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Table of Contents CONCERTS
Masterworks
20...........Beethoven’s Emperor 32...........Scheherazade 36...........Beethoven Symphony No.7 42...........Spring Awakening 48...........Mahler’s Resurrection
Pops at the Gaillard
18...........Broadway’s Golden Age 26...........Gospel Christmas 28...........Holiday Pops Celebration 46...........The Music of John Williams: an 80th Birthday Tribute
Chamber Orchestra
24...........Beethoven Left His Mark 30...........Time Machine: Mozart in Prague 40...........From Salzburg with Love
2....... House Notes 4....... CSO Musicians 8....... CSO Administration & Board 10....... Executive Director Letter 11....... Board President Letter 12....... Yuriy Bekker
14....... CSO Chorus 15....... CSO Gospel Choir 15....... CSO Spiritual Ensemble 16....... CSO League 52....... Donor Recognition
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House Notes TICKET INFORMATION
FOR THE ENJOYMENT OF ALL
• Concert Tickets
• Quiet, Please!
Visit www.charlestonsymphony.org or call us at (843)723-7528. Tickets are also available at 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 may apply.
Please be sure to turn off all cell phones, paging devices, and watch alarms.
• Group Discounts A 20% discount is available to groups of 20 or more for select performances. Contact the CSO office for details, (843) 723-7528, ext. 110. • Student Discount All full-time students with a valid ID may purchase tickets for $10 (some concerts excluded; subject to availability).
• Electronic Devices Cameras, camera phones, audio recorders and video recorders are not permitted, as they may interfere with the musicians’ performance. • From the stage Free to all ticket holders, pre-concert talks are held from the stage from 6:30-7:00 p.m. prior to all Masterworks Series concerts at the Gaillard Auditorium. • Late Seating
• Senior Rush Senior citizens age 60 and older may purchase Masterworks Series concert tickets at the Gaillard Box Office one hour prior to concert for $20. Tickets and seating subject to availability.
In consideration of both artists and audiences, latecomers will be seated at an appropriate interval at the discretion of staff. Doors open one hour prior to performances.
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. SUBSCRIBERS - 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 taxdeductible contribution. As an alternative, you may pass along your unused tickets to friends or family. All tickets are non-refundable and single ticket exchanges are not offered. Call (843) 723-7528 ext. 110 or visit the Gaillard Auditorium Box Office for details.
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Welcome to this performance of the Charleston Symphony Orchestra. Here are some tips and suggestions to enhance the concert experience for everyone. Enjoy!
FOR YOUR COMFORT AND CONVENIENCE
IMPORTANT info
• Parking
Patron Services: (843) 723-7528, ext. 110
Gaillard Auditorium: Paid parking is available in the garage adjacent to the auditorium for $5 and additional street parking is available. Accessible parking is available in 10 spaces at the George St. entrance to the auditorium. Dock Street Theatre: Paid parking is available at the nearest garage on the corner of Church and Cumberland. Discounted rates are available at the City garage on Queen St. (near King St.) if patrons give their concert ticket to the attendant upon exit. Additional street parking is available.
Ticketmaster: (800) 982-2787 Donations and Sponsorships: (843) 723-7528, ext. 103 Our New Address: 572 Savannah Highway Suite 100 Charleston, SC 29407
• Accessibility
Office Hours: Monday-Friday 9:00 a.m.-5:00 p.m.
Please ask staff to assist with accessible seating when purchasing tickets.
Our new website: www.charlestonsymphony.org
Gaillard Auditorium: Main Level seating locations, elevators, and restrooms are provided for wheelchair patrons. Devices for the hearing impaired are located in the concessions area. Please see an usher or staff member for more information. Dock Street Theatre: Accessible seating is available on the main floor level.
STAY CONNECTED www.facebook.com/ charlestonsymphony and on twitter: @ChsSymphonyOrch FOR YOUR SAFETY
• Restrooms Restrooms are conveniently located on each level at Gaillard Auditorium and Dock Street Theatre. • Food and Beverage Gaillard Auditorium: Bars serving soft drinks and wine are located in the main floor lobby. Food and beverages are not permitted inside the hall. Dock Street Theatre: Concessions are available at the Dock Street Theatre during concerts with intermission only. Food and beverages are not permitted inside the hall.
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.
Concerts, performers, dates, times, fees and locations are subject to change with or without notification.
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Musicians Violin
Viola
Cello
Yuriy Bekker *
Jan-Marie Christy Joyce *
Norbert Lewandowski * •
Concertmaster
Principal
Principal Chair permanently endowed by the Charleston Symphony Orchestra League
Asako Kremer * •
Alexander Agrest * •
Assistant Principal Second
Assistant Principal
Frances Hsieh Nonoko Okada Lauren Paul Brent Price
Damian Kremer * • Assistant Principal Chair Sponsor: Mrs. Barbara Chapman
Tim O’Malley
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* Designates core musicians • Designates acting position
Bass
Flute
Clarinet
Thomas Bresnick * •
Jessica Hull-Dambaugh *
Charles Messersmith *
Principal
Principal
Principal
Regina Helcher Yost *
Gretchen Roper *
Chair Sponsor: Dr. Jim and Claire Allen
Oboe
Tacy Edwards
Mark Gainer * Principal
continued >>
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Musicians Bassoon
Horn
Trombone
Katherine St.John * •
Brandon Nichols *
William Zehfuss *
Principal
Principal
Principal Chair Sponsor: Cal and Joyce East
Trumpet
Anne Holmi *
Debra Sherrill Michael Smith * • Principal
Thomas Joyce, * Bass Trombone Chair Sponsor: Robert and Benita Schlau
* Designates core musicians • Designates acting position
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continued from previous pages
Timpani
Percussion
Harp Kathleen Wilson
Beth Albert *
Ryan Leveille *
Principal
Principal
Chair Sponsor: Dr. S. Dwane Thomas
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2011-2012 Board of Directors Executive Committee: President: John H. Warren, III Partner, Warren & Sinkler Attorneys at Law
VP Marketing: Charlie Cumbaa
VP Finance: Robert Schlau Wealth Management Advisor, Merrill Lynch
VP Artistic: Robert Blocker The Henry and Lucy Moses Dean of Music, Yale University
VP Development: L. John Clark Chairman, The Steamboat Capital Group, LLC
Secretary: Bratton Riley Director of Program Development at Maybank Industries, LLC
VP Nominating and Governance: Burton R. Schools Former Executive Vice President of Piggly Wiggly Carolina Co. and President of Greenbax Enterprises
CSOL President: Caroline Thibault
VP Education: Dr. James Braunreuther Fine Arts Coordinator, Charleston County School District
President, Enterprise Customer Business Unit at Blackbaud
Immediate Past President: Ted Legasey Former Executive Vice President and Chief Operating Officer of SRA International, Inc.
Directors: Quentin Baxter Musician/Adjunct Professor of Jazz Percussion, College of Charleston Alphonso Brown | Owner, Gullah Tours
Nat Malcolm | Co-Owner, Indigo Books John Maybank | Senior Vice President of Wealth Management, Morgan Stanley Smith Barney Phyllis Miller | Retired Antique Dealer, Volunteer
Chris Burgess Assistant Professor of Arts Management, College of Charleston
Lee Pringle | Financial Services Professional; founder of the CSO Gospel Choir and the CSO Spiritual Ensemble Dr. James M. Ravenel |Physician, Former Chairman of the Board, Roper St. Francis
Ellen Claussen Davis President, E.C. Davis & Associates Shani Diggs Regional Sales Manager, Hospital Sales Mid-Atlantic, Quintiles Commercial Julie Fenimore | Educator, CSO Advocate Clay M. Grayson | Partner, Haynsworth Sinkler Boyd, P.A. Mary Hewlette | Attorney, Local Ambassador at Third Sector Connector Clyde Hiers | Certified Public Accountant
Mayo Read | Former owner of Palmetto Travel Service Libby Smith | Owner, At Goal Inc Mary Ann Solberg | Deputy Director of the White House Office of National Drug Control Policy Linda Weber | Corporate Community Relations Manager, First Federal Dwight Williams | President, Charleston Symphony Orchestra Chorus Bright Williamson | Principal, Associated Spine Technologies
Life Members:
Ex-Officio Members:
Margot S. Freudenberg Laura Hewitt Max L. Hill, Jr. Marianne Mead Eloise Pingry Edward H. Sparkman
Marty Besancon | Director of the City of North Charleston’s Cultural Arts Department Dr. Joseph M. Jenrette, III | Doctor (Radiology) at MUSC Cathy McWhorter | Past President, Charleston Symphony Orchestra League, Inc Valerie Morris | Dean, School of the Arts, College of Charleston Ellen Dressler Moryl | Director, City of Charleston Office of Cultural Affairs
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Segment Boards The CSO’s Segment Boards are a new organizational initiative designed to enhance support of CSO programs and development through targeted approaches to CSO programmatic efforts. These collaborative advisory groups are comprised of CSO Board members, CSO League members, Musicians, Staff and members from the community.
