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C A P T U R E YO U R K I AWA H M O M E N T
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THE SANCTUARY
8/4/08 11:10:48 AM
A neighbor’s wave welcomes you home. A unique blend of old and new. Parks, churches, schools, restaurants and shops. Where rivers and tidal creeks frame neighborhoods. And the history and charm of Charleston surround you. This is Daniel Island. A town. An island. A way of life.
For more information and your copy of The Guide To Daniel Island Living, we invite you to call us at 1-800-958-5635 or visit us online at danielisland.com. Homesites, townhomes and condominiums are priced from the $100s to more than $1.5 million. Homes from the $300s to more than $5 million. Obtain the Property Report required by Federal Law and read before signing anything. No Federal Agency has judged the merits or value, if any, of this property. This material shall not constitute a valid offer in any state where prior registration is required and registration requirements have not yet been met. NY residents: Complete Offering terms are in an offering plan available from Sponsor. File No. HO-00-0016. Equal Housing Opportunity. Access and rights to recreational amenities may be subject to fees, membership dues or limitations.
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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 2010-2011 Season Tickets will be available in late February or early March by contacting the CSO Office at (843) 723-7528 ext. 110.
Individual Concert Tickets
Student Discount
Purchase at www.charlestonsymphony.com, the Gaillard Auditorium Box Office, at the door the night of the performance, any Ticketmaster outlet or by calling Ticketmaster’s Arts Line at (800) 982-2787. Convenience Fees Apply.
All full-time students with a valid ID may purchase tickets for $5 (some concerts excluded).
Group Discounts
Senior citizens age 60 and older may purchase Merrill Lynch Masterworks concert tickets at the Gaillard box office one hour prior to concert for $20. Subject to availability.
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
PLEASE HELP US RECYCLE Please keep your program guide if you wish. We also encourage you to place your program guide in the recycle boxes as you leave this performance for use at future performances.
DON’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 (843) 723-7528 ext. 110.
Charleston Symphony E-NEWS Receive the latest news, information, or special pricing opportunities by signing up for the Symphony’s e-news at www.charlestonsymphony.com. Also become a Facebook fan at www.facebook.com/charlestonsymphony or follow us at Twitter: @ChsSymphonyOrch.
FOR THE ENJOYMENT OF ALL Quiet, Please! Please be sure to turn off all cell phones, paging devices, and watch alarms.
Doors open one hour prior to performances.
Electronic Devices Cameras, audio recorders and video recorders are not permitted, as they may interfere with the musicians’ performance.
FOR YOUR COMFORT AND CONVENIENCE
Late Seating In consideration of both artists and audiences, latecomers will not be seated until an appropriate interval.
Accessibility
Restrooms
Main Level seating locations, elevators, and restrooms are provided for wheelchair patrons.
Restrooms are located on each level.
Food and Beverage Gaillard Auditorium: Bars serving soft drinks and wine are located in the main floor lobby. Food and beverages are not permitted in the hall. Memminger Auditorium: Only certain performances will provide bar service.
MEET THE ARTISTS
IMPORTANT NUMBERS
The Green Room and Stage Area are open to the audience after performances only.
Ticketmaster
FOR YOUR SAFETY In the event of an emergency, please use the exit nearest your seat. This is your shortest route out of the hall. A staff member is in the lobby at all performances
PROGRAM BOOK ADVERTISING For advertising rates and information, call Atlantic Publication Group LLC at (843) 747-0025.
(800) 982-2787 Administrative/Season Tickets
(843) 723-7528, ext. 110 For information about the Charleston Symphony Orchestra, call (843) 723-7528; write to the CSO, 145 King St., Suite 311, Charleston, SC 29401; or visit our Web site at
www.charlestonsymphony.com.
14
PROFILES
18
ARTISTIC AND ADMINISTRATIVE LEADERSHIP
David Stahl Music Director
David Stahl, Music Director
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Kathleen Wilson, Interim Executive Director Kathy Havis, Finance Manager
Robert Taylor CSO Chorus Conductor
Cynthia Branch, Director of Patron Services Anthony Pierce, Director of Artistic Operations
22
Tara Scott, Director of Marketing
Sandra Barnhardt
Becca Walton, Personnel Coordinator
CSO Gospel Choir Music Director
Nicole Benton, Librarian
22
Kellen Thayer, Production Coordinator Robert Taylor, CSO Chorus Director
Nathan Nelson
Sandra Barnhardt, CSO Gospel Choir Director
CSO Spiritual Ensemble Director
Nathan Nelson, CSO Spiritual Ensemble Director Richard C. Marcus, YOLOW Music Director
Contact the CSO Office at (843) 723-7528 or on the web at www.charlestonsymphony.com
The Charleston Symphony Orchestra Program is published by
1 Poston Road, Suite 190 Charleston, SC 29417 www.atlanticpublicationgrp.com
12 16
House Notes
17 18 20 21
Board of Directors
23 23
CSO Gospel Choir
24
Charleston Symphony Orchestra
58 61 62 65
Charleston Symphony Orchestra League
Messages from the Board President and Executive Director Message from the Music Director Charleston Symphony Orchestra Chorus Message from Founder & President, CSO Gospel Choir & CSO Spiritual Ensemble CSO Spiritual Ensemble
CSO Education Outreach 7/1/08 – 7/15/09 Fiscal Year Contributors Special Thanks & Memorial Gifts
CONTENTS 26
Merrill Lynch Masterworks: “Yuriy!”
30
McCrady’s Restaurant Pops: “Quentin
32
Merrill Lynch Masterworks: “Wall
36
Backstage Pass: “Sympathy
38
McCrady’s Restaurant Pops: “Fiedler’s
40
Merrill Lynch Masterworks: “Kings
44
McCrady’s Restaurant Pops:
– January 16, 2010
Baxter and Friends”
– January 22 & 23, 2010
to Wall Mozart”
– February 6, 2010
for the Devil”
– February 11, 2010
Favorites”
– February 12 & 13, 2010
and Heroes”
– February 27, 2010
“The Gold Rush! Charlie Chaplin’s Classic Film” – March 12 & 13, 2010
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Merrill Lynch Masterworks: “Spring
50
Backstage Pass: “Beyond
54
Merrill Lynch Masterworks: “Season
Delight”
– March 20, 2010
Belief ”
– March 25, 2010
– April 17, 2010
Finale”
Friends of the Charleston Symphony Orchestra,
16
Welcome to the Charleston Symphony Orchestra. We hope you have enjoyed the first half of our season featuring our talented musicians and our exciting programming. In addition to our Merrill Lynch Masterworks, McCrady’s Restaurant Pops and Backstage Pass series, we added two new series to provide different ways for you to enjoy the Symphony––Yuriy Bekker and Friends and Stained Glass Series sponsored by GAMBLE HOME SERVICES. We also have special performances throughout the year including Holiday Pops, Gospel Christmas, MLK Tribute as well as performances throughout the region. Our educational programs continue to be a core value for the Charleston Symphony. Throughout the year, we reach more than 16,000 students in the Charleston area through in-school visits and our Young People’s Concerts. Your support allows us to continue this very important community outreach. True to its mission, the Charleston Symphony helps to enrich the cultural life of the Lowcountry by providing 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. We have tightened our belt to ensure we endure as a key player in the Charleston performing arts community––but without compromising our 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. Symphony orchestras in the U.S. can only survive and thrive with substantial financial support from private citizens and businesses who place a high value on the role of the symphony in the community. Indeed, for the CSO to survive and thrive we need to secure 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 the second half of this exciting season and hope to see you at one or more concerts.
Ted Legasey President, Board of Directors
Welcome to the second half of Charleston Symphony Orchestra’s 2009-2010 season; a season dedicated to celebrating Charleston and the outstanding musical talent found here within our community. 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 the first time is exhilarating and to sit within the orchestra and perform is truly magnificent and a 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
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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 Maas 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
George Miller* Eloise Pingry
Burt Schools Ed Sparkman
EX-OFFICIO MEMBERS Marty Besancon Tacy Edwards
Joseph Jenrette, III
Valerie Morris
Norman Smith
Deceased*
David Stahl Music Director
PROFILE
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A 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. In 2012, Mr. Stahl will transition out of the day-to-day artistic management and assume the title of Laureate Conductor. He will conduct at least two performances each season. Mr. Stahl has transformed the Charleston Symphony into a leading cultural institution and has received a national award for imaginative programming from the American Symphony Orchestra League. 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 Mr. Stahl initiated. Along with the CSO, he toured all over the U.S., Canada and Israel with Porgy and Bess. Two of the most unforgettable moments were performances for the Prince of Wales at the Dock Street Theatre and the special Custom House concert performed two weeks after Hurricane Hugo. As a mentor and pedagogue, Stahl has nurtured and encouraged countless young
“At the heart of the work stood conductor David Stahl, whose gift for inspiring his orchestra to exceptional playing has never been better exemplified.” — Opera News
musicians, and dozens of former CSO musicians can be found in America’s great orchestras. 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 the great musical and cultural capitals of the world, Munich has heard more than 500 performances of 40 operas conducted by Stahl since 1996. His performance of Wagner’s early opera Das Liebesverbot was hailed as one of the finest new productions of a Wagner opera, and he also led the first ever Munich performances of Beethoven’s Leonore. 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 a sensationally acclaimed production of Britten’s Death in Venice, which was recorded for DVD release. This season features Janá˘cek’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 have 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 conducted The Great Gatsby at Lyric Opera of Chicago and has also 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 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.
from the Music Director The Charleston Symphony Orchestra was founded 74 seasons ago in 1935, in the midst of the Great Depression. As we endure the worst economic times in our recent 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, art and the beauty of artistic creation nourish the soul, capture the imagination and feed the spirit. This season we are featuring Charlestonbased musicians and music, and you will have the great opportunity to hear first-hand many of our talented professional 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 musicians who play such a significant role in the fabric of our community. I am also thrilled to welcome seven very talented guest conductors who will lead performances this season in all of our series, including Mikhail Agrest. Although Mikhail was born in Russia, he grew up in Charleston and his father, Alex Agrest, is in the Symphony. Mikhail has a phenomenal conducting career in Europe and around the world. We are thrilled to have him come “home.” Whether the stirring music of Haydn or the intoxicating rhythms of Quentin Baxter, you will be treated to a kaleidoscope of sounds and musical riches this season. Join me in celebrating Charleston and its music!
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Robert Taylor CSO Chorus Director
PROFILE
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Robert Taylor is in his eleventh year as Director of the Charleston Symphony Orchestra Chorus and CSO Chamber Singers. He is Director of Choral Activities at the College of Charleston, and Founder and Artistic Director of the Taylor Music Group and Taylor Festival Choir, inspired by Bob Taylor, the conductor’s late father - a distinguished choral pedagogue. The Taylor Festival Chorus, a semi-professional chorus, was one of only two American adult chamber choirs featured at the prestigious 2009 American Choral Directors Association National Convention honoring their 50th anniversary.
