mr. Richard Hendry Virginia and Jean Hiestand Mr. and Mrs. Russell Hitt Hans and Rosemarie Hunsch Intl. Brotherhood of Elec. Workers, Local 398 Dr. and Mrs. Julius R. Ivester, Jr. David and Linda Jennings Mr. and Mrs. Ernest Johnston Lois A. Johnston Foundation Mr. and Mrs. Garvin Jones Joan and Edward Ladd Mr. Stanley C. Langston

(continued)

67 DONORS

Ramich Family Fund of The Coastal Community Foundation Mr. John C. Regan Mr. Michael Reinhardt Harriet and Linda Ripinsky Fund of The Coastal Community Foundation Drs. Paul and MaryJane Roberts Mr. and Mrs. Dolph Rodenberg Royall Ace Hardware Mr. Patrick and Dr. Rochelle Rutledge Mr. and Mrs. Robert Schlau Wally and Bev Seinsheimer Showa Denko Carbon, Inc. Mr. and Mrs. James H. Small Norman and Merinda Smith Steel Solutions, Inc. Mr. and Mrs. Roger Steele Steel Charitable Remainder Unitrust Mrs. Ursula Stocko Bud and Margaret Strauss Mr. and Mrs. James A. Stuckey J. Henry Stuhr, Inc. TenMed Advisors, LLC Albert and Caroline Thibault Francis and Ann Hurd Thomas Marlies G. Tindall Mr. Paul Vannatta Mr. and Mrs. Gero von Grotthuss Al and Rhoda Votaw Ms. Patience D. Walker Jo and James Walsh Mr. Eugene F. Wambold, Jr. Ms. Cynthia Webb Mr. and Mrs. Leo Weber Mr. and Mrs. George W. Williams Robert and Rosalind Williams Mr. and Mrs. Bonum S. Wilson, Jr. Dr. and Mrs. Stanley M. Wilson Mr. and Mrs. Howard P. Witz Marcia and Henry Young Mr. and Mrs. M. William Youngblood, Jr. Mr. John A. Zeigler, Jr.

DONORS

Mr. John R. Lauritsen Limehouse Produce Company Inc. Charles and Joan Lipuma Mr. Charlie Luce Mr. Clarence Manning Mr. and Mrs. John E. Milkereit Terry and Martha Miller Dr. and Mrs. Allen Morehart Gene & Jocelyn Notz Richard and Elizabeth Paul Charitable Fund Mr. and Mrs. William K. Perry Dr. and Mrs. Leonard L. Peters Dr. and Mrs. A. Bert Pruitt Mr. Roger Reeves Mr. and Mrs. Clark L. Remsburg Mr. and Mrs. Bratton Riley Judge and Mrs. Klyde Robinson Billie Jean Roble Mr. and Mrs. Robert K. Schafer Dr. and Mrs. Norton M. Seltzer Dr. and Mrs. William M. Simpson, Jr. Dr. Bryan and Mrs. Carol Ann Smalley Michael and Andrea St. Amand Mr. and Mrs. John L. Strauch Ms. Lavinia Thaxton Dr. S. Dwane Thomas F. David and Caroline Trickey Mr. Peter J. Van Every Lt. Col. And Mrs. C. Wyly Watson Mr. and Mrs. Roy Williams, III Mr. Charles W. Williamson Ms. Eunjoo Yun Lenny and Barbara Zucker

Friend $125+ 82 Queen Restaurant Mrs. Gloria Adelson Mr. Mikhail Agrest Whit and Frances Anne Anderson Ms. Mary Sue Andrews Syd and Dick Arlington Assorted Womenâ&#x20AC;&#x2122;s Book Club Ms. Karen Attanasi Mrs. Nancy F. Attaway Joan T. Avioli Bernard and Cathy Bandish Dr. Sy Baron Sheila Beardsley

Charles and Ann Beauchamp Ms. Karin Beckert Mr. Yuriy Bekker Dr. and Mrs. Norman H. Bell John and Rose Benecki Mrs. Adelaide Bennett John Boatwright, M.D. Mr. and Mrs. J. Sidney Boone, Jr. Col. and Mrs. Raymond F. Borelli Mr. and Mrs. Martin R. Bowen Dr. D. Oliver Bowman Ms. Debora Brandt Mr. and Mrs. Solomon Breibart Ms. Patricia Bresnick Dr. and Mrs. William Y. Buchanan Mr. and Mrs. Arthur Bumgardner Mr. Wayne L. Burdick Daniel and Jane Burke Burnett Family Gift Fund Mr. David E. Burress Gary and Rooney Burt Dr. Joseph R. Cantey Elton and Kathy Carrier Bob Causby Mr. and Mrs. Ronald H. Charron Ms. Pam Christ Ron and Sue Ciancio Ms. Barbara Cole Concert Product, Inc. Judge and Mrs. Louis E. Condon Mr. and Mrs. William L. Connellee Ms. Audrey Coward Bobby Cremins Charitable Fund Mr. Gary Crossley Mrs. Helen V. Crow Ms. Jacqueline P. Cunningham Ray and Suzi Curler Ms. Faye Davis Dr. Fletcher C. Derrick, Jr. Martha Derrick Mr. and Mrs. Stephen Diamond Lt. Col. and Mrs. Harvey M. Dick Mr. and Mrs. Dennis Donahue, Jr. Mr. and Mrs. Henry Donato, Jr. Ms. Carol Drowota Lawrence and Judith Dunlop