Masterworks Segment Board:
Pops Segment Board:
John Maybank* Robert Schlau* Yuriy Bekker, Concertmaster & Artistic Advisor Charlie Cumbaa Ellen Davis Sandra Gordon Clyde Hiers Becky Hilstad Sue Ingram Ted Legasey Charles Messersmith, Principal Clarinet Ellen Moryl Burt Schools Michael Smith Dwight Williams
Shani Diggs* Bratton Riley* Quentin Baxter Mary Hewlette Jessica Hull-Dambaugh, Principal Flute Hugh McDaniel Bonnie Merkel Kathy Pease Libby Smith Michael Smith, Principal Trumpet Caroline Thibault
Chamber Segment Board: Mayo Read* Bright Williamson* Jean Carlton Clay Grayson Thomas Joyce, Bass Trombone Nat Malcolm Phyllis Miller Marie Louise Moreto Lee Pringle Jamie Ravenel
Education Segment Board: James Braunreuther* Alexander Agrest, Assistant Principal Viola Alphonso Brown Christopher Burgess Julie Fenimore Valerie Morris Mary Ann Solberg Linda Weber
* Chair / Co-Chair
Administration Executive Director Daniel Beckley
Director of Marketing Nicole Ward
Development and Events Assistant Tricia Case
Concertmaster & Artistic Advisor Yuriy Bekker
Operations Manager Michael Smith
Marketing and Research Assistant Allison Schnake
Director of Patron Services & Education Cynthia Branch
Finance Manager Lisa L. McDonald, CPA
Music Librarian Beth Albert
Director of Development Alana Morrall
Personnel Manager Thomas Joyce
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Notes from the CSO’s Leadership
Dear fellow music lovers, We are so pleased that you have joined us for this presentation of the Charleston Symphony Orchestra. The CSO is a renewed and reinvigorated institution. Our renaissance and resolve are no better epitomized than in our Masterworks season finale by Gustav Mahler entitled, “Resurrection.” Each and every performance of the CSO represents the celebration of the individual passions and cultures of our musicians, as we explore the most powerful and intoxicating music composed over the last 300 years. These individual expressions will be brought together on stage into one coherent expression through the world’s universal language - music. This season, more than ever, the CSO is working throughout our community. You will hear us perform Chamber Music, which presents an opportunity to hear our internationally accomplished musicians in a more intimate environment. These concerts will be performed in unique and historic venues throughout the Lowcountry, and I invite you to join us at a performance near you. Charleston’s cultural landscape is materially elevated by the resident musicians of the CSO. In addition to the broad spectrum of events that these musicians perform in with the CSO, their presence in the community profoundly affects the cultural fiber of our community, as you will assuredly see them around town in just about every civic function imaginable, as well as in our schools teaching our children. Truly, these musicians play a vital role in the advancement of our community. Please leave the stresses of the world at the door, and allow yourself to “accompany” the musicians of the CSO on a musical journey that is sure to leave you inspired!
Daniel Beckley Executive Director, Charleston Symphony Orchestra
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Dear Friends of the Charleston Symphony Orchestra, As we embark on an exceptional season, I want to extend my deepest appreciation for your dedication and commitment to the Charleston Symphony Orchestra. Despite the nation’s turbulent economic downturn augmented by unprecedented challenges at the CSO, our collective efforts earned the organization a balanced budget for the 2010-2011 season. Ending our fiscal year in the black is an exceptional achievement for any performing arts group. We made the difficult but necessary decisions needed to create a sound business model and now it is time to move forward. When assuming the role of Board President I was confident that as an invested group of leaders and advocates of the Orchestra, we could overcome the obstacles and direct a more stable CSO to emerge - one able to better serve the community. The CSO is now uniquely positioned for success, with the right pieces in place: strong leadership, a vibrant and professional staff, commitment from the musicians, and support from the community. Most importantly, the organization has developed a financially sound business model that will propel the CSO towards a sustainable future. It’s wonderful to be a part of such a revitalized organization and I hope that you will continue to join us not only this season, but many more. On behalf of the Board of Directors, we are deeply grateful for your patronage and support.
John H. Warren, III President, Board of Directors
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Yuriy Bekker CS O Co nce r tmaster & Ar tis tic Advis or
Y
uriy Bekker, a native of Minsk, Belarus, is now a U.S. citizen. As CSO Concertmaster since 2007, he was also recently named Artistic Advisor. Mr. Bekker held positions as the Concertmaster of the Orlando Philharmonic Orchestra and AIMS Festival in Graz, Austria. He has also played with the Houston Symphony, Houston Grand Opera and Ballet Orchestras, and Louisville Orchestra. He has collaborated with Herbert Greenberg, Claudio Bohorquez, Alexander Kerr, Andrew Armstrong, Sara Chang, and Gil Shaham. Mr. Bekker has performed at the Kennedy Center and Chicago Chamber Music Society. Recent solo appearances occurred in New York City, Chicago, Miami, Asheville, NC, Flagstaff and Scottsdale, AZ, Orlando, and Graz, Austria as well as numerous engagements as a soloist with the Charleston Symphony. He has played festivals worldwide including the European Music Festival Stuttgart, Pacific Music Festival, Spoleto Festival USA, Piccolo Spoleto Festival, and Aspen Music Festival. Mr. Bekker is on the faculties of the College of Charleston School of the Arts and the Charleston Academy of Music. In addition, he has been Artistic Advisor to the Piccolo Spoleto Festival. Recently, he was given an award from Mayor Joseph P. Riley and the City of Charleston for his cultural contributions. 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. There he studied violin with Nelli Shkolnikova and Ilya Kaler.
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Dear Friends, Welcome to the 2011-12 season! We are so excited to present a distinguished line up of conductors, guest artists and some of the most gorgeous works ever written for symphony orchestra. Our opening night Masterworks features Dvoˇra´ k’s Eighth Symphony and world-renowned pianist Emanuel Ax performing Beethoven’s Fifth Piano Concerto. We are so thrilled to have Stuart Malina conduct this as well as the opening night of our Pops series, which features top musical hits of Rodgers and Hammerstein. The fun does not stop after opening night. In December, there are two very entertaining holiday programs. In January, it will be an honor to have one of the most famous and dynamic female conductors, JoAnn Falletta, lead the CSO for a mesmerizing performance of Rimsky-Korsakov’s Scheherazade. The season closes with Daniel Hege conducting one of the most profound works in the orchestral repertoire, Mahler’s “Resurrection” Symphony. In addition, we have a new Chamber Orchestra series. This three concert series features some of the most celebrated works of Mozart, Haydn, and Beethoven and showcases your CSO musicians as soloists performing in Charleston and beyond. We are so proud that our Orchestra attracts such crème de la crème artists – especially those very talented musicians within our own core. This season will surely be one to remember!
Yours truly,
Yuriy Bekker Concertmaster and Artistic Advisor
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Affiliates Chorus
T
he Charleston Symphony Orchestra Chorus is a dedicated group of auditioned, volunteer singers drawn from the greater Charleston area. The Chorus was founded in 1978 by Miss Emily Remington, originally as the Charleston Singers Guild. Dr. Robert Taylor joined as Music Director in 1998. He also serves as Director of Choral Activities at the College of Charleston, and Founder and Artistic Director of the Taylor Music Group and Taylor Festival Choir. As an affiliate of the Charleston Symphony Orchestra, the Chorus has provided the choral component for masterworks concerts for the City of Charleston for over 30 years. The CSO Chamber Singers, a division of the Chorus, provides a smaller ensemble to perform works in the chamber repertoire and is also dedicated to performing works by contemporary local composers.
Officer and Board positions for the 2011-12 Season
President Dwight Williams Vice President Ann Borelli Treasurer Vacant Secretary Crystal Fox
Section Leaders Soprano Alto Tenor Bass
Myrtle Staples Francine Margolius Susan Cheves Daphne Hoddinott Mark Lazzaro Norman Smith
Ex-officio positions
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Librarian Accountant Wardrobe
Karen Rider Mary Wilks Theresa Robards
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For more than a decade, the mission of the CSO Gospel Choir and the CSO Spiritual Ensemble has been to support the CSO’s outreach efforts and preserve and honor two forms of music woven into the fiber of American life. From the blues, which gave us the African-American Gospel, to R&B, Rock & Roll and pop music, the roots of each form are directly connected to the African-American Spiritual. In a small yet profound way, both the Gospel Choir and the Ensemble are an extension of the many noted African-American artists who brought their Black Church experience to wider audiences. As we embark upon our most ambitious season ever, I am proud to lead two affiliates that bear our Orchestra’s name. Their talent and dedication with each performance is a spiritual feast. Watching the face of a listener transform—whether in the blossoming of a smile, clapping their hands or brushing of a tear from the eye—is a joyful and moving experience. The 80-voice CSO Gospel Choir and 35-member CSO Spiritual Ensemble look forward to seeing you for our 2011-2012 season.
Lee Pringle Founder and President, CSO Gospel Choir and CSO Spiritual Ensemble
Gospel Choir
Spiritual Ensemble
U
F
nder the direction of Sandra Barnhardt, and now celebrating its eleventh season, the 80+ member CSO Gospel Choir celebrates the passion and joy of gospel for annual concert events including a Palm Sunday performance, Charleston International Festival of Choirs, the CSO Gospel Christmas, Martin Luther King, Jr. commemoration events, Piccolo Spoleto Festivals, as well as other regional concerts throughout the season. This season the Choir will debut the new CSO Gospel Ensemble, a smaller group conceived for special events throughout the region. The Choir will tour Ghana, West Africa in March 2012.
Upcoming Performances
ounded in 2008, the 35-member CSO Spiritual Ensemble honors the “spiritual” – a historical musical form born out of the suffering and endurance of African slaves after arriving in the southeastern United States. The Spiritual Ensemble regularly performs for local and regional events. In 2010, the group debuted the CSO Spiritual Ensemble Chorale – a smaller, 16-member group. In March 2012, the Spiritual Ensemble will tour Ghana, West Africa.