Dr. Taylor’s ensembles have performed over 30 major choral/orchestral works throughout the U.S. and Europe to critical acclaim. He has prepared numerous choral masterworks for distinguished conductors like CSO’s David Stahl, Dr. Joseph Flummerfelt (Spoleto USA) and Dr. Kenneth Fulton. He has lectured and published studies on the music of Vaughan Williams, Stravinsky, and use of bel-canto era vocal principles in a choral setting. Dr. Taylor holds a Doctorate of Musical Arts in Choral Conducting (Louisiana State University), a Masters of Music in Vocal Performance (Sam Houston State University), and a Bachelor in Music Education (University of Central Arkansas). Taylor and his talented wife, Mary Taylor, an accomplished violinist/fiddler, teacher, and director of Na Fidleiri, have one daughter, Kiri. 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)
CHARLESTON SYMPHONY ORCHESTRA CHORUS Dr. Robert Taylor, Director 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. 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
T
to Music, Monteverdi’s 1610 Vespers, and premiered works by contemporary composers such as Julian Wachner, Trevor Weston, David Maves, and Edward Hart. CSOC Board of Directors
Dr. Robert Taylor, Director Norman Smith, President Dwight Williams, Vice President Andrea Robertson, Secretary Christina Demos, Treasurer Karen Rider, Librarian
2010 presentations include: January 18, 2010 Annual Martin Luther King Jr. Tribute with CSO and CSO Gospel Choir February 20, 2010 Choral Music with the CSO April 17, 2010 CSO Season Finale Masterworks: Haydn’s “The Creation”
www.cso-chorus.org
photo by: Jonathan Reiss
Charleston Symphony Orchestra Gospel Choir This 2009-2010 season marks the 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. I want to thank the past and current directors Vivian E. Jones; Glenn R. Nixon; and currently Sandra S. Barnhardt for contributing to our success over the years. So many deserve recognition and my sincere appreciation for their support of the CSO Gospel Choir: CSO Board; Maestro David Stahl, for his support and passion to honor the legacy of Dr. Martin Luther King, Jr.; Wally Seinsheimer for sharing his idea for Charleston’s Gospel Christmas; Dolphin Builders for their financial support over the years; and Dr. and Mrs. James Allen for their financial assistance for that first Gospel Christmas concert. I would like to especially thank the CSO Gospel Choir members (and the more than 800 alumni) for accepting 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 Founder and President, CSO Gospel Choir and CSO Spiritual Ensemble
UPCOMING PERFORMANCES
UPCOMING PERFORMANCES
NATHAN L. NELSON, DIRECTOR
SANDRA S. BARNHARDT, MUSIC DIRECTOR
Lowcountry Spiritual Journey II January 10
Lift Every Voice and Sing! MLK Commemorative Concert
Sacred Music and Liturgical Dance: A Palm Sunday Celebration March 28
January 16
2010 Charleston International Festival of Choirs
Moses: Let My People Go • Début
April 22- 25
A Tribute to Moses Hogan • February 6
Spiritual Masterworks Town of Kiawah February 12
A Spiritual Brunch with the YWCA of Greater Charleston Featuring the Hat Ladies of Charleston April 3
2010 Charleston International Festival of Choirs Dr. André Thomas, guest conductor April 22-25
2010 Piccolo Spoleto Festival June 5
2010 Piccolo Spoleto Festival From Amadeus Mozart to Kirk Franklin: The Good News Gospel May 28 and May 29
Time, location and ticket information for each performance can be found at:
CSOSpiritual.com 9 CSOGospel.com
21
Sandra Barnhardt CSO Gospel Choir Music Director
PROFILE
22
Mrs. 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 sacred song, spirituals, and gospel music. Mrs. Barnhardt, who is passionate about teaching, began her teaching career in Orange, N.J., where her influential choral programs became a stepping-stone for actress and television personality Tisha Campbell. During her teaching tenure in South OrangeMaplewood, N.J., she was recognized for her directorship of 200-voice choirs which won Mrs. Barnhart the New Jersey Symphony Orchestra Master Collaboration Award and her nomination for Master Teacher of the Year by the New Jersey Music Educators Association. Mrs. Barnhardt served as Director of Vocal Music for the Cicely Tyson School of Performing and Fine Arts, East Orange, N.J. During this time,
Nathan L. Nelson CSO Spiritual Ensemble Director 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 Tri-County 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.
her choirs performed at the Rock and Roll Hall of Fame in Cleveland, Ohio, as well as 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. As Minister of Music for the St. Matthew AME Church of Orange, N.J., her church 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 a PBS broadcast which won a regional Emmy. Mrs. Barnhardt earned a master’s in Music Education from Montclair State College, N.J., and a bachelor’s in Voice from Stephens College, Columbia, Mo. A member of several professional music organizations, she continues her study of choral conducting under Roland Carter, noted composer and international guest choral conductor. Currently, Mrs. Barnhardt is Assistant Minister of Music for the historic Ebenezer AME Church in Charleston, S.C. She is also the music instructor for the Charleston Development Academy, with its highly acclaimed choir, the Singing Eagles. Mrs. Barnhardt resides in Adams Run, S.C., with her husband Allen Barnhardt, retired New Jersey Fire Director.
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 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, Charleston’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 Festival, 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 Roots and Pure Gospel: Authentic Reflections.
C
Sandra Barnhardt, Director
23 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 Charleston’s celebrated MOJA Arts Festival in October 2009.
Upcoming Performances 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.cso.gospel.com
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 is the organic outcome of the broad vocal talent within the acclaimed CSO Gospel Choir. The Ensemble focuses on the African-American spiritual and sacred music in a variety of settings. 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 that African-Americans formed as slaves after arriving in this country, and, in particular, its relevant history here in South Carolina.
U
Charleston Symphony Orchestra
Spiritual Ensemble
Upcoming Performances 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
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
24
On Leave 2009-2010 Season
Chair Donors have designated their gifts to sponsor a musician’s chair. For information on chair sponsorship, call (843) 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
– 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 Molina Chair Sponsors: Jack & Cathy McWhorter
– – – – –
Frances Hsieh Asako Kremer Nonoko Okada Brent Price Lauren Paul
Chair permanently endowed by the Charleston Symphony Orchestra League
– Damian Kremer – Timothy O’Malley 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
HARP
25 – 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
– Kathleen Wilson, Principal
TRUMPET CLARINET TIMPANI
– Charles Messersmith, Principal – Gretchen Schneider Roper
BASSOON
– Karin Bliznik, Principal – Michael Smith, Acting Principal Chair Sponsor: Mr. and Mrs. Robert Rice
– Chris Fensom
– Beth Albert, Principal Chair Sponsor: Dr. S. D. Thomas
TROMBONE
PERCUSSION
– William Zehfuss, Principal
– Ryan Leveille, Principal
– Christopher Sales, Principal – Katherine St. John
Chair Sponsor: Cal and Joyce East
Charleston Symphony Orchestra David Stahl, Music Director
Masterworks
MERRILL LYNCH MASTERWORKS - SAT. JAN. 16, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
26
David Stahl, Conductor Yuriy Bekker, Violin
Yuriy! Gioachino ROSSINI
Overture to William Tell
12:00
Violin Concerto in e minor, Opus 64 Yuriy Bekker, violin Allegro ma non troppo Andante Allegretto non troppo – Allegro molto vivace
26:00
(1792 – 1868)
Felix MENDELSSOHN (1809-1847)
————————————---------— intermission ——————————————————
Ludwig van BEETHOVEN (1712-1773)
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.
Symphony No. 6 “Pastorale” Allegro ma non troppo – Awakening of cheerful feelings upon arriving in the country. Andante molto moto – Scene by the brook. Allegro – Merry gathering of the peasants. Allegro – Tempest. Storm. Allegretto – Shepherd’s Hymn – Happy and thankful feelings after the storm.
39:00
Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.
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F E AT U R E D P E R F O R M E R
Yuriy Bekker , Violin
MERRILL LYNCH MASTERWORKS - SAT. JAN. 16, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
28
Concertmaster of the Charleston Symphony Orchestra, Yuriy Bekker has played worldwide with many orchestras and music festivals as a featured soloist, concertmaster and faculty member earning him critical acclaim. Prior to his appointment in Charleston, Yuriy performed with the Houston Symphony, Houston Grand Opera and Ballet Orchestras and the Louisville Orchestra. He has been a fellowship recipient at Aspen Music Festival and participated in many festivals including the European Music Festival Stuttgart (Germany), the Pacific Music Festival (Japan), and Spoleto USA. He has also performed with the Indiana String Quartet at the
Kennedy Center and with the Degas String Quartet for the Chicago Chamber Music Society. Bekker serves on the faculties of the Charleston Academy of Music and AIMS Festival in Graz, Austria. He earned a Graduate Performance Diploma
from the Peabody Conservatory under the tutelage of Herbert Greenberg. His Bachelor’s and Master’s Degrees were acquired from Indiana University’s School of Music where he studied with Nelli Shkolnikova and Ilya Kaler. Along with his position as concertmaster, engagements for the 2009-2010 season include tonight’s solo appearance with the Charleston Symphony playing Mendelssohn’s Violin Concerto and other solo appearances in Charleston, Myrtle Beach, New York City, Scottsdale, AZ, and abroad. He is a native of Minsk, Belarus, and now is a U.S. citizen. For more information, please visit www.yuriybekker.com.
Charleston Symphony Orchestra Chorus Presents: Dr Robert J Taylor, conducting Antonín Dvorák’s
Te Deum Featuring
The CSO with
Charleston Symphony Orchestra Chorus & CSO Chamber Singers Also… F. Joseph Hadyn’s
Missa in Tempore Belli Mass in Time of War
Saturday, February 20 5:00PM Tickets $20 $15 seniors, $5 students
(Gaillard Box Office and @ Door)
Citadel Square Baptist Church, 328 Meeting Street, Charleston www.charlestonsymphony.com
PROGRAM NOTES
Overture to William Tell imposed retirement from opera. After the celebrated opening for solo cellos, the music depicts a storm, the calm after the storm with the famous English horn solo and flute obbligato, and then heroic music (the “Lone Ranger” theme).
Concerto in e minor for Violin and Orchestra, Opus 64 Joseph Joachim (1831-1907) looked back on his career as a virtuoso violinist and said: “The Germans have four violin concertos. The greatest, the most uncompromising, is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.” Mendelssohn wrote his concerto for Ferdinand David (1810-1873), Joachim’s teacher. David gave the first performance of the concerto on March 13, 1845, with Niels Gade conducting Leipzig’s Gewandhaus Orchestra. “I would like to write a violin concerto for you for next win-
ter,” Mendelssohn wrote David in July, 1838; “There’s one in e minor in my head, and its opening won’t leave me in peace.” Not only the opening which lacks the usual obligatory orchestral tutti, but also the placement of the cadenza in the first movement was part of Mendelssohn’s brilliant rethinking of the concerto form. Mendelssohn also arranged the three movements to be played without pause: a lone bassoon note holds over from the first movement into the modulatory chords which begin the slow movement. As the slow movement closes there is a short transition and fanfares which introduce the last movement.
Symphony No. 6 in F major, Opus 68 (“Pastoral”) If a time machine could transport us to past concerts, one occasion that many would choose would be December 22, 1808, at the Theater an der Wien in Vienna. The program that night (conducted by the composer) consisted of the premieres of Beethoven’s Fifth and Sixth Symphonies, the first public performance of the Fourth Piano Concerto, not to mention movements from the Mass in C and the concert aria “Ah! perfido.” As early as 1803 Beethoven noted the idea that would become the accompaniment figure in the slow movement of the Sixth Symphony, headed “murmur of the brook...the larger the stream, the deeper the note.” Detailed work on both the Fifth and the Sixth Symphonies began in the 1807. Although the Fifth Symphony is often associated with some extra-musical description (struggle against fate culminating in victory), Beethoven left nothing in its score as a guide. For the Sixth Symphony, however, he chose both to give it a title (“Pastoral”) and to head each of the movements with descriptions. The evocation of nature recalls
such earlier works as Vivaldi’s “The Four Seasons” and Haydn’s oratorio “The Seasons,” and the Sixth Symphony paves the way for the Romantic program symphony and tone poem (Berlioz’s “Symphonie fantastique” and Liszt’s “Les Preludes”). The most direct impetus for Beethoven’s use of descriptive titles likely came from Justin Heinrich Knecht’s “Le Portrait musical de la nature,” a symphony which depicts the tranquil landscape, storm, and concludes (as does the Sixth Symphony) with a song of thanksgiving. Yet Beethoven never wanted the music to be heard only for its descriptive power; at the premiere he put above the titles of the movements the following disclaimer: “more an expression of feeling than painting.” Although the Sixth Symphony is commonly described as having five movements, in fact it has the standard four— fast, slow, scherzo, finale—with the storm connecting the third movement directly to the finale in a transition similar to, but longer than, the tympani passage that leads into the finale of the Fifth Symphony.