Mrs. John David Johnston Mr. and Mrs. Donald P. Jones Eileen Joyce and Edward Schleimer Orren and Joan Knauer Mr. and Mrs. Charles F. Koches Mr. and Mrs. Lee Kohlenberg Mrs. Dorothy T. Korb John and Katherine Kotz Katherine and Andrew Kraft Lincoln and Gloria Ladd Ms. Toula Latto Mr. Kent Lewandowski JoAnn and Jon Liles Dr. and Mrs. Morey Lipton The Hon. And Mrs. James M. Lombard Ms. Marilyn Long Drs. Robert and Sophie Lovinger Ross A. Magoulas Mr. John Mahala, Jr. Ms. Gladys Maladowitz Joe Malecki Piano Service Dr. and Mrs. Henry F. Martin, III Diane and Louis Matagrano Mr. and Mrs. Thomas F. McDonald Mrs. Patricia McGuinn Carter and Betsy McMillan Mr. J. D. Messersmith Renee and Eric Meyer Mr. William L. Milligan Morris Sokol Furniture Company Lee and Ellen Muenzen Ms. Emma Sue Murner Ms. Catherine Murphy Mr. and Mrs. Morton Needle Network for Good John and Sally Newell Adam Nicholson Mr. Robert C. Nimmich Dr. and Mrs. Robert E. Notari Mr. and Mrs. Bill Novit Ms. Mildred OBrien Mr. and Mrs. David Ochiltree Mr. and Mrs. Robert Ogden

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69 DONORS

Ronald and Karen Durand Edgewood Builders, Inc. Mr. John W. Edwards Morris and Deborah Ellison Mr. and Mrs. O. Robert Emory Alan and Rella Eysen Margaret Fabri Dr. and Mrs. Harold Fallon Dr. and Mrs. George Fassuliotis Mr. and Mrs. Richard Gaulk Jennifer and Michael Fedorchak Suzanne Fleming-Atwood and Scott Atwood Jim and Sue Forsythe Mr. Jeffrey A. Foster Mrs. Jean M. Freeman Stephen and Elisabeth Freidberg Ms. Carol Frink Howard and Else Froberg Dr. David Garr and Ms. Deborah Williamson Mr. and Mrs. Carroll L. Gilliam Capt. and Mrs. Dean Glace Barbara and Stanton Goldberg Jane H. Goodridge Mr. and Mrs. Thomas M. Gopsill Mrs. Miriam Grad Dr. and Mrs. E. David Griffin Dr. David M. Gross Mrs. Elizabeth M. Guerard Wright Dr. Barry Heiner and Sarah Owens Camille and Red Hall Mr. and Mrs. Maurice Halsey Ms. Sue Harmon Ms. Brenda Hart Bruce and Nedra Hecker Paul and Judy Hines Mrs. Margaret Hoffman Woodrow and Martha Holbein Greg Homza and Leah Papay Law Offices of Richard Hricik, PA Mark and Michelle Jackson James Island Charter High School Mr. Richard T. Jerue Dr. Donald R. Johnson, II Mr. and Mrs. Edwin Johnson Mr. and Mrs. H. W. Johnson Dr. and Mrs. Wendell Johnson

DONORS

Dennis and Nancy Olenwine Dr. and Mrs. James M. Orcutt Mr. and Mrs. John Pelletier Mr. James Pierce Pomerantz-Wilcox Family Fund of The Coastal Community Foundation Miles and Phyllis Price Johan Prins and Maria Sindram Ernest and Sheila Prupis Mr. and Mrs. G. L. Puckhaber Dr. and Mrs. Blake F. Putney Dr. and Mrs. Newton G. Quantz, Jr. Ms. Carol Rashbrook Mrs. Marguerite Rathbun Mrs. James Ravenel I. Mayo and Posey Myers Read Fund of The Coastal Community Foundation Mr. and Mrs. Donald Reid The Remington Foundation at Franke Mr. W. McLeod Rhodes Pat and Tom Richards Mr. William T. Robinson Cynthia and Dave Rosengren Mrs. Arlene Rosenthal Mrs. Patricia Roske Ms. Dana Sampson Capt. Edward K. Sanders Mr. Robert J. Sanders SC State Dept. of Education Thomas and rosann Scanlon Mr. and Mrs. Gordon D. Schreck Schwab Charitable Fund Mr. and Mrs. Stephen Schwartz Ms. Darleene Scott Mr. and Mrs. William P. Seaborn Mrs. Margaret Seres Mr. and Mrs. Ronald H. Silverman Mrs. Aline Smith The Rev. Colton and Angela Smith Mr. and Mrs. George Smith Mr. and Mrs. Kenneth B. Smith Mr. and Mrs. George M. Somers Mr. and Mrs. William H. Spencer