Upcoming Performances A Spiritual Christmas Thanksgiving Weekend Saturday, November 26, 2011 • 7pm Circular Congregational Church
11th Annual CSO Gospel Christmas with the Charleston Symphony Orchestra Dr. Jeffrey B. Redding, guest conductor Saturday December 3, 2011 • 7:30pm Gaillard Auditorium, Charleston
Sunday Matinée, November 27, 2011 • 4pm Mt. Zion A.M.E Church, Charleston His Light Still Shines Musical Tribute to Martin Luther King, Jr. Saturday, January 14, 2012 • 7pm Royal Missionary Baptist Church, North Charleston
His Light Still Shines A Musical Tribute to Dr. Martin Luther King, Jr. Saturday, January 14, 2012 • 7pm Royal Missionary Baptist Church, North Charleston
Moses, Let My People Go! II Musical Tribute to Moses G. Hogan Saturday, February 4, 2012 • 6pm Trinity United Methodist Church, Charleston
Pure Gospel: Authentic Reflections II Saturday, February 11, 2012 • 5pm Calvary Baptist Church, Charleston
For more information visit: www.csospiritual.com
The Great Migration: 1915 -1930 African-American Southern Exodus Debut Palm Sunday, April 1, 2012 • 5pm St. Matthews Lutheran Church, Charleston For more information visit: www.csogospel.com
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Charleston Symphony Orchestra League The Charleston Symphony Orchestra League welcomes you to join us in our support of the CSO. We are a group of dedicated volunteers who gather to raise money for the Orchestra and scholarships for Lowcountry musicians, as well as to make new friends and have a good time. We have been doing this for more than forty years, turning our projects into Charleston institutions. Our Designer Show House has a history of more than thirty seven years, while our Island House Tour has completed ten. In addition, we sponsor small parties which enable our members to know each other better and enjoy themselves. This year’s Revels will include a pig roast, an oyster roast, a clay workshop and a full moon party – just to name a few. We also have various committees that work with audience development, arts advocacy at the local and statewide levels, and are affiliated with the Southern Orchestra Volunteers Association. This is but a brief introduction to some of our many activities. Visit our website, CSOLinc.org, for further information and membership application forms. We need your help and enthusiasm! We welcome you to the CSOL. Caroline Thibault President, Charleston Symphony Orchestra League
CSOL ® Calendar 2011-2012 November 5...................Island House Tour, 10:00am-4:00pm November 11.................Coffee with the Maestro, 10:00am December 2..................Christmas Party, 2:00pm-4:00pm January 11......................Coffee with the Maestro, 10:00am February 10...................Coffee with the Maestro, 10:00am March 14........................Designer Show House Preview Party, 6:00pm-9:00pm March 15........................Designer Show House Opens May 11............................Luncheon, 11:30 am For more information, visit www.CSOLinc.org or call (843) 723-0020.
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at the gaillard Friday, November 4, 2011 7:30pm Gaillard Auditorium
Stuart Malina, conductor • Rita Harvey, vocals • Ron Bohmer, vocals • CSO Chorus
Broadway’s Golden Age Richard Rodgers The Carousel Waltz (1902-1979) It’s a Grand Night for Singing Oscar Hammerstein, II I Have Dreamed I Whistle a Happy Tune (1895-1960) Hello Young Lovers June is Bustin’ Out All Over If I Loved You Mister Snow You’ll Never Walk Alone Soliloquy —————————————-
i n t e r m i s s i o n —————————————-
Rodgers and Hammerstein Orchestral Interlude Younger than Springtime A Wonderful Guy There is Nothin’ Like a Dame Some Enchanted Evening My Favorite Things Climb Ev’ry Mountain Do-Re-Mi The Sound of Music Oh, What a Beautiful Mornin! Surrey with the Fringe on Top People Will Say We’re In Love Oklahoma
Presenting Media Sponsor
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Rita Harvey, vocals featured performer
R
ita performed on Broadway in the role of Hodel in the latest revival of Fiddler on the Roof. After covering the two older daughters, she took over the role of Hodel and can be seen in the role at the Lincoln Center Archives. She made her Broadway debut performing the lead role of Christine Daee in The Phantom of the Opera. Regional and stock productions include Laurey in Oklahoma! and Johanna in Sweeney Todd, Julie Jordan in Carousel, Christine in Maurey Yeston’s Phantom, Amalia in She Loves Me, Fiona in Brigadoon, Ann Collier in 1940’s Radio Hour, Katrin in the play I Remember Mama, and Rose in Street Scene. Rita is proud to be the principle soprano in “Neil Berg’s 100 Years of Broadway,” which was voted the number one touring concert in the country. She has performed with the Westfield Symphony, the Rockford Symphony and The Bowling Green Symphony. Her solo cabaret, Letting Go, played to rave reviews and is available on CD. Rita just completed her first studio CD, Wishing, also available. Rita is extremely proud of her talented husband, Broadway composer Neil Berg, and their gorgeous five-year-old son, Lucas David Berg.
Ron Bohmer, vocals featured performer
R
on Bohmer’s starring roles on Broadway and national tour include the Phantom in The Phantom Of The Opera, Joe Gillis in Sunset Boulevard (Jefferson Award nomination), the title role in The Scarlet Pimpernel (National Broadway Theatre Award nomination), Alex in Aspects Of Love (LA Robby award), the evil Sir Percival Glyde in The Woman in White, Enjolras in Les Miserables, Fyedka in Fiddler on the Roof and Coach Bolton in the cultural phenomenon Disney’s High School Musical. He most recently starred on Broadway as Father in the Tony nominated revival of Ragtime, and as Frid in Stephen Sondheim’s A Little Night Music with Bernadette Peters and Elaine Stritch. Off-Broadway and regional roles include Sebastian in The Thing About Men, many ridiculous characters in New York’s long-running comedy hit Forbidden Broadway (2005 Drama Desk award), the title role in Floyd Collins, Volodya in Bed & Sofa (best actor nomination – Barrymore Award), the title role in the U.S. premiere of Dracula – a chamber musical and El Gallo in The Fantasticks (Acclaim Award, Best Actor). As a concert soloist, Ron has sung at Radio City Music Hall, Lincoln Center, the Kennedy Center, with numerous Symphonies and Pops orchestras across the country. His numerous recordings include two solo CDs. Ron is married to actress/author Sandra Joseph. He is the father of two daughters, Cassidy and Austin.
See page 21 for Stuart Malina profile.
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Masterworks Saturday, November 12, 2011 7:30pm Gaillard Municipal Auditorium
Stuart Malina, conductor • Emanuel Ax, piano
Beethoven’s Emperor Antonín Dvoˇrak ´ Symphony No. 8 in G major, Opus 88 (1841-1904) Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo —————————————-
Ludwig van Beethoven (1770-1827)
i n t e r m i s s i o n —————————————-
Piano Concerto No. 5, Opus 73, in E-flat major, “Emperor” Emanuel Ax, piano
Allegro Adagio un poco mosso Rondo: Allegro
Tonight’s floral arrangement provided courtesy of: Belva’s Flower Shop of Mt. Pleasant
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Stuart Malina conductor
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ow in his 12th season as Music Director and Conductor of the Harrisburg Symphony Orchestra, Maestro Stuart Malina was previously Music Director of the Greensboro Symphony Orchestra and Associate Conductor of the Charleston Symphony Orchestra. He made his Carnegie Hall debut conducting in February of 2007. Maestro Malina has had multiple engagements with the Indianapolis Symphony Orchestra and the Eastern Music Festival. In 2006, he debuted with the Pittsburgh Symphony Orchestra, and in 2007 with the Naples Philharmonic. He led the Shippensburg Festival Orchestra for three seasons. He also served as visiting conducting faculty at Penn State University in 2008. In 2009, he was awarded the Joanne Rogers Award. In 2010, he was given the Jump Street Spectrum Award. He has been engaged for the Music for a Great Space series, and was director of the Piccolo Spoleto Contemporary Music Festival. Maestro Malina’s recent composition received its world premiere by the Harrisburg Symphony Orchestra in 2011. Maestro Malina holds degrees from Harvard University, Yale School of Music, and Curtis Institute of Music, where he studied conducting with Otto-Werner Mueller. He studied piano with Drora and Baruch Arnon and with Keiko Sato.
Emanuel Ax, piano featured performer
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orn in Lvov, Poland, Emanuel Ax moved to Canada with his family when he was a young boy. He studied at The Juilliard School and Columbia University. In 1974 he won the first Arthur Rubinstein International Piano Competition. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize. Recent season highlights include return visits to the orchestras of Cleveland, Chicago, New York, Los Angeles, St. Louis, Pittsburgh, Baltimore, Atlanta and Toronto. Recent tours include performances in Asia with the New York Philharmonic and both the Chamber Orchestra of Europe as well as the Pittsburgh Symphony. Mr. Ax has been an exclusive Sony Classical recording artist since 1987 and received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He also made a series of GRAMMY®-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki, and their two children. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities. For more information, visit www.EmanuelAx.com..