Program notes by William D. Gudger, The College of Charleston (emeritus)
29 MERRILL LYNCH MASTERWORKS - SAT. JAN. 16, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
Rossini’s overtures are heard more frequently in the concert hall than his operas (except for The Barber of Seville) are performed in the theater. His 1829 opera about the Swiss hero was to be his last, before a perhaps premature self-
Charleston Symphony Orchestra David Stahl, Music Director
MCCRADY’S RESTAURANT POPS SERIES - FRI. & SAT. JAN. 22 & 23, 2010 - 8:00 P.M. - MEMMINGER AUDITORIUM
30
Edwin Outwater, Guest Conductor Quentin Baxter, Featured Artist Charlton Singleton, Trumpet Mark Sterbank, Tenor saxophone Thomas Gill, Jr., Piano Kevin Hamilton, Acoustic bass
Quentin Baxter and Friends An innovative and improvisational evening with acclaimed percussionist Quentin Baxter featuring members of his own band and the musicians of the Charleston Symphony Orchestra.
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.
Set design provided by Production Design Associates (PDA), sound by Hope Sound and beverage service by Icebox Bartending Service.
F E AT U R E D P E R F O R M E R
Edwin Outwater , Guest Conductor Washington D.C., and the Mexico City Philharmonic. Edwin Outwater was Resident Conductor of the San Francisco Symphony from 20012006. Outwater’s work in music education and community outreach has been widely acclaimed. In 2004, his education programs were given the Leonard Bernstein award for excellence in educational programming, and his Chinese New Year Program was given the MET LIFE award Francisco Symphony for subfor community outreach. A native scription series performances of Santa Monica, California, and also returns to the Chicago Outwater attended Harvard Symphony, New World Symphony, University graduating cum laude Columbus Symphony, and the in 1993 with a degree in English BBC National Orchestra of Wales. literature. He received his He debuts with the National master’s degree in conducting Symphony Orchestra in from UC Santa Barbara.
F E AT U R E D P E R F O R M E R
Quentin Baxter Quentin Baxter is a worldclass musician, composer, educator and producer and one of the most sought after musicians in the southeast. He lives in his hometown, Charleston, S.C., where he plays percussion, teaches at the College of Charleston, designs sound and makes records. Baxter grew up surrounded by music as his mother, father and three brothers all played drums in church. This has had a great influence on Baxter’s approach to life. He was educated in Charleston County public schools. While a teenager, Baxter was a nationally respected gospel musician and minister of
Charleston Jazz Initiative, a research project; a Jazz Artists of Charleston board member, an advocacy and presenting group; and a Charleston Symphony Orchestra board member. Baxter plays using numerous styles. He has toured Europe, Asia, Africa, the Caribbean and South America. When home, Baxter performs with many bands, some he leads, mostly at The Charleston Grill, where he is musical director. Baxter has music in his home church. worked with other great artists Baxter attended the College of including Monty Alexander, Rene Charleston, where he received a Marie, Allan Harris, Fred Wesley, bachelor of arts in music theory Donald Byrd, Nicole Henry, and composition. Takana Miyamoto, Teddy Adams, Along with regularly perform- and Kevin Bales. ing, he is musical director for the
31 MCCRADY’S RESTAURANT POPS SERIES - FRI. & SAT. JAN. 22 & 23, 2010 - 8:00 P.M. - MEMMINGER AUDITORIUM
Edwin Outwater is Music Director of the KitchenerWaterloo Symphony in Ontario, Canada. Now entering his third season, he has revitalized the orchestra and gained international attention for innovative projects and imaginative programs. Outwater’s recent highlights include his professional opera debut conducting La Traviata with the San Francisco Opera, a benefit concert with the San Francisco Symphony featuring some of Hollywood’s most prominent actors (The World of Nick Adams), and conducting the YouTube Symphony in Carnegie Hall with Michael Tilson Thomas and Tan Dun. In the 2009-2010 season, Outwater returns to the San
Charleston Symphony Orchestra David Stahl, Music Director
Masterworks
MERRILL LYNCH MASTERWORKS - SAT. FEB. 6, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
32
David Stahl, Conductor Amy Lynn Call, Soloist Micah McLaurin, Piano
Wall to Wall Mozart Wolfgang Amadeus Mozart
Overture to The Magic Flute, K. 620
7:00
“O Zittre Nicht” from The Magic Flute Amy Lynn Call, soprano
3:00
“Der Holle Rache” from The Magic Flute Amy Lynn Call, soprano
3:00
Piano Concerto No. 23, K 488 (2nd MVMT) Adagio Micah McLaurin, piano
7:00
(1756-1791)
—————————————— intermission ——————————————————— Symphony No. 40 in g minor, KV 550 Molto allegro Andante Menuetto Allegro assai
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.
35:00
Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.
F E AT U R E D P E R F O R M E R
Amy Lynn Call , Soloist
MERRILL LYNCH MASTERWORKS - SAT. FEB. 6, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
34
Soprano Amy Lynn Call returns to Oper Chemnitz (Germany) in 2009-2010 to reprise the role of Königin der Nacht, which she also performed in Freiberg, Döbeln, and Chemnitz in 2007 and 2008. She first appeared in Europe in Graz, Austria singing Beethoven’s concert aria “Ah, perfido!” and Violetta’s Act I scena from La Traviata with the Graz Festival Orchestra in 2006. Ms. Call has performed the roles of Königin der Nacht, Konstanze, Fiordiligi, Mimì, Violetta, Dido, and Lizbeth. Ms. Call was a finalist in the Meistersinger Competition in Graz, Austria, the Paul Robeson Competition in Washington, D.C.
Alpha Iota in 2006. In 2008, Ms. Call was the winner of the Virginia NATSAA Competition. She has performed the soprano solos in Handel’s Messiah, Mendelssohn’s Elijah, Orff’s Carmina Burana, Rutter’s Requiem, and Vivaldi’s Gloria. Her beloved teachers include Martina Arroyo, Mary Ann Hart, Charlotte Nelson Aiosa, Craig Fields, and In Dal Choi. She has performed in masterclasses by Carol Vaness, John Wustman, and the Czech and Slovak Martin Katz, and Gabriele International Voice Competition Lechner. Ms. Call is thrilled in Montreal, Canada. She won to make her debut with the the Adrian Boyer Competition at Charleston Symphony Orchestra Bay View in 2005 and the tonight. national Career Performance Grant in Voice from Sigma
F E AT U R E D P E R F O R M E R
Micah McLaurin , Piano Micah McLaurin is a homeschooled 9th-grader from Charleston. He began studying piano at the age of 8 with Marsha Gerber and is currently a scholarship student of Enrique Graf at the Charleston Academy of Music. He achieved statewide recognition as a yearly winner of the SCMTA Pre-College Piano Auditions. He performed twice on SCETV as a representative of the SC Piano Festival Association; received the Critic’s Circle rating five times in the National Guild Auditions; and was the winner of the 2007 SCMTA MTNA Junior Piano Competition. In addition, he has
been a recipient of the Charleston Symphony Orchestra Scholarship for the last four years and was the 1st prize winner of the Louise Matthis Scholarship Audition.
Micah received 2nd prize in the 2008 IIYM International Piano Competition in Kansas, and 1st prize in the 2008-2009 Hilton Head Symphony Orchestra Youth Concerto Competition. He also placed 4th in the 2009 Blount-Slawson Young Artists Competition in Alabama. Next Tuesday, February 9, Micah will become the youngest pianist ever to appear on the International Piano Series at the College of Charleston's Sottile Theatre performing Sonatas by Rachmaninoff and Prokofieff and other works by Bach, Haydn and Chopin.
PROGRAM NOTES
Music of Wolfgang Amadeus Mozart (1756-1791) regrets of an unhappy love,” while Robert Schumann thought it “Grecian lightness and grace.” Mozart completed this Symphony on July 25, 1788, and entered it into his catalogue. The last three symphonies, including the g minor and its big brother, No. 41 (“Jupiter”) may have been intended for a series of upcoming concerts in Vienna, but these did not materialize. Whether Mozart performed any of them in Leipzig or Dresden concerts that followed is unclear. The autograph manuscript of the g minor shows the most changes with performances in mind: alterations to the woodwind scoring at least twice, the second time with clarinets added. This latter change was possibly made for concerts on April 16 and 17, 1791, for the benefit of the Vienna Society of Musicians. The (for the time) enormous orchestra of two hundred players included Mozart’s favorite clarinettists: the brothers Johann and Anton Stadler. The conductor was no less than (Mozart’s supposed nemesis) Antonio Salieri. Since we cannot be sure about any of these concerts (the “grand symphony” by Mozart conducted by Salieri might have been one of the other ones with clarinets), it is just possible that Mozart never heard any of his last three symphonies, though the scoring changes in No. 40 make it the most likely candidate. In any case, it is hard to hear this work without a tinge of melancholy and an anticipation of the composer’s impending death. The key of g minor does seem to have a special mood for Mozart: he used it in heart-wrenching arias of Constanze (in The Abduction from the Seraglio) and Pamina (in The Magic Flute), plus the special chamber works: the Piano Quartet, K. 478, of 1785, and the String Quintet, K. 516, of 1787. But like the Symphony, these works were often written with companion pieces in sunnier major keys. As Neal Zaslaw sums it up: “In addition to being a pillar of the repertory and one of the most flawless exemplars of the classical style, the g minor Symphony is a key work in understanding the link between musical classicism and musical romanticism, and perhaps even a mournful hint at what Mozart might have composed had he lived a normal lifespan.”
Program notes by William D. Gudger, The College of Charleston (emeritus)
35 MERRILL LYNCH MASTERWORKS - SAT. FEB. 6, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
In November 1790 Mozart was approached by his friend Emanuel Schikaneder to write a Singspiel (comic opera in German with spoken dialogue) for Schikaneder’s troupe, resident at one of Vienna’s theaters. He readily agreed, especially since no commission for an Italian opera was on the horizon. Schikaneder wrote the libretto of Die Zauberflöte (The Magic Flute), K. 620, basing it loosely on Liebeskind’s oriental fairy-tale Lulu, and filling the story with thinly disguised allusions to freemasonry—both he and Mozart were masons. The comic male lead, Papageno, was designed for Schikaneder himself to perform. Mozart composed most of the opera in July of 1791, but as usual left the purely instrumental music to be written last. Mozart entered the completion of the overture in his personal catalogue of compositions on September 28, a mere two days before the first public performance of the opera on September 30, 1791. The overture, too, plays a part in the masonic symbolism: there are three solemn chords at the start (heard again about halfway through the overture), and the key of the overture (the same key for the opera’s finale) is E-flat major—three flats Among the characters of the opera is the Queen of the Night, who turns out to be one of the villains. For this role Mozart wrote two arias, which are touchstones of the coloratura soprano repertory, designed for the first singer of the role, his sister-in-law Josepha Hofer. Mozart composed his Piano Concerto No. 23, K. 488, in 1786 and played the premiere himself. The second movement is cast in the rhythm of the siciliano, but is surprisingly marked adagio, slower than the usual andante, and is in the unique (for Mozart) and tragic key of F-sharp minor. The music is passionate, even operatic. Mozart wrote over 50 symphonies, of which 41 were included in the standard numbering adopted in the 19th century. The Symphony No. 40 in g minor, K. 550, his next-to-last, and the “Little g minor,” K. 183, are the only ones in minor keys. Symphony No. 40 was a favorite of the Romantics who saw various moods in it: one writer said it was filled with “the agitation of passion, the desires and
Charleston Symphony Orchestra David Stahl, Music Director
Backstage Pass
BACKSTAGE PASS - THURS. FEB. 11, 2010 - 7:00 P.M. - MEMMINGER AUDITORIUM
36
Bohuslav Rattay, Guest Conductor Benjamin Kamins, Bassoon
Sympathy for the Devil Michael Daugherty (b. 1954)
Igor Stravinsky (1882-1971)
Dead Elvis Benjamin Kamins, bassoon
10:00
The Soldier’s Tale Part One: The Soldier’s March Music to Scene I Music to Scene II Music to Scene III
60:00
Part Two: The Soldier’s March The Royal March The Little Concerto Three Dances – Tango, Waltz, Ragtime The Devil’s Dance The Little Choral The Devil’s Song Great Choral Triumphal March of the Devil
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.