Dewey and Lee Spong Mr. Robert J. Sprague Mr. Frank Stahl Dr. and Mrs. Douglas B. Stalb Kate and David Stanton Robert Stehling and Nunnally Kersh Robert and Ellen Steinberg Mr. Stephen G. Stonehouse Ms. Lorraine N. Story Mrs. Leila T. Street Charles S. Swanson Mr. and Mrs. Gary Tasker Bob and Lois Taylor Jerry and Phyllis Terrell Scott Terrell Mr. Thomas E. Thornhill Dr. and Mrs. Stanley Toporek Mrs. Frances Trapales Trident United Way Mrs. Elizabeth M. Tyler Ms. Normandie Updyke Ms. Jan M. Visser Mr. and Mrs. W. P. Wachter George and Mary Walker John and Cecily Ward Mr. and Mrs. Warren D. Watts Marti and Curt Weeden Al and Judy Weinrich Robert and Jackie Weskerna Mr. and Mrs. Lee Westbrock Mrs. Doris Gelzer Whitaker Mr. and Mrs. Killough H. White, III Mr. and Mrs. D. Sykes Wilford Mr. and Mrs. James B. Wilkinson Dwight and Lindsey Williams Ms. Elizabeth Williams Mrs. Shelia Williams E. Paige Wisotzki Mr. and Mrs. West Woodbridge, Jr. Mr. and Mrs. Glenn Workman Mr. Joseph L. Wright, Jr. Mr. David Zoellner

Special Thanks 72

The Charleston Symphony Orchestra is deeply appreciative to the following businesses and individuals that have supported the Orchestra with goods and services. If you, too, want to partner with the Orchestra, please contact the Charleston Symphony Orchestra office at 723-7528.

Adams Outdoor Advertising APEX Broadcasting Atlantic Tent Belvaâ&#x20AC;&#x2122;s Flower Shop Charleston Southern University Citadel Square Baptist Church City of Charleston Clear Channel Communications College of Charleston ComputerTechRx Cultural Affairs Office, City of Charleston Fox Music Gaillard Auditorium Leonard Goldberg Dr. William Gudger Hope Sound James Island Cleaners King & Queen Company Lindsay Koob LaQuinta Inn Riverview Mt. Moriah Baptist Church Renaissance Charleston Hotel Sharon Rittenberg St. Matthewâ&#x20AC;&#x2122;s Lutheran Church St. Theresa the Little Flower Catholic Church David Simmons SunTrust Bank, Inc. Teleco

in HONOR of: Patricia Benzien Penelope M. Hyland

Mrs. Susan Johnson Ms. Susan D. Boyter

CSO Brass Dr. William D. Gudger

Mr. Morris Kalinsky Dr. and Mrs. Gordan B. Stine

Dr. David Garr & Ms. Deborah Williamson Rebecca Garr Joshua Garr Camille & Red Hall

John Schroeder David & Gernande Wachenfeld

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Mrs. Aline Smith Etan Consulting, LLC Charles S. Swanson Mr. & Mrs. Warren D. Watts Mr. Stephen G. Stonehouse

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in MEMORY of: Mr. Gus Cacioppo Richard & Meri Roberts Dame

Mr. Charles Neufeld Col. & Mrs. Milton R. Thompson

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Mrs. Jane Madan Mr. E. Vernon F. Glenn

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True wealth is about more than money. It’s about achieving life.® Everyday, we help our clients achieve the lives they want to live. As part of that philosophy, we’re proud to salute the organizations that help make a difference in our community. Thank you, Charleston Symphony Orchestra, for the dedication.

We are proud to salute the

Charleston Symphony Orchestra

(843) 723-6199 (800) 937-0825 17 Lockwood Drive, Suite 200 Charleston, SC 29401

It’s about achieving life and Total Merrill (design) are registered service marks of Merrill Lynch & Co., Inc. Total Merrill is a service mark of Merrill Lynch & Co., Inc. © 2008 Merrill Lynch, Pierce, Fenner & Smith Incorporated. Member SIPC.