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Program Notes m ast erwor k s I - no v em ber 1 2 , 2 0 1 1 , 7 : 3 0 p m
Beethoven’s Piano Concerto No. 5, Op. 73, “Emperor”
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ike the Third Symphony (“Eroica”), originally to have been dedicated to Napoleon Bonaparte, the Fifth Piano Concerto is in Beethoven’s heroic, noble key of E-flat major. Maybe this is the source of the nickname “The Emperor.” There is also a wonderful legend about a French army officer hearing it played in Vienna while the French were occupying the city and saying “it is the Emperor of concertos.” Unusually Beethoven himself did not give the first performance; though composed in 1809, the concerto wasn’t performed until 1811, and in Leipzig at that. At the Vienna premiere in 1812 the soloist was the composer’s pupil Carl Czerny (later of the knuckle-busting etude fame). The first movement is among the most massive Beethoven composed. Rather than delay the entry of the solo piano until the orchestra finishes its exposition, the pianist enters right after a loud chord with cadenza-like material. Beethoven writes out the pianist’s fuller cadenza later in the movement; this allows him to control the development of the material and use orchestral instruments during the cadenza. The second movement is in the distant luminous key of B major. At the end the soloist introduces the theme for the closing Rondo, which follows without pause. Again there is a written-out cadenza. This was to be Beethoven’s last effort at concerto writing, due to the lessened frequency of public appearances due to his increasing deafness. But the concerto is extraordinary, matched only by Brahms later in the century. Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Dvoˇra ´ k’s Symphony No. 8 in G major, Op. 88
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eethoven’s even-numbered symphonies get somewhat overshadowed by the path-breaking odd-numbered ones, especially the Third, Fifth, and Ninth (Choral). So too Dvoˇra´ k, where Symphony No. 8 is often overlooked due to its neighbors, the rich Seventh Symphony in D minor and of course Symphony No. 9, “From the New World.” But the situation is more complicated since Dvoˇra´ k published only his last five symphonies. The G-major was known in the composer’s lifetime as No. 4 (and the “New World” was No. 5). In any case, Symphony No. 8 is a wonderful work and the simple listing as a symphony in “G major,” a key that has few resonances for Romanticism, does not tell the whole story. Dvoˇra´ k wrote this symphony between August 26 and November 8 in 1889. Offering the work as a contribution towards his installation as a member of the Czech Academy of Sciences, Literature, and Arts, Dvoˇra´ k conducted the premiere performance on February 2, 1890, with the National Theater Orchestra in Prague. Despite the designation of “G major,” the first movement begins (temporarily) in the minor key with a rich melody for cellos, horns, clarinets, and bassoons, undergirded by soft, low harmonies including trombones. Like much of Dvoˇra´ k’s writing in the minor mode, this evokes an immediate mood of nostalgia, and whether you want to label it Bohemian (Czech), or Central European, or just plain human in character, this is the music with which Dvoˇra´ k finds his individual “voice” and speaks to the listener. This minor-key section is merely temporary, for soon a luminous G-major chord arrives as accompaniment to the main theme, first sounded in the flute. The second movement is one of Dvoˇra´ k’s most inspired orchestral creations where orchestral color and melodic and harmonic inspiration go hand in hand. Fragmentary ideas are presented by the flute and the pair of clarinets whose harmonies in thirds sound very much like folk-song. As the movement progresses, many hear in it references to the Funeral March in Beethoven’s “Eroica” Symphony, something confirmed by Dvoˇra´ k’s choice of keys. But yet there are extremely tender moments, in particular those scored for solo violin. Dvoˇra´ k’s third movement is a graceful dance, again in the nostalgic minor mode but with a major-key “trio,” or middle section, in a livelier mood. This movement begins very much like one of the composer’s gentler Slavonic Dances, the works that help first put him on the map. The finale begins with a trumpet fanfare, followed by a melody in the cellos that refers to, without directly quoting, the first movement. Musical form analysts break down when trying to describe the form of this movement, which effortlessly combines elements of sonata form, rondo, and variation technique. There are build-ups to faster speeds, at which point the orchestra bursts forth in music like a jubilant dance. The lively final bars come after extended coda, full of Dvoˇra´ kian touches of nostalgia and leave-taking. Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Chamber Orchestra Tues., Nov. 15, 2011 7:30pm Dock Street Theatre sat., Nov. 19, 2011 7:30pm ebenezer lutheran church, columbia, sc
Beethoven Left His Mark Richard Strauss Till Eulenspiegel Quintet Version (1864-1949) Richard Wagner Siegfried Idyll (1813-1883) Ludwig van Beethoven Symphony No. 2 (1770-1827) Allegro con brio Larghetto Scherzo-Allegro Allegro molto
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Please note: This program has no intermission.
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at the gaillard Saturday, December 3, 2011 7:30pm Gaillard Municipal Auditorium
Dr. Jeffrey B. Redding, conductor • CSO Gospel Choir , Sandra S. Barnhardt, Director CSO Spiritual Ensemble, Nathan L. Nelson, Director
11th Annual Gospel Christmas
Leroy Anderson
Christmas Festival
Jeffery Ames Gloria Fanfare Messiah
Mark Butler
Glory Hallelujah to The New Born King
Andre Thomas
African Noel
Mack Wilberg
The First Nowell
Traditional
Children, Go Where I Send Thee
James Furman Hehlehlooyah Nathan L. Nelson, Director
Robert Shaw
Many Moods of Christmas
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Franklin/Caldwell
i n t e r m i s s i o n —————————————-
Hosanna
Normal Hutchins Emmanuel Sandra S. Barnhardt, Director Cynthia Nunn Come Thou Almighty King Sandra S. Barnhardt, Director
Richard Smallwood
Kirk Franklin
Keith Johnson
Richard Smallwood
Joseph Joubert
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Total Praise Joy! 12 Days of Christmas I Love The Lord Hallelujah From Soulful
Presenting Media Sponsor
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Dr. Jeffrey B. Redding conductor
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rom Verona, Italy, and Stavanger, Norway, to Carnegie Hall and Chicago, Dr. Redding’s strong command of multimusical sense has garnered him invitations from around the world across music disciplines. He served as guest conductor for the Mormon Tabernacle Choir’s 2005 spring broadcast. In 2008 he made his Carnegie Hall conducting debut, in 2009 his Kennedy Center conducting debut, and in 2010 his Orchestra Hall conducting debut. He was a member of the famed Moses Hogan Singers. Known as a master choral clinician, Dr. Redding has conducted the ACDA National High School Honor Choir and the Central Division ACDA Honor Choir. Future conducting engagements include Manhattan Concert Production’s “Mass of the Children” in Carnegie Hall and leading a motivational workshop at Utah State University. Dr. Redding has been honored as West Orange High School’s “Teacher of the Year 2003,” “Outstanding Contributor of the Community” by the city of Winter Garden, and “Teacher of the Year” by Ocoee Wal-Mart. He is Artistic Director of the Garden Community Choir. Dr. Redding holds a Ph.D. and M.M.E. in choral music education from Florida State University and a B.S. in music education from Florida A&M University.
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at the gaillard Saturday, December 17, 2011 11:00 AM and 7:30pm Gaillard Municipal Auditorium
Dr. Robert Taylor, conductor • CSO Chorus • Charleston Children’s Choir
Holiday Pops Celebration Join us for one of Charleston’s most honored traditions celebrating friendship and goodwill with all of your holiday favorites.
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Dr. Robert Taylor conductor
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r. Robert Taylor is Director of the Charleston Symphony Chorus and CSO Chamber Singers, and the Director of Choral Activities at the College of Charleston. He is also the Founding Music Director of the Taylor Music Festival and Taylor Festival Choir, a semi-professional choir recently honored to perform at the 50th Anniversary of the American Choral Directors Association (ACDA) convention in 2009. Described by the Charleston Post and Courier as a conductor whose work is “expert,” Taylor’s choirs have been praised for their musicality, technical proficiency, and beautiful sound production. Dr. Taylor is an accomplished choral scholar, clinician, and lecturer. His study of Ralph Vaughan Williams’ cantatas is the first detailed, extended analysis of these works, and the Choral Journal has published his study of Stravinsky’s Symphony of Psalms. Dr. Taylor holds a Doctor of Musical Arts in choral conducting degree from Louisiana State University, a Master of Music in vocal performance degree from Sam Houston State University, and a Bachelor in music education degree from the University of Central Arkansas. He has studied conducting with Dr. Kenneth Fulton, the late Dr. B.R. Henson, John Erwin, and his late father, Bob Taylor. He currently serves as the South Carolina American Choral Directors Association Repertoire and Standards Chair for Community Choirs.
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Chamber Orchestra sat., jan. 7, 2012 7:30pm Dock Street Theatre sun., jan. 8, 2012 4:00pm ebenezer lutheran church, columbia, sc
María Antúnez, soprano • Martin Nusspaumer, tenor
Time Machine: Mozart in Prague Wolfgang Amadeus Mozart (1756-1791)
The Marriage of Figaro – Overture Cosi Fan Tutte – “Como Scoglio”
Cosi Fan Tutte – “Fra gli amplessi” Don Giovanni – Overture Don Giovanni – “Il mio Tesoro” Don Giovanni – “Mi tredi”
Symphony No. 38 in D major
Adagio – Allegro Andante Presto
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Please note: This program has no intermission.
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María Antúnez, soprano featured performer
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ruguayan soprano María Antúnez is in her first season as a member of Washington National Opera’s DomingoCafritz Young Artist Program. She recently made her debut with the Orlando Philharmonic as Mimì in La Bohème and appeared with the Chinese National Symphony Orchestra at the National Center for the Performing Arts in Beijing, China. She has sung Flora in La Traviata with Miami Lyric Opera, made appearances with the Miami Symphony Orchestra, the Florida Chamber Orchestra and performed at the Piccolo Spoleto Festival. In her home country, she has appeared in an international opera gala at the Teatro Solis in Montevideo, and sung Adina in L’Elisir d’Amore and Sofia in Rossini’s Il Signor Bruschino. She holds an Artist Certificate diploma from the College of Charleston, where she appeared as Miss Silverpeal in The Impresario, Angelica in Suor Angelica and Queen Elizabeth I in Maria Stuarda with the College of Charleston Opera. She is a winner of the Metropolitan Opera National Council auditions at the district and regional levels, as well as a national semi-finalist, and was an Operalia semifinalist (2011).