Bohuslav Rattay , Guest Conductor Please refer to Page 39 for Mr. Rattay’s biography.”
F E AT U R E D P E R F O R M E R
Benjamin Kamins , Bassoon He holds faculty positions at the Music Academy of the West in Santa Barbara, California and the International Festival Institute at Round Top in Round Top, Texas. He is also Principal Bassoon of the Sun Valley Summer Symphony in Sun Valley, Idaho, a superb orchestra comprised of leading musicians from the nation’s top orchestras. Mr. Kamins is in demand for master classes, recitals and chamber performances throughPlayers. Now as a Professor at out North America. An interest Rice University’s Shepherd in new music has led to a recent School, Mr. Kamins continues his series of commissions and tours commitment to our young musi- that serve to enrich the repercians and to the future of live toire for the bassoon. music performance.
PROGRAM NOTES
Dead Elvis, The Soldier’s Tale Tonight’s concert – essentially a chamber program – offers two works that are often performed together. While very different in musical character, they offer similar sonorities and programmatic themes. They sound alike because they’re scored for precisely the same instruments. And the musical tales they tell both involve selling out to fame and/or material gain. Contemporary American icon Michael Daugherty wrote his Dead Elvis as a sort of brief musical biography of the King of rock & roll … complete with an authentic Elvis impersonator who also blows a mean bassoon. But don’t expect a nostalgic rush of vintage Elvis tunes, beyond a brief refrain of ‘It’s Now or Never.’ Instead, the bassoon and supporting sextet (violin, clarinet, trumpet, trombone, percussion and double bass) work their way through a series of variations on the doleful “dies irae” theme that countless composers have used for centuries. But the players explore assorted rock and pop idioms while they’re at it. Expect Elvis-like antics as our bassoonist puts on his show – but mark how they ring hollow in the end. The musical metaphors – simultaneously fateful and tongue-in-cheek – suggest how the young Elvis grad-
ually “sold out” to the fame and fortune of Hollywood and Vegas, setting him up for his final descent into drug-ridden burnout. A more directly devilish quality pervades The Soldier’s Tale, a far more substantial work by Igor Stravinsky. It’s based on a Russian folk-tale about a Soldier (with fiddle) whom the devil gradually subverts, finally claiming his soul. The instrumentation served as Daugherty’s model over seventy years later; only here, the soloist plays the fiddle. We also will have an actor-narrator who will keep us abreast of a plot that’s more specific and detailed than Daugherty’s. The music is one of the composer’s “bridge” works, marking the shift from his colorful early ballets to the musical economy of his “neo-classical” phase. The music – from the violinist’s kinetic, “skipping” theme onward – is not particularly melodic; instead it weaves its considerable effect by means of its complex, shifting rhythmic flow. Add the narrators and a dancer, and it makes for absorbing entertainment.
37 BACKSTAGE PASS - THURS. FEB. 11, 2010 - 7:00 P.M. - MEMMINGER AUDITORIUM
Since entering the world of professional music in 1972, Benjamin Kamins has enjoyed a distinguished career as an orchestral musician, chamber and solo performer, and educator. During his tenure as Associate Principal Bassoon with the Minnesota Orchestra, Mr. Kamins taught at St. Olaf and Macalester Colleges. In 1981, he was appointed Principal Bassoon of the Houston Symphony and served as a guest principal with the New York Philharmonic and Boston and Pittsburgh Symphonies. Mr. Kamins was a founding member of both the Epicurean Wind Quintet and the Houston Symphony Chamber
Charleston Symphony Orchestra David Stahl, Music Director
MCCRADY’S RESTAURANT POPS SERIES - FRI. & SAT. FEB. 12 & 13, 2010 - 8:00 P.M. - MEMMINGER AUDITORIUM
38
Bohuslav Rattay, Guest Conductor
Fiedler’s Favorites Dmitri Shostakovich (1906-1975)
Festive Overture
7:00
Jean Sibelius (1865-1957)
Finlandia
8:00
Bela Bartok (1881-1945)
Romanian Folk Dances
6:00
Antonin Dvorak (1841-1904)
Slavonic Dances Nos. 8 & 3
Johann Strauss, Jr. (1825-1899)
On The Beautiful Blue Danube
10:00 9:00
—————————————— intermission ———————————————————
Gioachino Rossini (1792-1868)
Overture to La Cenerentola
8:00
Georges Bizet (1838-1875)
Les Toreadors and Habanera from Carmen
5:00
Sir Edward Elgar (1857-1934)
Nimrod from Enigma Variations
4:00
Samuel Barber (1910-1981)
Overture to School for Scandal
8:00
Leroy Anderson (1908-1975)
Bugler’s Holiday Blue Tango Summer Skies
9:00
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.
Set design provided by Production Design Associates (PDA), sound by Hope Sound and beverage service by Icebox Bartending Service.
F E AT U R E D P E R F O R M E R
Bohuslav Rattay , Guest Conductor
Driven by a passion for making classical music accessible to all people, Mr. Rattay is renowned for his unique and innovative concert programs, which have incorporated everything from special audience discussions to the inclusion of
multi-media elements. An equally enthusiastic educator, Mr. Rattay joined the faculty of Ball State University in 2006. A graduate of the distinguished Prague Conservatory, Rice University, and the Peabody Institute of Music, Mr. Rattay currently divides his time between the United States and Europe. Long recognized as one of the bright young stars of the podium, he has conducted the National Symphony Orchestra as part of the National Conducting Institute and was selected by the League of American Orchestras to participate in its Conducting Fellowship Program.
39 MCCRADY’S RESTAURANT POPS SERIES - FRI. & SAT. FEB. 12 & 13, 2010 - 8:00 P.M. - MEMMINGER AUDITORIUM
Now in his fourth season as the Artistic Director of the Muncie Symphony Orchestra, Czech conductor Bohuslav Rattay continues to astound and delight audiences the world over with his fresh and inspired interpretations of works ranging from perennial concert-hall favorites to the contemporary. Acclaimed for his insightful performances of the music of his native Bohemia, Mr. Rattay is a popular guest conductor, with recent engagements including the Virginia Symphony, Prague’s Dvorak Symphony Orchestra, and the Charleston (SC) Symphony, where he received critical accolades for a “vibrant” performance delivered with “elegant panache.”
Charleston Symphony Orchestra David Stahl, Music Director
Masterworks
MERRILL LYNCH MASTERWORKS - SAT. FEB. 27, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
40
Mikhail Agrest, Guest Conductor
Kings & Heroes Carl von Weber
9:00
Overture to Oberon
(1786-1826)
Pyotr Ilyich Tchaikovsky (1840-1893)
Orchestral Suite No. 4, Opus 61 “Mozartiana”
20:00
Gigue (Allegro) Menuet (Moderato) Preghiera (Andante non tanto) Theme et variations (Allegro giusto)
—————————————-----— intermission ———————————————————
Johannes Brahms (1833-1897)
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.
Symphony No. 1 in c minor, Opus 68
45:00
Un poco sostenuto – Allegro – Meno allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Piu andante – Allegro non troppo, ma con brio – Piu allegro
Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.
F E AT U R E D P E R F O R M E R
Mikhail Agrest , Guest Conductor
MERRILL LYNCH MASTERWORKS - SAT. FEB. 27, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
42
Mikhail Agrest was born in St. Petersburg Russia. Shortly after immigrating with his family to the USA in 1989, Agrest settled in Charleston, where his parents became core members of the Charleston Symphony Orchestra string section. While attending Middleton High School, he made his debut with the CSO playing the Mendelsohn Violin concerto. Mikhail then continued violin studies with Josef Gingold at the Indiana University School of Music, and later returned to St. Petersburg for post-graduate studies in conducting with Ilya Musin and Mariss Jansons. He was awarded a fellowship at the Aspen Music Festival’s American Academy of Conducting where he worked with David Zinman and Jorma Panula. Agrest is a laureate of the A. Pedrotti International Conducting Competition (Italy, 2001) and of the Mitropoulos Conducting Competition (Greece, 2002). Mikhail Agrest joined the Mariinsky Theatre in 2001 and, together with the Mariinsky, has performed in many European capitals, the Far East and Japan, the UK (Royal Opera House) and
the U.S. (The Metropolitan Opera). Agrest has also established a thriving career as a guest conductor both in the symphonic repertoire and the opera house. He conducted the awardwinning production by David Alden of Jenufa at the English National Opera in 2006, Tosca with the Royal Swedish Opera, Don Giovanni with Opera Australia, and Rake’s Progress with Opera de Oviedo in 2008. In addition, Mikhail Agrest has conducted the Leipzig Gewandhaus Orchestra,and in January 2007, he took over the closing concert of the BBC’s Gubaidulina festival, ‘A Journey of the Soul’ with the BBC Symphony Orchestra at the
Barbican in place of an unwell Valery Gergiev. He has appeared with the Orchestre Philharmonique de Radio France, Stockholm Philharmonic Orchestra, Orchestre de la Suisse Romande, City of Birmingham Symphony Orchestra, Indianapolis Symphony Orchestra, Houston Symphony, Bournemouth Symphony Orchestra, Malmö Symphony Orchestra,Helsinki Philharmonic Orchestra, the Hungarian National Philharmonic Orchestra and the Danish National Symphony Orchestra. In the current season, Agrest has also worked with the Royal Liverpool Philharmonic Orchestra, Dresden Philharmonic Orchestra and the Netherlands Philharmonic Orchestra. He will also return to conduct the BBC Symphony Orchestra, BBC PO, BBC Scottish Symphony Orchestra and a symphonic concert with Scottish Opera. Mikhail Agrest will make his debut with Glimmerglass Opera this summer in a new production of La Traviata.
PROGRAM NOTES
Overture to Oberon Carl Maria von Weber’s successes with the Romantic operas Der Freischütz and Euryanthe led to a commission in 1826 from London’s Covent Garden for Oberon. Despite the presence of such familiar character-names as Puck and Titania, the libretto was derived not from Shakespeare’s A Midsummer Night’s Dream but from C. M. Wieland’s poem “Oberon,” adapted by James Robinson
Planché. Weber took over 150 English lessons in order to be able to set Planché’s text, which is so confused and silly that the opera has never been anywhere but on the fringes of the repertoire. Nonetheless Weber poured some of his best music into the project, and overwork hastened his death from consumption less than two months after the highly successful premiere. The overture begins
with Oberon’s magic horn call and proceeds with a the second theme, which is presented by the clarcolorful and delicate depiction of his bower. The inet, an instrument for which Weber, like his relative horn call reappears in the transition from the first to by marriage Mozart, had a special affinity.