Martin Nusspaumer, tenor featured performer
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native of Uruguay, Martin Nusspaumer has performed many recitals and appeared in opera and concerts in South America, Europe and the United States. He was a full scholarship student of Deanna McBroom in the Artist Certificate Program at the Department of Music, School of the Arts, College of Charleston. He was a NATS second place winner in the Mid-Atlantic Regional Auditions, a finalist for the Jose Iturbi Music International Competition, a regional finalist of the Southern Region Metropolitan Opera National Council Auditions and a finalist of the Palm Beach Opera Vocal Competition. In his home country he has performed regularly in chamber music, solo recitals and opera roles such as Nemorino in L’Elisir d’Amore, Alfredo in La Traviata and Florville in Il Signor Bruschino. He moved to the United States in 2006 and has appeared on the Monday Night Recital Series, Piccolo Spoleto Festival, opera productions at the College of Charleston, with the Charleston Symphony Orchestra in Copland’s The Tender Land, Stravinsky’s Pulcinella with the Chamber Orchestra of the Triangle in North Carolina, Fenton in Falstaff with the National Opera of Uruguay, and Handel’s Messiah. He has recently sung the role of Lensky in Eugene Onegin with the National Opera of Uruguay, Mozart’s Requiem with the Presidential Symphony Orchestra in Ankara, Turkey, Il Barbiere di Siviglia as Il Conte d’Almaviva with the Orquesta Filarmonica de Montevideo, Uruguay, Haydn’s Lord Nelson Mass and Bruckner’s Te Deum with the Palm Beach Symphony, and a Gala at the Teatro Solis Montevideo.
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Masterworks Thursday, January 12, 2012 7:30pm Gaillard Municipal Auditorium
JoAnn Falletta, conductor • Michael Ludwig, violin
Scheherazade Alexander Borodin Prince Igor: Overture (1833-1887) Édouard Lalo Symphonie espagnole (1823-1892) Michael Ludwig, violin Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo —————————————-
i n t e r m i s s i o n —————————————-
Nikolai Rimsky-Korsakov Scheherazade, Opus 35 (1844-1908) Yuriy Bekker, violin The Sea and Sinbad’s Ship (Largo e maestoso-Allegro non troppo) The Tale of Prince Kalender (Lento-Allegro molto) The Young Prince and the Princess (Andantino quasi allegretto) The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock (Allegro molto)
Tonight’s floral arrangement provided courtesy of: Belva’s Flower Shop of Mt. Pleasant
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JoAnn Falletta conductor
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oAnn Falletta serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Conductor of the Ulster Orchestra, and Principal Guest Conductor of the Brevard Music Center. She has guest conducted over 100 orchestras in North America. Ms. Falletta’s summer activities have taken her to numerous music festivals including Aspen, Tanglewood, Hollywood Bowl, Grand Teton, Wolf Trap, Eastern Music, Cabrillo, OK Mozart International, Lanaudiere, Peter Britt, Breckenridge, Brevard and Interlochen. She has received many conducting awards including the Seaver/National Endowment for the Arts Conductors Award, the Stokowski Competition, and the Toscanini, Ditson and Bruno Walter Awards, as well as the American Symphony Orchestra League’s prestigious John S. Edwards Award. She was honored with her 10th ASCAP award in 2008. Ms. Falletta serves as a Member of the National Council on the Arts. In the past 10 years, her recordings for the Naxos label have garnered nine Grammy nominations. Under her direction, the Buffalo Philharmonic has earned two Grammy Awards and five Grammy nominations. Ms. Falletta received her undergraduate degree from the Mannes School of Music in New York and her master’s and doctorate degrees from The Juilliard School.
Michael Ludwig, violin featured performer
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ichael Ludwig has performed on four continents, including appearances with the Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Pops, Buffalo Philharmonic Orchestra, and Shanghai Philharmonic Orchestra. Ludwig’s recording of the Dohnanyi Violin Concertos with the Royal Scottish National Orchestra received extraordinary reviews. Ludwig’s recording of the Corigliano Red Violin Concerto with the Buffalo Philharmonic hit the Billboard Top 100 and was nominated for a Grammy. Ludwig has held faculty positions at Rowan University, the University of the Arts, the School of Orchestral Studies and the National Youth Orchestra Festival. He has also been the Sterne Virtuoso Artist-in-Residence at Skidmore College. Ludwig has given master classes with the New World Symphony. He has served as a member of the board of directors of the Philadelphia Youth Orchestra, and is currently a member of the Artistic Advisory Board for Access to Art, Inc. Ludwig performs on a late 1700’s rare violin made by the Cremonese master Lorenzo Storioni and a Dominique Peccatte bow. Michael Ludwig studied violin with his father, Irving Ludwig, a violinist in the Philadelphia Orchestra, as well as Raphael Bronstein and Josef Gingold. He attended the Curtis Institute of Music and the University of the Arts in Philadelphia, and Indiana University.
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Program Notes m ast erwor k s II - j a n ua ry 12 , 2 0 1 2 , 7 : 3 0 p m
Borodin’s Overture to Prince Igor
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orodin’s opera recounts the campaign of Russian Prince Igor against the Polovstian tribes who invaded in 1185. Borodin died suddenly in 1887, leaving the opera only partly finished. Rimsky-Korsakov took up the main work of orchestration, while Alexander Glazunov did some additional work of completion, including putting together the overture from themes that occur later in the opera. Whether or not Borodin played Glazunov the overture on the piano, as one often reads, the musical material is certainly Borodin’s, even if the ultimate structure and orchestration of the overture is Glaznuov’s. The opera was premiered in St. Petersburg in 1890. The music is decidedly Russian in flavor, and the overture and Polovstian Dances are often heard in the concert hall.
Lalo’s Symphonie espagnole for Violin and Orchestra, Op. 21
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n 1874 after hearing the legendary Spanish violinist Pablo de Sarasate play his First Concerto, Lalo decided to write another concerto-like work for him. The resulting Symphonie espagnole emphasizes Sarasate’s bright playing style as much as his Spanish heritage; Lalo, too, was of Spanish descent even if his family had been in France for a couple of centuries. The successful first performance was in Paris on February 7, 1875, right in the midst of the craze for Spanish music ignited by Bizet’s opera Carmen. Though Lalo called the work a symphony, due to the elements of symphonic form he used, it is also as much a concerto, and many would also label it a suite since it contains five movements altogether. Note in the first movement the constant shift between duple and triple division of the pulse. The second movement (Scherzando, i.e., playfully) is cast in the mood of Spanish dances. The third movement, an Intermezzo, was added after the premiere, and some violinists preferred to omit this movement, which makes two Scherzi in a row, though the third movement is slower in tempo than the second. After the soulful Andante a dazzling Rondo concludes the work. Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Rimsky-Korsakov’s Scheherazade
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cheherazade, subtitled by its composer “Symphonic Suite from ‘A Thousand and One Nights,’ ” is (in the words of one commentator) “better heard as four interlinked segments of the same tone poem than as four separate stories.” The background goes as follows: the Sultan Schahrair is convinced that women are faithless and vows to execute each of his wives after one night with them, but for 1001 nights the Sultana Scheherazade delays her fate by telling marvelous tales--of Sinbad, Ali Baba, Aladdin, and others--which eventually win her pardon. The four movements were originally titled as follows by Rimsky-Korsakov: 1. “The Sea and Sinbad’s Ship”; 2. “The Story of the Kalender Prince” [a “kalender” was a medicant beggar]; 3. “The Young Prince and the Princess”; 4. “Festival at Baghdad--The Sea--The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior--Conclusion.” But he later withdrew these descriptions, stating that they were only “guideposts” to attract the audience’s attention. In a letter to the composer Glazunov, Rimsky-Korsakov outlined the work as follows: four movements that are a prelude, a narrative, a reverie (dream), and finally an Eastern festival or dance. Two motives help unify the work: the opening six measures, dominated by the tone of the trombones, is obviously the Sultan’s theme; and after a magical series of chords, Scheherazade is represented by the solo violin with harp accompaniment as she begins to spin her tales. Like many tone poems, the form of all the movements is rather free, certain ideas interlinking the progress of the music. All of this is depicted with Rimsky-Korsakov’s usual colorful orchestration. Rimsky-Korsakov composed Scheherazade in 1887-1888 and conducted the first performance in St. Petersburg on November 9, 1988. The score was published the next year, also being issued in a two-piano version. The work is dedicated to the critic Vladimir Stasov. It was Stasov who encouraged Russian composers to use folk themes in their operas and orchestral pieces; it was in fact he who designated the nationalistic composers “The Mighty Handful.” This group of five composers included Rimsky-Korsakov, Borodin, Musorgsky, Cui, and Balakirev. As noted above with regard to Borodin’s “Prince Igor,” Rimsky-Korsakov, the most conventionally successful of the “Five” composers, worked tirelessly to get the music of his colleagues performed. Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Masterworks Saturday, February 11, 2012 7:30pm Gaillard Municipal Auditorium
Darko Butorac, conductor • Yuriy Bekker, violin
Beethoven Symphony No. 7
Zoltán Kodály Dances of Galanta (1882-1967) Lento
Allegretto moderato Allegro con moto, grazioso Allegro Allegro vivace Edward Hart Under an Indigo Sky Special Premiere (b.1965) Yuriy Bekker, violin
Fast Flowing Rivers Warm Salt Air Misty Blue Horizon
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Ludwig van Beethoven Symphony No. 7, Opus 92 in A major (1770-1827) Poco sostenuto – Vivace Allegretto Presto Allegro con brio
Tonight’s floral arrangement provided courtesy of: Belva’s Flower Shop of Mt. Pleasant
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Darko Butorac conductor
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arko Butorac is the Music Director of the Missoula Symphony Orchestra. Following his debut with the Belgrade Philharmonic in 2011 he was invited to conduct four more subscription programs and assist the orchestra on tour. He will also hold subscription concerts with Orchestra Seattle and Seattle Chamber Singers, Tallin Sinfonietta, and Georgisches Kammerorchester. Butorac has been featured as a guest conductor with the National Arts Centre Orchestra, the Charleston Symphony, the Canton Symphony, the Montana Lyric Opera and as the Principal Conductor of the Northwest Mahler Festival in Seattle. The League of American Orchestras invited Butorac to participate in the Bruno Walter National Conductor Preview in 2005. Butorac was 2004 Gold Medalist, Grand Prize Winner and the Audience Favorite Prize Winner of the Fourth Vakhtang Jordania International Conducting Competition. In 2003, Butorac was awarded a fellowship to the American Academy of Conducting at the Aspen Music Festival. In 2004, Butorac was named Assistant Conductor of the Aspen Opera Theater Center. Darko Butorac earned his Master of Music degree from Indiana University. He has also worked extensively at Brevard Music Center, Aspen Music Festival and University of Toronto. His principal mentors are David Effron, Jorma Panula and David Zinman.
Edward Hart featured composer
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dward Hart’s music has been performed in New York, Los Angeles, Kiev, Mexico City, Johannesburg, Boston, Austria, Argentina, and at the Kennedy Center. Hart’s music was also featured at the opening of the 32nd Annual International Cervantino Festival in Guanajuato, Mexico. His works include concertos for violin, piano, and guitar, various orchestral works, chamber music, solo piano compositions, choral music, and art songs. Most recently, he completed a new violin concerto entitled Under an Indigo Sky for violinist Yuriy Bekker. Hart’s choral music is published by Colla Voce. From 1994 to 2004, Hart was a cofounder and musical director of the Lowcountry Heritage Society. During that time, the Society commissioned over fifty new musical works by thirteen composers. Additionally, the Society produced two modern dance works, a ballet, two literary anthologies, an original play, and fourteen visual art exhibits. Hart is a native of Charleston, South Carolina and holds a Doctorate from the University of South Carolina where his primary composition teacher was Gordon “Dick” Goodwin. He is an Associate Professor of Music at the College of Charleston.
See page 12 for Yuriy Bekker profile.
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Program Notes m ast erwor k s III - f ebrua ry 1 1 , 2 0 1 2 , 7 : 3 0 p m
Kodaly’s Dances of Galanta
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alanta was the small town in western Hungary (now in Slovakia) where Kodaly spent what he later called “the best seven years of my childhood.” Kodaly’s father, a railroad stationmaster, played the violin and his mother the piano. Kodaly also absorbed the folk music of the area, Hungarian dances and songs in the verbunkos style, as played by gypsy bands. This was the first “orchestral” music that Kodaly encountered. He drew upon this heritage when asked to compose a work for the eightieth anniversary of the Budapest Philharmonic in 1933. Verbunkos was, interestingly, a recruiting dance, with alternating slow and fast sections, used by the Hungarian army as late as the first half of the Nineteenth Century. It eventually evolved into the csardas, the Hungarian national dance. Kodaly’s score features particularly fine writing for the solo clarinet.
Beethoven’s Symphony No. 7, Op. 92
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fter his experiments in the Fifth and Sixth Symphonies in running movements together Beethoven returned to the conception of the symphony as four independent movements in his Seventh and Eighth Symphonies, which he composed during 1811 and 1812. The larger orchestra used (especially the trombones in the Fifth Symphony) is abandoned for an orchestra virtually the same as the Fourth Symphony (with the addition of a second flute). The Seventh Symphony was completed beginning in May of 1812, and Beethoven conducted the first performance on December 8, 1813, at a hall in the University of Vienna. The published work was dedicated to Prince Moritz von Fries, one of Beethoven’s aristocratic patrons. Despite the conventional ordering of the movements--first movement in fast tempo with slow introduction; “slow” movement (here actually marked Allegretto); scherzo; and finale--Beethoven experimented with the sequence of keys in the Seventh Symphony, whose outer movements are in the principal tonality, A major. The slow movement was placed in A minor, rather than the usual D major or some such key; and the Scherzo is not in the tonic but in F major, with relationships of keys by thirds occupying increasing importance in Beethoven’s conception of overall form. This is also found in the introduction to the first movement, unusually extensive, where there are subsidiary sections in C and F, the thirds above and below the main key of A. In all of the movements characteristic rhythmic motives come to the fore, which gave rise to Richard Wagner’s oft-quoted description of the Seventh Symphony as “the apotheosis of the dance.” Criticism of this work in the 19th century generally read the hidden programmatic intentions (which everyone seemed to find in all of Beethoven’s music) as ritualistic, communal events (like dances) as opposed to the individualistic heroism of the Third and Fifth Symphonies. Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Under an Indigo Sky Concerto for Violin and Orchestra Written for Yuriy Bekker
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t is a privilege to have your music played by an exceptionally gifted musician. It is especially meaningful when that performer is your friend. That is why I am very thankful to have had the opportunity to write this violin concerto for my friend, Yuriy Bekker. Since first meeting some years ago, I have wanted to write him a substantial work not only because we are friends, but because he plays the violin the way I would want to if I could play. In short, he makes all the right musical choices. I am also fortunate that we share much in common as it relates to musical taste and style. In a way, Under an Indigo Sky is a love letter to my home state, South Carolina. I am continually amazed and thankful for the natural and cultural diversity of this relatively small place. I have attempted to musically capture three distinct yet related regions of our state with an eye not only to the landscapes, but the feel and “soul” of the places.
Movement I - Fast Flowing Rivers – Columbia and the Midlands The Broad, Congaree, and Saluda Rivers are an important part of the greater Columbia landscape. At times, especially after heavy rain, these rivers move quickly creating an impressive natural display and an interesting metaphor for Columbia’s role in our state, a place of fast flowing and powerful political, educational, and economic currents. At other times, these rivers can flow gracefully and gently through the countryside reflecting the warm and genteel nature of the people of the Midlands.
Movement II - Warm Salt Air – Charleston and the Coast With its coastal location and sub-tropical climate, Charleston’s weather can sometimes resemble a warm, wet, briny blanket. Though this might seem uncomfortable to some, these qualities in the right measurements can produce a lush and magical atmosphere. Imagine a May sunset over looking the water with just the right temperature and a sea breeze moving softly through the Palmetto trees.
Movement III - Misty Blue Horizon – Greenville and the Upstate The Blue Ridge Mountains, which dominate the Northern horizon, seem to give Greenville and the upstate a cool verdant freshness found in no other region of South Carolina. The early morning light offers dramatic vistas filled with broad strokes of blue, green and purple. This landscape elicits a sense of awe, wonder, and reverent reflection along with a sense of gratitude toward its Creator. Program Notes from Edward Hart, composer
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Chamber Orchestra sat., Feb. 25, 2012 7:30pm Ebenezer Lutheran church - columbia, sc tues., Feb. 28, 2012 7:30pm Dock Street Theatre
Charles Messersmith, clarinet • Jan-Marie Christy Joyce, viola • Yuriy Bekker, violin
From Salzburg with Love Heinrich von Biber (1644-1704)
Battalia for Strings and Basso Continuo
Wolfgang Amadeus Mozart (1756-1791)
Clarinet Concerto in A major Charles Messersmith, clarinet
Allegro Adagio Rondo: Allegro —————————————-
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Michael Haydn Symphony No. 37 in G major (1737-1806) Adagio maestoso – Allegro con spirito
Andante sostenuto Allegro molto Wolfgang Amadeus Mozart (1756-1791)
Sinfonia Concertante for Violin and Viola in E-flat major Yuriy Bekker, violin Jan-Marie Christy Joyce, viola
Allegro maestoso Andante Presto
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Charles Messersmith, clarinet featured performer
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harles Messersmith, Principal Clarinet of the Charleston Symphony Orchestra, began playing the clarinet at the age of 8. He attended the Cleveland Institute of Music and received a Bachelor of Music degree (while studying with Franklin Cohen) in 1991. He then went on to receive his Master of Music degree from the San Francisco Conservatory of Music while studying with David Breeden (San Francisco Symphony). After graduation, he became the Principal Clarinet of the Augusta Symphony and performed there for four years. In 1998, he was appointed by national auditions to the Second Clarinet position with the Charleston Symphony, and in 2005 to the Principal Clarinet position. Along with regular performances with the CSO, he performs in Charleston with local, national, and internationally renowned chamber musicians, as well as for Piccolo Spoleto Festival programs. In the summer he performs at the Wintergreen Music Festival in the Blue Ridge Mountains. He has been featured as soloist with the Charleston Symphony on numerous occasions, most recently performing the Copland and Mozart Clarinet Concertos. In the 2011-12 season he will be featured again performing the Mozart Clarinet Concerto. Mr. Messersmith is on faculty at the College of Charleston and Charleston Southern University, has a thriving private teaching studio, and travels around the greater Charleston area leading master classes and clarinet sectionals in elementary schools and high schools. In his free time he and his six year old son Andrew drive his wife Susan crazy by talking about cars and food.