Orchestral Suite No. 4, Opus 61 “Mozartiana” work modeled on a gigue of Handel. The Minuet in D major, K. 355, lends itself to the second movement, and is now thought to have been written during the last three years of Mozart’s life. For the third movement, a “prighiera” or “prayer,” Tchaikovsky used Franz Liszt’s keyboard arrangement of Mozart’s choral work, the “Ave verum corpus,” K. 618 (1791). The last movement of the suite is an orchestration of the K. 455 keyboard variations on the aria “Unser dummer Poebel meint” from Gluck’s opera “The Pilgrims from Mecca,” which Mozart improvised in Gluck’s presence in an 1783 concert.
Symphony No. 1 in c minor, Opus 68 Conductor and pianist Hans von Bülow declared Brahms’s First Symphony to be “Beethoven’s Tenth” when it was first performed in 1876. There is an obvious similarity between the hymn-like theme in the fourth movement and the “Ode to Joy” theme in Beethoven’s Ninth: “Any donkey can see that,” Brahms snarled. Yet the lineage with Beethoven goes deeper, Robert and Clara Schumann having passed the torch of tradition to the young Brahms perhaps before he was ready to receive it. In any event, his first symphony took a long time to be born. Some material intended for a symphony ended up in the First Piano Concerto, Opus 15, and the German Requiem, Opus 45. He also cut his compositional teeth in other orchestral works such as the two Serenades and the masterful Haydn Variations, Opus 56. The main Allegro theme of the first movement was already in existence in 1862 when Clara Schumann quoted it in a letter to the violinist Joseph Joachim, and another sketch survives from 1868. On Clara’s birthday greeting that year Brahms noted the horn theme from the climax of the introduction to the last movement, complete with words: “High on the hills, deep in the vale,
I greet thee ten-thousandfold!” Brahms still procrastinated, and in 1873 his publisher Simrock wrote asking if there was progress on the symphony. At one point Brahms exclaimed, “I shall never write a symphony! You can’t have any idea what it’s like always to hear such a giant marching behind you,” a reference to Beethoven’s symphonies. Nevertheless in 1874 Brahms seems to have begun work in earnest, finally completing the work on summer holiday in 1876. The first performance fell to conductor Otto Dessoff in Karlsruhe on November 4, 1876, and further performances that season led to some revisions before Brahms let the work be printed in 1877 as his Opus 68. Brahms’s conservatism is seen even in the scoring of his works: the First Symphony calls for the same orchestra as Beethoven’s Fifth (minus the piccolo). His orchestral coloring is in deep earthen hues with the rich inner voices that could be supplied by the violas (often divided) and mid- and low-range sounds from the clarinets, bassoons, and horns. Like Beethoven, Brahms reserves the three trombones for the last movement, but in the First Symphony they don’t provide as much of the extra volume that Beethoven wanted as a deep-pitched choral effect.
Program notes by William D. Gudger, The College of Charleston (emeritus)
43 MERRILL LYNCH MASTERWORKS - SAT. FEB. 27, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
Although best remembered as an originator of Russian romanticism, Tchaikovsky was in fact inspired by the light yet ingenious classicism of his Austrian predecessor Wolfgang Amadeus Mozart. Tchaikovsky had wanted to write a fourth orchestral suite for some time, and the inspiration for one based on Mozart’s music came in 1884/85; Tchaikovsky wished to honor the prodigy by completing the work before the centennial of his opera Don Giovanni in 1887. He settled on four pieces, some of the least known in Mozart’s vast repertoire. The first movement is based on the Gigue in G major, K. 574, a curiously chromatic
Charleston Symphony Orchestra David Stahl, Music Director
MCCRADY’S RESTAURANT POPS SERIES - FRI. & SAT. MAR. 12 & 13, 2010 - 8:00 P.M. - MEMMINGER AUDITORIUM
44
Scott Terrell, Guest Conductor
The Gold Rush! Charlie Chaplin’s Classic Film – Accompanied by the Charleston Symphony Orchestra
Charlie Chaplin (1889-1977) Composer Timothy Brock (b. 1963), Arranger
The Gold Rush
96:00
The movie and the music 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.
Set design provided by Production Design Associates (PDA), sound by Hope Sound and beverage service by Icebox Bartending Service.
F E AT U R E D P E R F O R M E R
Scott Terrell , Guest Conductor
performances with many prestigious international organizations including Opera Colorado, Minnesota Opera, Aspen Music Festival, Minnesota Orchestra, Rotterdam Philharmonic, Hong Kong Sinfonietta, Milwaukee Symphony, Spoleto Festival,
Inspiration
Colorado Symphony, Naples Philharmonic, Eugene Symphony, Richmond Symphony, South Dakota Symphony, Sun River Music Festival, Kalamazoo Symphony, Piccolo Spoleto Festival, Wheeling Symphony, Greater Boston Youth Symphony, Western New York Chamber Orchestra, Amarillo Symphony and the Musical Offering of San Antonio. Recently, he debuted with Rochester Philharmonic, Bloomington Camerata Orchestra, El Paso Opera and the Portland and Jacksonville Symphonies. In the summer of 2000, Terrell was chosen as a fellowship conductor for the American Academy of Conducting at the Aspen Music Festival under Music Director, David Zinman.
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45 MCCRADY’S RESTAURANT POPS SERIES - FRI. & SAT. MAR. 12 & 13, 2010 - 8:00 P.M. - MEMMINGER AUDITORIUM
Scott Terrell is the newly appointed Music Director and Conductor for the Lexington Philharmonic. Between 2005 and 2009, Terrell was Charleston Symphony Orchestra's (CSO) Resident Conductor. He was artistic leader and conductor of the Backstage Pass Series, Charleston Pops Series, and Out of the Box concerts. Terrell also led the educational programs for the CSO doubling the number and scope of the offerings, adding neighborhood Kinder Konzerts, Adopt-a-School residencies, a Family Concert series and High School Curriculum Connections programs to the existing InSchool Ensemble and Young People's Concerts programming. In addition, Terrell has led
Charleston Symphony Orchestra David Stahl, Music Director
Masterworks
MERRILL LYNCH MASTERWORKS - SAT. MAR. 20, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
46
Daniel Hege, Guest Conductor
Spring Delight Frederick Delius
On Hearing the First Cuckoo in Spring
7:00
(1862-1934)
Aaron Copland
Suite from Appalachian Spring
23:00
(1900-1990) —————————————-— intermission ———————————————————
Robert Schumann (1810-1858)
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.
Symphony No. 1 in B-flat major, Opus 38 (“Spring”) Andante un poco maestoso – Allegro molto vivace Larghetto Scherzo: Molto vivace – Trio I: Molto piu vivace – Trio II Allegro animato e grazioso
30:00
Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.
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F E AT U R E D P E R F O R M E R
Daniel Hege , Guest Conductor
MERRILL LYNCH MASTERWORKS - SAT. MAR. 20, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
48
Currently in his tenth season as Music Director of the Syracuse Symphony Orchestra, Daniel Hege is widely recognized as one of America’s finest young conductors, earning critical acclaim for his fresh interpretations of the standard repertoire and for his commitment to creative programming. In June 2009, Mr. Hege was appointed Music Director of the Wichita Symphony and begins his tenure with that orchestra in September 2010. In 2001, he completed a fiveyear tenure with the Baltimore Symphony where he held the titles of Assistant, Associate and Resident Conductor. He has also served as Music Director of the Haddonfield (NJ) Symphony,
Associate Conductor of the Kansas City Symphony, Music Director of the Encore Chamber Orchestra in Chicago and Music Director of the Chicago Youth Symphony where he was twice honored by the American Symphony Orchestra League for
innovative programming. Mr. Hege has guest conducted the Houston, Detroit, Seattle, Indianapolis, Oregon, Colorado, San Diego, Columbus and Phoenix symphonies; the Rochester, Buffalo and Calgary Philharmonics, the Grand Teton and Aspen Music Festivals, Singapore Symphony, St. Petersburg (Russia) Symphony and the Syracuse Opera. Mr. Hege earned his Bachelor of Arts Degree from Bethel College, Kansas, in music and history and a Master of Music degree from the University of Utah. Born in Colorado, Mr. Hege currently resides in Syracuse with his wife, Katarina Oladottir Hege, a violinist, and their three daughters.
PROGRAM NOTES
On Hearing the First Cuckoo in Spring piano piece is quoted in “On Hearing the First Cuckoo in Spring.” These two pieces are scored similarly (one or two flutes, oboe, two each of clarinets, bassoons, and horns, and strings with many subdivisions), so they are often paired together as indeed they were on their first performance in Leipzig in 1913. Delius later settled near Paris, and Sir Thomas Beecham was a special promoter of his music.
Suite from Appalachian Spring The Elizabeth Sprague Coolidge Foundation commissioned many works, most of which were first performed in the theater in the Library of Congress in Washington. Copland composed Appalachian Spring in 1943 and 1944 while living in New York. He subtitled the work “Ballet for Martha” to honor Martha Graham, the famous dancer and choreographer. Born in 1900 and living to 1991, Graham was long-lived like Copland, her almost exact contemporary. Graham’s troupe gave the first performances of the ballet. The Library of Congress Theater was small, so the original scoring of the ballet was for thirteen instruments. It premiered on October 30, 1944, and about a year later the New York Philharmonic played the first perform-
ance of the Suite version, slightly shorter than the ballet and scored for a larger orchestra. Copland’s scenario for the ballet: “The action of the ballet concerns a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-tobe and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householder of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.”
Symphony No. 1 in B-flat major, Opus 38 (“Spring”) This symphony began with a literary inspiration, a poem by Adolf Böttger, two lines of which fit the opening four bars of the music: “O turn, O turn and change your course - / Now in the valley blooms the spring!” The four movements originally had titles: “Spring’s Awakening,” “Evening,” “Merry Playmates,” and “Spring at Its Height” (later called “Spring’s Farewell”), but Schumann suppressed these when the symphony was published. Nonetheless, he wrote the conductor who was to lead the Berlin premiere: “Could you breath a little of the longing for the Spring into your orchestra as they play. That was what was most in my mind when I wrote [the symphony] in January 1841. I should like the very first trumpet entrance to sound as if it came from on high, like a summons to awakening. Further on in the introduction, I should like the music to suggest
the world’s turning green, perhaps with a butterfly hovering in the air, and then, in the Allegro to show how everything to do with spring is coming to life. These, however, are ideas that came into my head only after I had completed the piece.” Schumann had written dozens of songs in the year 1840, full of love for Clara Wieck. It took him only four days, January 23 to 26 in 1841, to sketch this Symphony. The orchestration was completed by February 20, and Mendelssohn conducted the first performance in Leipzig on March 31. As did others, Gustav Mahler did a large amount of rescoring when he performed Schumann’s Symphonies. But now except for the interesting illumination of Mahler his version of Schumann gives, we always hear the Schumann symphonies as he himself orchestrated them.
49 MERRILL LYNCH MASTERWORKS - SAT. MAR. 20, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
Delius is usually listed as a British composer, though his parents were German, and after the age of 20 he spent little time in England. His musical education was at the Leipzig Conservatory, which followed a period when he work on an orange plantation in Florida and taught briefly in Danville, Va. In Leipzig he met the celebrated Norwegian composer Edvard Grieg, and a Norwegian folksong used by Grieg in a
Charleston Symphony Orchestra David Stahl, Music Director
Backstage Pass
BACKSTAGE PASS - THURS. MAR. 25, 2010 - 7:00 P.M. - MEMMINGER AUDITORIUM
50
Mischa Santora, Guest Conductor Augusta Read Thomas, Composer
Beyond Belief Luigi Cherubini
Overture to Medea
9:00
Dance of the Sylphides from Damnation of Faust
3:00
(1760 – 1842)
Hector Berlioz (1803 - 1869)
Augusta Read Thomas
Terpsichore's Dream: A Ballet for Chamber Orchestra
17:00
(1964 - )
Joseph-Maurice Ravel (1875 – 1937)
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.
Pavane for a Dead Princess
6:00
F E AT U R E D P E R F O R M E R
Mischa Santora , Guest Conductor
Equally at home in the field of Opera, Mr. Santora has conducted fully staged productions with the West Australian Opera (Perth), with the Minnesota Orchestra, with Melopoeia Opera (Boston) and with the
Cincinnati Chamber Orchestra, where he staged his own productions of Dido and Aeneas and Don Giovanni. Past positions include Music Director of the Hungarian Opera Festival, Associate Conductor of the Minnesota Orchestra and Music Director of the New York Youth Symphony. Born to Hungarian parents in the Netherlands, Mr. Santora moved with his family of musicians to Switzerland where he began to study violin with his father. After his training at the Hochschule der Künste in Berlin he entered the conducting class of Otto-Werner Mueller at the Curtis Institute of Music.
F E AT U R E D P E R F O R M E R
Augusta Read Thomas , Composer The music of Augusta Read Thomas is majestic, elegant, lyrical, and is “boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music.” (Philadelphia Inquirer) Her deeply personal music is guided by her particular sense of musical form, rhythm, timbre, and harmony. Her vision toward the future, her understanding of the present, and her respect for the past is evident in her art. Most striking in her music, though, is its exquisite humanity and poetry of the soul. The notion that music takes over where words cease is hardly more true than in Ms. Thomas’ musical voice. In 2009, Ms. Thomas was inducted into the American
Academy of Arts And Letters, an honor society of 250 architects, composers, artists, and writers. The honor of election is considered the highest formal recognition of artistic merit in the United States.
Born in Glen Cove, New York, Ms. Thomas was the Mead Composer-in-Residence with the Chicago Symphony Orchestra from May 1997 through June 2006, a residency that culminated in the premiere of Astral Canticle – which was one of two finalists for the 2007 Pulitzer Prize in Music. During her residency, Ms. Thomas was under the direction of Daniel Barenboim. Her music has also been championed by leading conductors and has been commissioned by leading ensembles and organizations all around the world. Augusta Read Thomas was the Director of the Festival of Contemporary Music at Tanglewood in 2009 and she teaches at Tanglewood in the summers.
51 BACKSTAGE PASS - THURS. MAR. 25, 2010 - 7:00 P.M. - MEMMINGER AUDITORIUM
Mischa Santora, Music Director of the Cincinnati Chamber Orchestra, has guest conducted many of the leading orchestras around the world, including the Philadelphia, Minnesota and Louisville Orchestras, the Los Angeles Philharmonic, the Houston, National, New Jersey, Kansas City, Indianapolis, Charleston and Hartford Symphonies, the Zurich Tonhalle Orchestra, the Basel and Lucerne Symphony Orchestras, the Hungarian National and the Taiwan National Symphony, the Seoul Philharmonic Orchestra and the Auckland Philharmonia in New Zealand.
PROGRAM NOTES
Beyond Belief
BACKSTAGE PASS - THURS. MAR. 25, 2010 - 7:00 P.M. - MEMMINGER AUDITORIUM
52
Luigi Cherubini (1760-1842) was a musician’s musician who earned the profound admiration of his contemporaries, including Beethoven. An accomplished composer of both opera and sacred music, perhaps his greatest masterpiece is the riveting Opera Medea, composed in 1897. It’s a humanistic update of ancient Greek dramatist Euripides’ horrific tale of the mythical sorceress Medea, wife of Argonaut Jason (of the Golden Fleece). After her faithless husband leaves her for another woman, she murders their children in a fit of jealous rage. But Cherubini’s dramatic vision makes much more of the dastardly deed, delivering a deep and psychologically convincing portrait of the wicked heroine. The turbulent overture encapsulates the opera’s harrowing themes, riveting its listeners’ attention with its gut-wrenching sense of drama, foreboding, and raw, unfettered emotion. The only respite comes with some tender, even playful passages in the central section – perhaps evoking happier days gone by. But the underlying sense of rage and violence is never far from the surface. A marked contrast comes with Hector Berlioz’s (1803-1869) brief, but magical “Dance of the Sylphs” – from his so-called “dramatic legend,” The Damnation of Faust. Like his teacher Cherubini, Berlioz was drawn to demonic themes – like those found in Goethe’s Faust: the greatest and most influential drama of the nineteenth century (it inspired dozens of musical treatments throughout Europe). But in Berlioz’s adaptation, this incredibly delicate ballet scene is anything but demonic. The gentle dance occurs as part of a fantasysequence conjured up by Mephistopheles, the devil-villain, as the hero Faust lies dreaming in a pastoral riverside setting. Listen for a sustained foundation note from the cellos, backed up by pianissimo timpani and harp. Floating over this soft foundation, the muted upper strings weave a gossamer tapestry of airy melody that radiates a sweetly surreal, elfin aura.
Though many may doubt how melodic and accessible the music of living composers may be, Augusta Read Thomas’ ballet suite “Terpsichore’s Dream” is an appealing work rooted in legend, a timeless inspiration for composers across the centuries. The work – written just over two years ago – is inspired by Terpsichore, one of the nine ancient muses of Greek mythology. Being the muse of dance, what other form could the music take than a ballet sequence? The musical episodes flow smoothly from one to another, with an often restless sense of rhythmic vitality. The music’s kinetic drive is broken here and there by softly ethereal passages, and punctuated by some jazzy touches and flashes of vivid instrumental color. French impressionist master Maurice Ravel (1875-1937) composed his Pavane for a Dead Princess as a salon piece for piano in 1899, while he was still a student. Believing that it was written in “poor form” and “lacked daring,” the work’s immediate success surprised him – but led him to orchestrate it later, despite his reservations. Contrary to the title’s suggestion, the piece is not a funeral lament for a child; Ravel himself described it as "an evocation of a pavane (a stately Renaissance-era processional dance) that a little princess might, in former times, have danced at the Spanish court." Maybe that’s why the music projects such an aura of blithe, childish whimsy: the sort of mocksolemnity that a little girl could well have brought to such a noble occasion. As the dance-fantasy unfolds, the dreamy main melody is heard from the horns, drifting over a bed of luscious woodwind textures and pizzicato strings. The harp’s glissando passages let you “see” the child’s stylized movements. Ravel builds his cunning harmonies on modal tonalities drawn from Spanish folk and Renaissance influences, but sifted through an impressionist’s senses. Listen for two contrasting sections, sandwiched among three varied treatments of the main theme. But the piece’s gentle pace and mood remain mostly intact from beginning to end.
Charleston Symphony Orchestra David Stahl, Music Director
Masterworks
MERRILL LYNCH MASTERWORKS - SAT. APR. 17, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
54
David Stahl, Conductor Amy Lynn Call, Soprano Walter Cuttino, Tenor David Templeton, Baritone
Featuring the Charleston Symphony Orchestra Chorus
Season Finale Franz Joseph Haydn
The Creation
109:00
(1732 – 1809)
Part One:
Introduction: The Representation of Chaos Aria: Now Vanish Before the Holy Beams Recitativo: And God Made the Firmament Chorus The Marv’lous work beholds amaz’d Recitativo And God Said: Let the Waters… Aria: Rolling in Foaming Billows Recitativo: And God Said: Let the Earth Bring Forth Grass Aria: With Verdure Clad the Fields Appear Recitativo: And the Heavenly Host Chorus: Awake the Harp Recitativo: And God Said: Let There Be Lights Recitativo: In Splendour Bright is Rising Now Chorus: The Heavens Are Telling the Glory of God
Part Two:
Recitativo: And God said: Let the Waters Bring Forth… Aria: On Mighty Pens Uplifted Soars… Recitativo: And God Created Great Whales Terzetto: Most Beautiful Appear Chorus: The Lord is Great, and Great is His Might
—————————————-— intermission ——————————————————— Recitativo: And God Said: Let the Earth Bring Forth Recitativo: Strait Opening Her Fertile Womb Aria: Now Heav’n in Fullest Glory Shone Recitativo: And God Created Man Aria: In Native Worth and Honour Clad Recitativo: And God saw ev’ry thing Chorus: Achieved is the Glorious Work
Part Three:
Recitativo: In Rosy Mantle Appears Chorus: By Thee With Bliss, O Bounteous Lord Recitativo: Our Duty We Performed Now Duetto: Graceful Consort! At Thy Side… Recitativo: O Happy Pair Chorus: Sing the Lord Ye Voices All!
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.
This evening’s performance is sponsored by Dixon-Hughes.
F E AT U R E D P E R F O R M E R
Amy Lynn Call , Soprano Alpha Iota in 2006. In 2008, Ms. Call was the winner of the Virginia NATSAA Competition. She has performed the soprano solos in Handel’s Messiah, Mendelssohn’s Elijah, Orff’s Carmina Burana, Rutter’s Requiem, and Vivaldi’s Gloria. Her beloved teachers include Martina Arroyo, Mary Ann Hart, Charlotte Nelson Aiosa, Craig Fields, and In Dal Choi. She has performed in masterclasses by Carol Vaness, John Wustman, and the Czech and Slovak Martin Katz, and Gabriele International Voice Competition Lechner. Ms. Call is thrilled to in Montreal, Canada. She won make her debut with the the Adrian Boyer Competition at Charleston Symphony Orchestra Bay View in 2005 and the this season. national Career Performance Grant in Voice from Sigma
F E AT U R E D P E R F O R M E R
Walter Cuttino , Tenor Upon completing his education, Mr. Cuttino performed throughout Europe, with over 1,000 operatic performances to his credit. Ferrando (Cosi fan Tutte), Almaviva (Barber of Seville), Tamino (The Magic Flute), Lenski (Eugene Onegin), Alfredo (La Traviata) and Rodolfo (La Boheme) are a sampling of the more than forty roles in his repertoire. He has also performed over 500 concerts, including a concert tour with the late Leonard Bernstein to London and Moscow. Since the fall of 1996, Mr. Cuttino has been a member of the Voice Faculty (which he now chairs) at the University of South Carolina where he performs regularly and, in addition,
continues to perform on American and European stages. He is also Artistic Director of the Palmetto Opera, conductor of the Palmetto Mastersingers and Director of Music at Lake Murray Presbyterian Church.
55 MERRILL LYNCH MASTERWORKS - SAT. APR. 17, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
Soprano Amy Lynn Call returns to Oper Chemnitz (Germany) in 2009-2010 to reprise the role of Königin der Nacht, which she also performed in Freiberg, Döbeln, and Chemnitz in 2007 and 2008. She first appeared in Europe in Graz, Austria singing Beethoven’s concert aria “Ah, perfido!” and Violetta’s Act I scena from La Traviata with the Graz Festival Orchestra in 2006. Ms. Call has performed the roles of Königin der Nacht, Konstanze, Fiordiligi, Mimì, Violetta, Dido, and Lizbeth. Ms. Call was a finalist in the Meistersinger Competition in Graz, Austria, the Paul Robeson Competition in Washington, D.C.