Jan-Marie Christy Joyce, viola featured performer
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an-Marie Christy Joyce is in her thirteenth season as Principal Violist with the Charleston Symphony Orchestra, where she has appeared frequently as soloist, most recently in Berlioz’ Harold in Italy. After earning a Master’s degree from Louisiana State University, she completed a professional studies certificate from the Cleveland Institute of Music under Stanley Konopka (Assistant Principal Violist of the Cleveland Orchestra). Jan-Marie is former Principal Violist of the Canton (OH) Symphony and currently spends her summers as a member of the Breckenridge (CO) Music Festival Orchestra. In the summer of 2005, she was invited to perform in Seattle Opera’s production of Wagner’s Ring des Nibelungen. She is an adjunct faculty member at the College of Charleston, where she teaches viola and coaches chamber music. Ms. Joyce’s first CD of chamber music (works for oboe and strings with members of her family) was released in 2004. Jan-Marie also holds a Bachelor’s degree in Trumpet Performance.
See page 13 for Yuriy Bekker profile.
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Masterworks Saturday, March 3, 2012 7:30pm Gaillard Municipal Auditorium
Christopher Wilkins, conductor • Joshua Roman, cello
Spring Awakening Bedrich Smetana Vlatava, “The Moldau” (1824-1884) Antonín Dvoˇrak ´ Silent Woods (1841-1904) Joshua Roman, cello iotr Ilyich Tchaikovsky P (1840-1893)
Variations on a Rococo Theme, Opus 33
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Robert Schumann Symphony No. 3, Opus 97, in E-flat major, “Rhenish” (1810-1856) Lebhaft Scherzo: sehr mässig Nicht schnell Feierlich Lebhaft
Tonight’s floral arrangement provided courtesy of: Belva’s Flower Shop of Mt. Pleasant
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Christopher Wilkins conductor
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hristopher Wilkins, recently named Music Director of the Boston Landmarks Orchestra, also serves as Music Director of both the Orlando Philharmonic and the Akron Symphony. Mr. Wilkins has appeared with the orchestras of Cleveland, Boston, Chicago, Detroit, Houston, Indianapolis, Los Angeles, Pittsburgh, and San Francisco. He frequently conducts overseas with concerts in recent seasons in Latin America, New Zealand, and Spain. He has served as Music Director of San Antonio Symphony and Colorado Springs Symphony, and is Artistic Advisor to Opera Theatre of the Rockies. He also served as Resident Conductor of Youth Orchestra of the Americas; Associate Conductor of the Utah Symphony; Assistant Conductor of the Cleveland Orchestra; Conducting Assistant with the Oregon Symphony; and was a conducting fellow at the Berkshire Music Center. Mr. Wilkins was winner of the Seaver/NEA Award in 1992. Mr. Wilkins earned his Bachelor’s degree from Harvard College in 1978. As an oboist, he performed with the Berkshire Music Center Orchestra and the Boston Philharmonic. He studied with Otto-Werner Mueller at Yale University, receiving his master of music degree. In 1979-80, he attended the Hochschule der Künste, as a recipient of the John Knowles Paine traveling fellowship, awarded by the Harvard music department.
Joshua Roman, cello featured performer
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n the 2011-12 season, Roman is the guest artist for the Seattle Symphony’s opening night gala. He makes his Toronto Symphony debut, performs at the U.S. Open Tennis Tournament, and is presented in recital by San Francisco Performances and in Chicago. He also plays with orchestras in Colorado, Indiana, Iowa, Nebraska, New Jersey, Pennsylvania, North and South Carolina and Oregon. Roman has performed duos with Yo-Yo Ma, participated in the 2011 TED Conference and played at the Oslo Freedom Forum. Roman was principal cellist of the Seattle Symphony for two seasons. He has appeared as soloist with the Seattle Symphony, as well as with the Albany and Santa Barbara Symphonies, and the Orquesta Sinfónica Nacional del Ecuador. He performed Britten’s third Cello Suite during New York’s Mostly Mozart Festival at Avery Fisher Hall. In spring 2007, Roman was named Artistic Director of TownMusic in Seattle. Roman studied at the Cleveland Institute of Music with Richard Aaron. He received his Bachelor’s degree in Cello Performance in 2004, and his Master’s in 2005, as a student of Desmond Hoebig, former Principal Cellist of the Cleveland Orchestra. Joshua Roman is grateful for the loan of an 1899 cello by Giulio Degani of Venice.
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Program Notes m as terwor k s IV - m a rch 3, 2 0 1 2 , 7 : 3 0 p m
Smetana’s Vlatava “The Moldau”
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metana wrote a cycle of six symphonic poems, Má Vlast [My Fatherland], during 1872-1879, as an instrumental counterpart to his nationalistic operas. Bohemia, the native land of the Czechs, had lived under the domination of the Austrian Hapsburgs for centuries. It was particularly Smetana’s opera The Bartered Bride that made his music significant for the growing Czech nationalism. The second of the six tone poems which make Má Vlast depicts the river Vltava, which we should refer to by its Czech name rather than the German name, the Moldau. Smetana’s description of “Vltava” follows: “The work depicts the course of the river Vlatava, beginning from two small sources, one cold [flutes] and the other warm [clarinets], the joining of both streams into one, then the flow of the Vlatava through forests and across meadows, through the dense woods in which are hear the joyous sounds of the hunt, through the countryside where merry feasts are celebrated [a polka]; water nymphs dance in the moonlight; on nearby rocks can be seen the outline of ruined castles, proudly soaring into the sky. Vlatava swirls through the St. John Rapids [cymbal crashes] and flows in a broad stream towards Prague. The river passes Vysehrad [where an ancient fortress once stood, the subject of the first symphonic poem in the cycle], and finally the river disappears in the distance as it flows majestically into the Elbe.”
Dvoˇra ´ k’s Silent Woods for Cello and Orchestra
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voˇra´ k wrote a cycle of pieces for piano duet “From the Bohemian Forest,” from which this lyrical movement Silent Woods was transcribed for cello plus piano and later cello and orchestra. A main theme stands at either end of the piece, surrounding a short intermezzo-like middle section. Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Tchaikovsky’s Variations on a Rococo Theme for Cello and Orchestra, Op. 33
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e often think of Tchaikovsky as the embodiment of the Romantic spirit, a composer of lushly beautiful melodies orchestrated with rich colors. Yet he also admired the courtly style of the 18th century. During December 1876, while composing the “Rococo Variations,” the composer got unsolicited commissions from a wealthy patron, Madame Nadezhda von Meck. By mutual agreement, he would never meet the woman who was to become his principal benefactress, though they carried on a lively correspondence about music. In these discussions, Tchaikovsky always idolized Mozart’s music, which Madame von Meck found superficial. Tchaikovsky would later arrange some music of Mozart to form the suite “Mozartiana” (Opus 61, 1887). The same lighthearted spirit permeates the “Rococo Variations,” dedicated to the cellist Vasily Fitzhagen. The statement of the theme is followed by seven variations, connected by orchestral interludes. Since the Rococo style was one of great decoration, the cello weaves elaborate ornaments, virtuoso trills, arpeggios, double stops, and scales.
Schumann’s Symphony No. 3, Op. 97, “Rhenish”
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chumann’s intense interest in composing symphonies dates from his hearing Mendelssohn conduct Schubert’s “Great” C-major Symphony on March 21, 1839, the score having just been discovered among Schubert’s manuscripts left in Vienna at his death. In 1850 Schumann was appointed City Music Director in Düsseldorf. The excitement of beginning a new position in which he could build up his own orchestra, as well as the freshness of the Rhineland air, invigorated the composer to turn out two large works: a cello concerto and a Symphony in E-flat, published as Symphony No. 3. The title “Rhenish,” that is, “of the Rhine (river),” pays tribute to the people and landscape where the Schumanns now lived. The majesty of the key of E-flat, which immediately conjures up Beethoven’s Third (“Eroica”) Symphony and “Emperor” Concerto, both also in E-flat major, is borne out in the exuberant opening of the first movement. The Scherzo is in the style of the Ländler, a sort of folk waltz. The third movement is like an Intermezzo, but the finale is delayed by an “extra” movement marked “feierlich” (“solemn”) in the score. Schumann originally had given a longer description to this movement: “In the style of an accompaniment to a solemn ceremony,” which refers to Robert and Clara’s September 29, 1850, sightseeing trip to Cologne. There Schumann was deeply impressed by the noble look of the Cologne Cathedral, all prepared for the enthronement of Archbishop von Geissel as Cardinal the next day. The dark tones of the trombones are heard for the first time, intoning a somber chorale, which is developed fugally. The change from the fourth movement to the lively finale has been compared “to stepping from the somber atmosphere of a medieval cathedral into the sunshine and bustle of life outside.” Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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at the gaillard Saturday, April 14, 2012 7:30pm Gaillard Municipal Auditorium
Morihiko Nakahara, conductor
The Music of John Williams: An 80th Birthday Tribute John Williams “Harry’s Wondrous World” from (b.1932) Harry Potter and the Sorcerer’s Stone
Theme from Jurassic Park
“Superman March” from Superman
Theme from Schindler’s List Yuriy Bekker, violin Por una cabeza Yuriy Bekker, violin The Cowboys Overture
Raider’s March from Raiders of the Lost Ark
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“Adventures on Earth” from E.T.