F E AT U R E D P E R F O R M E R
David Templeton , Baritone
MERRILL LYNCH MASTERWORKS - SAT. APR. 17, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
56
Internationally acclaimed baritone David Templeton has garnered both critical and popular praise for the stunning quality of his vocal portrayals. OPERA Magazine exclaimed that Mr. Templeton “displays a strong voice and a convincing air of authority.” Opera News remarked that his voice is “full in tone, eloquent in expression.” Das Opernglas admired, noting that he provided “faultless enjoyment” and “impressed with his evenly measured, fully formed baritone.” Mr. Templeton has appeared to great effect with Opera de Puerto Rico, Edmonton Opera, Winnipeg Opera, Manitoba Opera and in the United States, he has Opera Columbus, Nevada
Opera, Toledo Opera, Hawaii Opera, Opera San José, Fresno Opera, Sarasota Opera, Connecticut Grand Opera, Piedmont Opera, Mobile Opera, and Illinois Opera. Mr. Templeton is most often associated with the title role in Don
Giovanni, as well as the principal baritone roles in Le Nozze di Figaro, La Traviata, Carmen, La Bohème and Madama Butterfly. On the concert stage Mr. Templeton has performed extensively throughout North America in a diverse repertoire that encompasses Brahm’s Ein Deutches Requiem, Mozart’s Requiem, Beethoven’s Ninth Symphony, Mussorgsky’s Songs and Dances of Death, and Ravel’s Don Quichotte et Dulcinée among others. Mr. Templeton joined the voice faculty at the College of Charleston in 2008, where he also serves as Director of Opera.
PROGRAM NOTES
The Creation (Die Schöpfung) supplemented by biblical verses from the creation account in Genesis and from the Psalms for the choruses of praise, which end each section. Van Swieten translated the English text into German, and Haydn set the German text, at times guided by suggestions for word-painting indicated marginally by Van Swieten. Van Swieten also seems to be responsible for the English text, which appeared in the first publication of the oratorio; this is a reasonably well-managed attempt to fit an English translation of the German to the rhythms that Haydn had written. This of course removes the text one further level from Miltonian language, though the recitatives more easily preserve the Biblical texts. Haydn worked on the score for some three years, 1795-98, after returning from his second London sojourn. “I fell daily on my knees and asked God for strength to finish it,” he said. The main part of the work was done in the summer and autumn of 1797. After the completion of the score and copying of parts there were a number of “premieres” of the work: a private one given twice on April 29 and 30, 1798, in the Schwarzenberg Palace, Vienna, with Haydn conducting; the first public performance on March 19, 1799, in the Vienna Burgtheater (with an orchestra of 120 players and a chorus of sixty); and competing British premieres conducted by John Ashley at Covent Garden, March 28, 1800, and the “official” one organized by Haydn's London impresario, J.P. Salomon, on April 21. The oratorio became very popular, with performances in such places as Paris after the full score was published in 1800. The first performance in America of some of the music was by the Moravians in Bethlehem, Pennsylvania. An organization formed in Boston (still active today) called the Handel and Haydn Society gave part of The Creation its first year (1815); Charleston’s short-lived Philharmonic Society performed The Creation at the Hibernian Hall in 1853. The Creation is easily one of the most popular of a triumvirate of oratorios, challenged only by Handel’s Messiah before it, and later in the 19th century by Mendelssohn’s Elijah.
57 MERRILL LYNCH MASTERWORKS - SAT. APR. 17, 2010 - 8:00 P.M. - GAILLARD AUDITORIUM
The oratorio is the Baroque era’s sacred counterpart to the opera. An oratorio is a musical setting (usually not staged) of a religious story in dramatic, narrative, or contemplative fashion. The first oratorios in Italy took their name from their place of location—an oratory, or prayer hall, where one went for sermons, lectures, prayers, and music. Oratorios spread throughout Catholic Europe, and in the large cities they were a popular alternative to opera during the penitential seasons of Advent and Lent. As Baroque musical style faded, so did the popularity of the oratorio, though in Haydn’s Vienna the oratorio tradition was still live enough. In 1775 he composed Il ritorno di Tobia (The Return of Tobit), and Mozart contributed to the genre as well. The oratorio tradition got a shot in the arm under the auspices of Baron Gottfried van Swieten (17331803) who had heard the choral works of Bach and Handel in Berlin while serving as Austrian ambassador. Back in Vienna the Baron organized a society of aristocrats to promote performances of Baroque music; for this group Mozart arranged and reorchestrated four Handel works, including Messiah. Handel had introduced oratorio to Protestant England in 1730s and it continued to flourish there after his death. Haydn got to know Handelian oratorio in a more direct way on his two trips to London in the 1790s. In 1791 he was present in Westminster Abbey for concerts, which included Handel’s monumental double-choir oratorio Israel in Egypt as well as Messiah. According an early biographer, Haydn “confessed...that when he heard the music of Handel in London, he was struck as if he was put back to the beginning of his studies and had known nothing up to that moment. He meditated on every note and drew from these most learned scores the essence of a true musical grandeur.” When he returned to Vienna he set about to write oratorios on a newer, larger scale. For the words of The Creation Haydn turned for help to Baron van Swieten. While in London Haydn had been given an anonymous oratorio text originally intended for Handel. The text for The Creation draws upon Milton’s Paradise Lost
from the CSO League President
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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 endowment 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 sponsor 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. In September we celebrated the opening of the concert season with our gala, “Black Tie and Pearls”, followed by the Kiawah Island House Tour and Concert held in November. Other projects will 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 selected Merrill Lynch Masterworks Concerts. 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 support our symphony.
Margaret Strauss President, CSO League
Charleston Symphony Orchestra League Board of Directors
Committee Chairs
President, Margaret Strauss Recording Secretary, Sue Ingram President Elect, Cathy McWhorter Corresponding Secretary, Carol Lou Yaeger VP Planning, Kitty Reid Treasurer, Kathy Pease VP Education, Julie Fenimore Parliamentarian, Gwen Gilmore VP Projects, Caroline Thibault Past President, Tacy Edwards VP Membership, Debora Brandt
Carol Wood • Ray Brock Tina Brollier • Kitty Reid Lucy Preyer • Bonnie Merkel Barbara Brock • Gerry Urbanic Jane Wainwright • Becky Hilstad Janet Knorr • Betsey Carter Sylvia Stallings • Johanna Bowen Mary Jo Daugherty
THE CHARLESTON SYMPHONY ORCHESTRA LEAGUE WISHES TO THANK THE FOLLOWING HOSTS AND SPONSORS WHO MADE THIS YEAR’S REVELS PROGRAM POSSIBLE: Lesesne Kay Long Susan Lucas, King Street Marketing Association Gail and Mike Maginnis Susan and Bobby Marlowe Mary Porter House of Couture Joey McQueeney, Charleston Chauffeur Company Kim and Jeff Meyer Phyllis Miller Linda Palmer and Mark Norton Mary Ellen and Jerry Ondo Piggly Wiggly Bonnie and Bill Perry Eloise Pingry Lucy Preyer Lee Pringle Catherine Rickwell Belinda Roberts Gail Roddey Delores and Lou Rosebrock Terri and Chris Schaffer Andrea Schenck, Plum Elements Gallery Maria Schendzelos, Morton James/Vita Maria Designs Marion and Burt Schools Shine Restaurant Nancye B. Starnes and David Hughes
Michael Smith Karen and David Stahl Margaret and Bud Strauss The Swamp Fox Marlies Tindall Carolyn Titus Normandie Updyke Cecily and John Ward Virginia Weckel Sarah White M.P. Wilkerson
Thanks to the current hosts and hostesses of Parties of Note! Kathleen and Robert Kobel Rebecca and Paul Hilstad Carol and Robert Wood Doris and Fitz Hardin, Jr. Edward and Janet Knorr Kathleen and Richard Fishburn Ralla and James Coker Marcia and Bernard Fulk Marie and Philippe Arnaud
State Officials: Andre Bauer, Converse Chellis, Bobby Harrell, and Glenn McConnell
Charleston Home Magazine, the Official Program Sponsor of the 2010 Symphony Designer Showhouse
Lexus of Charleston, the Official Car of the CSOL Proud sponsor of the 2010 Car Sponsorship Program
Starbuck Coffee Company, East Bay Street, Charleston The CSOL’s Coffee of Choice.
View www.csolinc.org for CSOL information or call: (843) 723-0020 Charleston Symphony Orchestra League, Inc., PO Box 22613, Charleston, SC 29413.
59 MERRILL LYNCH MASTERWORKS - SAT. SEPT. 27, 2008 - 7:00 P.M. - GAILLARD AUDITORIUM
Nancy and Dick Austin Juliann Bannon and Peter Humphreys Blue Bicycle Books Tina Brollier Ginny and Ted Brush Ann and Cary Burnett Betsey Carter, Cone 10 Studios Gallery Chuma Cupcake The Charleston Ballet Theatre The Charleston Symphony Orchestra Mary Jo and Jim Daugherty Tina Dear, Newton Farms Dave Echols, Charleston RiverDogs Prudence and Bill Finn Fish Restaurant Gwen and Randy Gilmore Sandra Gordon Hall’s Chophouse Gayle Hanley Celia and Chuck Hansult Kitty Hendrickson, Lexington Tours Mary Hewlette High Cotton Restaurant Marilyn and Ed Johnson Katherine Kelsey King Street Kitchen Company June and Mariano La Via Jonathan Leader, State Archeologist Angie and Fred LeClercq, Alkyon Art and Antiques
Thank you to the following people who helped make the 2009 Gala a fundraising success:
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Dr. & Mrs. James Allen Mr. & Mrs. Ted Legasey The City of Charleston Mr. & Mrs. Burt Schools Mr. & Mrs. Russell Hitt Bobbie Greenebaum Designs LLC Chris Rutigliano Mr. & Mrs. Chris McIntire Croghan’s Jewel Box Et Cetera Gourmet Food Shoppe Hightower Construction Co.,Inc Courtyard Art Gallery
Mr. & Mrs. C. Lucas Drake The Sanctuary Hotel Tidewaters Editions Mr. & Mrs. Ted Halkyard True Charleston Cuisine Wild Dunes Boardwalk Inn Woodlands Inn Bob Ellis Shoe Store Charleston Chamber Players Alan Molina & Megan Molina CSO String Quartet Oak Steakhouse
SYMPHONY ISLAND HOUSE TOUR AT KIAWAH CORPORATE SPONSORS PLATINUM Dolphin Builders and Architects GOLD Buffington Homes Charleston Symphony Orchestra Freshfields Village Kiawah Island Golf Resort Kiawah Island Real Estate Koenig Construction SILVER Camens Architects Christopher Rose Architects Gamble Home Services Haute Design Indigo Books Newton Farms Nolan Sires Construction R.M. Buck Builders Snyder Rentals Taylor Insurance Agency Wayne Windham Architect
BRONZE John L. Paul – Anderson Insurance Beba Luxe Bob Ellis Shoes Brennan’s Gifts Charleston Lighting & Interiors Dunes Properties GDC Home Lexus of Charleston Maybank Weight Loss Med Bistro Mercy Consignor Nearly New Furniture Palmetto Exterminators Palmetto Tile Distributors Progressive Integrations Rosebank Flowers Schoen Ace Hardware Signature Kitchens and Baths Sunnyside Farms Terrace Oaks Antique Mall Tom Smith Catering Vincents’s Drug Store & Soda Fountain CORPORATE FRIENDS Carolina Clay Gallery Helping Children with Cancer Thrift Store Morris Sokol Furniture The Spot – Freshfields Village
Commitment to
EDUCATION Our educational programs for young people are a hallmark of the Charleston Symphony Orchestra’s mission creating strong, more well informed generations of Lowcountry residents. We believe it is part of our mission to expose young people to classical music, instruments and the stories behind the music. The CSO reaches more than 16,000 school-age children each year through our in-school services and Young People’s Concerts. The CSO’s commitment to creating enduring relationships 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. Numerous studies reveal that children who participate in music programs show improved spatial-temporal skills, enhanced academic performance, and better social skills. According to a 2001 College Entrance Examination Board study, students with coursework or experience in music performance scored 57 points higher on the verbal section of the SAT and 41 points higher on the math; those who participated in music appreciation scored 63 and 44 points higher, respectively, than those students with no arts participation. A 1999 study from the UCLA Graduate School of Education and Information Studies showed that gains from music were just as great or greater for students of low socioeconomic status as for privileged students. The Charleston Symphony Orchestra will perform in small ensembles almost 100 times in 50 schools in five counties at no cost to the school districts. The time and resources are 100% donated by the Charleston Symphony and its supporters. In addition, the CSO performs for approximately 6,000 students at the “Young People’s Concerts” at the Gaillard Auditorium and Charleston Southern University. The entire Charleston Symphony Orchestra performs for the young people transported by their schools to enjoy a low cost concert.
“I just wanted to thank you so much for getting such talented musicians to come to Morningside MS and making this experience possible for the kids here. My students really enjoyed the visit from the CSO trio and I think it opened up their eyes. It was a great experience for everyone involved and I just wanted to convey that to you! Thanks for all that you do!” — Erik Ridgway Director of Bands, Morningside Middle School (North Charleston, SC) “The woodwind quintet visited Goodwin Elementary School on Thursday, and were FANTASTIC!!! The “Instrument Olympics” were cute, and yet allowed the students to actively participate in a series of listening experiences and physics experiments. Each member introduced their instrument, explaining how sound is created and telling a little of “its story.” The excerpts they modeled for the children were fun, and several, many of the students could recognize. Thanks again for you and your staff’s dedication to the arts and public education. I even had a second grader after school tell me how ‘Great!!!’ the symphony was, and that her favorite instrument was the “big red one.” Put one “notch” in your belt for at least one future double-reed player.” — Rich Moon Goodwin Elementary School (North Charleston, SC) The CSO provides artistic leadership by advancing the music with its ensemble of curious, inventive, highly-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.
Please visit www.charlestonsymphony.com/education to learn more about our educational programs.
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The following businesses, individuals and foundations gave generously to support the Charleston Symphony Orchestra through December 1, 2009, or have pledged support for the current season. We greatly appreciate their gifts and could not have had a successful season without them.
DONORS
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Platinum Circle $50,000+
Music Director Circle $25,000+
Dr. and Mrs. James C. Allen Charleston Harbor Benefactors Society King & Queen Company Mr. and Mrs. William D. Saal Joseph J. Schott Foundation
Anonymous Mr. and Mrs. Anthony E. Bakker Mr. and Mrs. Edwin S. Halkyard Mr. and Mrs. Edward E. Legasey Mr. Anthony McAlister Merrill Lynch
Gold Circle $10,000+ 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 Coastal Community Foundation of SC Cypress Healthcare Foundation Daniel Island Community Fund Estate of Dr. Charles Jumper 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 Exchange Club of Kiawah-Seabrook Gamble Home Services 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 Mr. Anthony McAlister 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. Estate of Henrietta Means Walton
Musician’s Circle $2,500+ Blackbaud Buck and Jean Carlton Charleston Ballet Theatre Dr. and Mrs. Malcolm Clark Mr. and Mrs. Larry Codey Cypress Healthcare Foundation Detyens Shipyards, Inc. 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 Bob and Marcia Hider 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. Mr. Jerome Solar Southern Arts Federation
Diamond Circle $100,000+ Anonymous City of Charleston CSOL, Inc. Gaylord & Dorothy Donnelley Foundation Estate of Mary C. Everts Town of Kiawah Island McCrady’s Restaurant Estate of Donald F. Wahl
Mr. and Mrs. John D. Stewart Dr. and Mrs. George Taylor Dr. and Mrs. Richard E. Ulmer William & Prudence Finn Charitable Trust Mr. and Mrs. William C. Warner WWW Foundation
Conductor’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 Mr. Daniel Beckley Gary and Karen Beeler Mr. and Mrs. John T. Benton Mr. and Mrs. J. Anderson Berly, III Dr. and Mrs. Stephen Berque Blackbaud Fund of The Coastal Community Foundation W. O. Blackstone & Company, Inc. Mr. Anthony C. Bland 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 Mr. Adam Brecht John & Jean Breza Howard and Marilyn Brilliant Drs. David and Tina Brollier The Gray Charitable Trust 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 Gail and David Corvette
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 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 Dr. Norton and Mindy Seltzer Showa Denko Carbon, Inc. Mr. and Mrs. James H. Small Norman and Merinda Smith Steel Solutions, Inc. Mr. and Mrs. Roger Steel 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. Mr. and Mrs. John H. Warren III 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.
Patron $500+ Mr. and Mrs. James P. Anderson Robert and Kathleen Anderson Awendaw Green Drs. James and Lisa Barclay Charles and Sharon Barnett 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 Lynda and Bill Glavin Mrs. Paul Gourary Mr. Enrique Graf Peter and Kirk Grant Clay Grayson and Manoli Davani Greater Charleston Labor, AFL-CIO Mr. Brad Hall 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 Mr. John Lauritsen Mr. John R. Lauritsen Dr. Walter Levanthal Limehouse Produce Company Inc. Charles and Joan Lipuma Mr. Charlie Luce Clarence & Judy 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. 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 Women’s Book Club Ms. Karen Attanasi Mrs. Nancy F. Attaway Joan T. Avioli Bernard and Cathy Bandish Drs. James and Lisa Barclay Dr. Sy Baron Sheila Beardsley Charles and Ann Beauchamp Ms. Karin Beckert
(continued)
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63 DONORS
Mr. and Mrs. Robert R. Cox, Jr. Mr. and Mrs. G. Joseph Crispyn Dr. and Mrs. C. Richard Crosby Mrs. Marilyn Curry Cypress Healthcare Foundation Mrs. Carol S. Davie Gary W. Dietrich Family Foundation Shani Diggs Mr. and Mrs. John Dolven Dunes Properties Durlach Associates, Inc. Ralph and Nancy Edwards 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 Franke at Seaside Dr. James W. Freston The Joanna Foundation 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. Mark and Judith Green The Gray Charitable Trust 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 William and Corinne Khouri 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 Andreas and Caroline Maas 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 Melody and Jerry Nuss Mrs. Elizabeth B. O’Connor Mr. Alexander Opoulos Bettye and Jim Orr
DONORS
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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 Mr. David Brockway 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. Laura Clark 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 Mr. and Mrs. James Decker Dr. Gordon Dehler and Dr. Ann Welsh 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 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. John Fenimore David and Nancy Fleshman 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 Jeffrey and Donna Jacobs 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 Mrs. John David Johnston Kristine Johnson Mr. and Mrs. Donald P. Jones Eileen Joyce and Edward Schleimer Dr. and Mrs. Kenneth S. Kammer 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. Dennis C. McCabe 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 Dennis and Nancy Olenwine Dr. and Mrs. James M. Orcutt Mr. and Mrs. John Pelletier Mrs. Rosalie H. Pembridge Mr. Patrick Peterson 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
Marcel Reichart and Loretta Lynch-Reichart Mr. and Mrs. Donald Reid The Remington Foundation at Franke Mr. W. McLeod Rhodes Pat and Tom Richards Mr. Terrence R. Robin 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 Mr. and Mrs. William J. Small 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 F.T. and Cecily Stack 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 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 (843) 723-7528.
65 Adams Outdoor Advertising APEX Broadcasting Atlantic Tent Belva’s Flower Shop Charleston Air Force Base Honor Guard Charleston Southern University Christ Episcopal Church Citadel Square Baptist Church The Citadel and Summerall Chapel 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 IceBox Bartending Service James Island Cleaners King & Queen Company Lindsay Koob LaQuinta Inn Riverview Mt. Moriah Baptist Church Production Design Associates (PDA) Renaissance Charleston Hotel Sharon Rittenberg St. John the Beloved Catholic Church St. Matthew’s Lutheran Church St. Theresa the Little Flower Catholic Church David Simmons SunTrust Bank, Inc. Teleco
in HONOR of:
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Patricia Benzien Penelope M. Hyland
Dr. Roy A. Howell, Jr. The Girls at 30 Bee Street
CSO Brass Dr. William D. Gudger
Mrs. Susan Johnson Ms. Susan D. Boyter
Dr. David Garr & Ms. Deborah Williamson Rebecca Garr Joshua Garr Camille & Red Hall
Mr. Morris Kalinsky Dr. and Mrs. Gordan B. Stine
Dr. Margot S. Freudenberg Charles & Marlene Williamson Mr. Leonard “Curly” Greenebaum Mike & Judy Herman
John Schroeder David & Gernande Wachenfeld Mrs. Aline Smith Etan Consulting, LLC Charles S. Swanson Mr. & Mrs. Warren D. Watts Mr. Stephen G. Stonehouse
Dr. Roy A. Howell Ms. Deverett Smith
in MEMORY of: Mr. Richard A. Austin Randy & Gwen Gilmore Fritz and Julie Lorscheider Mr. James John Barnhill Florence & Thomas Anderson Mr. & Mrs. Edward Ball Nancy & Paul Beck Mrs. Betsy Clawson Ms. Carol Cocchiola Mr. Michael J. Danaher, Jr. Mr. William S. Detwiler John & Ann Gabor Ronald & Vickie Gelfo Lynda & Bill Glavin Ms. Deborah Gray Mr. & Mrs. Bennett L. Helms Ms. Sarah C. Holland Mr. Dennis C. McCabe Susan Merkel & Joseph Yavitt Larry & Judy Reid Ms. Elease M. Smith Kathy & Martin Sparks Ms. Mary A. Walsh
Mr. Bennett Brecht Mr. Adam Brecht Maida & Fred DuPlessis Ms. Elinor S. Kessel Mr. Harold Jacobs Charles & Marlene Williamon Mrs. Hazel King Ms. Katherine W. Nicholson Mrs. Claire McPhail Kitty & Randal Robinson Mrs. Mary Croghan Ramsay Florence & Thomas Anderson Mr. & Mrs. Leonard Greenebaum David & Scottie Hoffman Ted & Jackie Mappus Mrs. Eloise Pingry Ms. Patience D. Walker
The arts nourish our
hearts and imaginations.
For that reason and many more,
we’re proud to support the
arts in Charleston.
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312 1/2 King Street | Charleston, SC 29401 | 843.722.3634 | www.fineartjewelry.com
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EXPERIENCE KNOWLEDGE DEDICATION
Thomas Bennett Alton G. Brown III Carey Burnett Olin Chamberlain Adam & Charlotte Edwards Richard Halsey Lynn Hanlin Sharon Kucharski Melinda Laurens Weesie Newton Tim Reese Bev Seinsheimer Jane Smith Smith Charles Sullivan Judy Tarleton Laurie Tarleton Justin Thomas Margaret von Werssowetz
19 Exchange Street Charleston, South Carolina 843.266.8000 877.266.8005
www.carriageprop.com
The Charleston Symphony Orchestra receives support from the following government agencies:
A Future No Door Frame Can Measure.
INVEST IN THEIR LIFETIME
843.402.4775
PORTERGAUD.edu
M
usic is the wine that fills the cup of silence. -Robert Fripp
843.723.7150 DanielRavenelSIR.com Each Office Is Independently Owned And Operated.
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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
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