“Across the Stars” from Star Wars Episode II: Attack of the Clones Suite from Star Wars Main Title Princess Leia’s Theme The Imperial March Yoda’s Theme Throne Room and End Title
Presenting Media Sponsor
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Morihiko Nakahara conductor
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orihiko Nakahara has served as Music Director of the South Carolina Philharmonic since 2008. The 20112012 season also marks Nakaharaâ&#x20AC;&#x2122;s ninth season with the Spokane Symphony Orchestra, first as its Associate Conductor and now as Resident Conductor. Nakahara was featured in the League of American Orchestraâ&#x20AC;&#x2122;s prestigious Bruno Walter National Conductor Preview in March 2005. Recent guest conducting engagements have taken Nakahara to the symphonies of Jacksonville, Charleston, Chattanooga, Lansing, and Green Bay, as well as the Chicago Pro Musica. A passionate believer in audience development and music education for all, Nakahara has designed and conducted numerous educational and community engagement concerts, and is a popular guest conductor and clinician with student ensembles of all levels. As a personable ambassador for classical music, Nakahara is regularly featured on local media outlets, and speaks about wide ranging topics including arts advocacy, economic development, and leadership skills at local businesses and service organizations. A native of Kagoshima, Japan, Nakahara holds degrees from Andrews University and the University of Cincinnati College-Conservatory of Music. He previously served as Music Director of the Holland Symphony Orchestra (MI) and taught at Eastern Washington University and Andrews University. He resides in Columbia, SC.
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Masterworks Saturday, April 21, 2012 7:30pm Gaillard Municipal Auditorium
Daniel Hege, conductor • CSO Chorus • College of Charleston Concert Choir Jill Terhaar Lewis, soprano • Jennifer Luiken, mezzo-soprano
Mahler’s Resurrection
Gustav Mahler Symphony No. 2 in C minor, “Resurrection” (1860-1911) Allegro maestoso
Andante moderato In ruhig fliessender Bewegung Urlicht Im Tempo des Scherzo
Tonight’s floral arrangement provided courtesy of: Belva’s Flower Shop of Mt. Pleasant
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Daniel Hege conductor
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aniel Hege served for eleven seasons as Music Director of the Syracuse Symphony. In 2009, Mr. Hege was appointed Music Director of the Wichita Symphony, beginning his tenure in 2010. In 2001, he completed tenure with the Baltimore Symphony where he was Assistant, Associate and Resident Conductor. Mr. Hege also served as Associate Conductor of the Kansas City Symphony, Assistant Conductor of the Pacific Symphony, Music Director of the Encore Chamber Orchestra in Chicago and Music Director of the Chicago Youth Symphony. In 2003, Mr. Hege led the Syracuse Symphony in a critically acclaimed concert at a sold-out Carnegie Hall. He has also made two recordings - a disc with the Baltimore Symphony and one with the Syracuse Symphony. Daniel Hege received his Bachelor of Arts Degree in 1987 from Bethel College, Kansas. He continued his studies at the University of Utah, receiving a Master of Music degree in orchestra conducting. He studied at the Aspen Music Festival and in Los Angeles with Daniel Lewis. In 2004, Mr. Hege was awarded an honorary degree of Doctor of Humane Letters from Le Moyne College, Syracuse. Mr. Hege currently resides in Syracuse with his wife and their three daughters.
Jill Terhaar Lewis, soprano featured performer
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ill Terhaar Lewis is a Metropolitan Opera National Council District Winner and Regional Finalist. Ms. Lewis is an Assistant Professor of Vocal Music at Charleston Southern University. She received her Doctor of Musical Arts in Vocal Performance from the University of South Carolina. Ms. Lewis has performed with the Hilton Head Choral Society. As a recurring guest with the Piccolo Spoleto Festival, she has been featured with the Festival Orchestra as part of the Spotlight Concert Series. She was a guest recitalist in the Baker and Baker Recital Series at the Columbia Museum of Art. She commissioned and premiered a series of concerts of new works for soprano and organ by South Carolinian composers. She has also collaborated with composers in Columbia and performed in a master class with composer Libby Larsen. This past year, she collaborated on and performed a program of new music with the Carolina Music Friends. Mrs. Lewis was a semi-finalist in the Opera Birmingham vocal competition and a regional finalist in the National Association of Teachers of Singing Artist Award program. She is also a winner of the Charlotte Opera Guild Vocal Competition. She lives in Summerville with her husband, Robert and their two children.
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Jennifer Luiken, mezzo-soprano featured performer
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ezzo-soprano Jennifer Luiken is well versed in both operatic and concert repertoire. Operatic credits include Madame Flora in The Medium, Katisha in The Mikado, the title role in The Rape of Lucretia, the Witch in Hansel and Gretel, the Mother in Amahl and the Night Visitors, Prince Orlofsky in Die Fledermaus, Principessa in Suor Angelica, Zita in Gianni Schicchi, Maddalena in Rigoletto, the Sorceress in Dido and Aeneas, and Third Lady in The Magic Flute. She has made multiple appearances with the Charleston Symphony Orchestra and other regional orchestras, and has performed on the Spotlight Series with the Festival Orchestra at Piccolo Spoleto. Her concert repertoire includes Verdi’s Requiem, Beethoven’s Symphony No. 9, Dvoˇra´ k’s Requiem and Stabat Mater, Mozart’s Requiem, Bernstein’s Jeremiah and Kaddish Symphonies, Handel’s Messiah, Mendelssohn’s Elijah, Bach’s St. John Passion and Aaron Copland’s In the Beginning. She has also performed in England, Scotland, Hungary, Slovakia, Germany, Austria, the Czech Republic, and Italy. Miss Luiken has been a state winner and regional finalist in the Metropolitan Opera auditions, and second runner-up in the Mid-Atlantic region of NATSAA. A native of Iowa, she is Associate Professor of Voice at Charleston Southern University.
Program Notes m as terwor k s V - a pr il 21, 2 0 1 2 , 7 : 3 0 p m
Mahler’s Symphony No. 2, “Resurrection”
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ahler’s career as a composer always had to take back seat to his primary way of earning a living--conducting. This partially explains the long gestation of the Second Symphony: while the first movement was conceived and finished in 1888, what were to become the second through fifth movements, plus revisions to the first movement, come during 1892-1894. The first performance was also not complete: Mahler (not Richard Strauss as was long thought) conducted the Berlin Philharmonic in the first three movements on March 4, 1895. The first performance of the full five-movement symphony was on December 18, 1895, Mahler again conducting the Berlin Philharmonic. If one desires to sort out the “meaning” of the Second Symphony, one will do well to remember that Mahler chose to publish it without any explanatory program, though of course the fourth and fifth movements are vocal with texts. The title “Resurrection” comes from the text used in the finale, but was not used by Mahler as any sort of subtitle on the score. But on several occasions Mahler offered “explanations” which can be cited to enrich our understanding of this work.
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MOVEMENT 1: Allegro maestoso. “We stand by the coffin of a person well loved. His whole life, his struggles, his passions, his sufferings and his accomplishments on earth once more for the last time pass before us. And now, in this solemn and deeply stirring moment, when the confusions and distractions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solemnity chills our heart--a voice that, blinded by the mirage of everyday life, we usually ignore: ‘What next? What is life and what is death? Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke? Will we live on eternally? Do our life and death have a meaning?’ We must answer these questions in some way if we are to go on living--indeed, if we are to go on dying! He into whose life this call has once sounded must give an answer. And this answer I give in the final movement.” MOVEMENT 2: Andante moderato. “A memory, a ray of sunlight, pure and cloudless, out of the departed’s life. You must surely have had the experience of burying someone dear to you, and then, perhaps on the way back, some long forgotten hour of shared happiness suddenly rose before your inner eye, sending, as it were, a sunbeam into your soul--not overcast by any shadow--and you almost forgot what had just taken place.” MOVEMENT 3: In quietly flowing motion. “When you awaken from that blissful dream and are forced to return to this tangled life of ours, it may easily happen that this surge of life ceaselessly in motion, never resting, never comprehensible, suddenly seems eerie, like the billowing of dancing figures in a brightly lit ballroom that you gaze into from outside in the dark--and from a distance so great that you can no longer hear the music.” MOVEMENT 4. Alto solo, “Primal Light.” Very solemn, but simple. This song, with a text from Des Knaben Wunderhorn, was written independently and later positioned here in the Second Symphony. Mahler asked the alto soloist to sound like a child imagining heaven. He said: “The moving voice of naïve faith sounds in our ears. ‘I am from God and will return to God. The dear God will give me a light, will light me to eternal blessed life!’” MOVEMENT 5. Choral Finale: The Apocalyptic Vision. “Once more we must confront terrifying questions. The movement starts with the same dreadful scream of anguish that ended the Scherzo. The voice of the Caller is heard. The end of every living thing has come, and the last judgment is at hand, and the horror of the day of days has come upon us. The earth trembles; the last trump sounds; the graves burst open; all the creatures struggle out of the ground, moaning and trembling. … The cry for mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us; all consciousness dies as the Eternal Judge approaches. The trumpets of the Apocalypse ring out. Finally, after all have left their empty graves and the earth lies silent and deserted, there comes only the long-drawn note of the bird of death. Even it finally dies. What happens now is far from expected: Everything has ceased to exit. The gentle sound of a chorus of saints and heavenly hosts is then heard. Soft and simple, the words gently swell up: ‘Rise again, yes, rise again thou wilt!’ … All is quiet and blissful. Lo and behold: There is no judgment, no sinners, no just men, no great and small … A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence.” Program notes by Dr. William D. Gudger, The College of Charleston (emeritus)
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Charleston Symphony Orchestra Membership Benefits 2011-2012 Annual Fund Donor $99 and under
Conductor’s Circle $3,000-$4,999
Fully tax-deductible
All the benefits listed above, plus…
Member $100-$249 All the benefits listed above, plus… Complimentary admission for two to a Donor Thank You Event. Access to one exclusive behind-the-scenes Open Rehearsal during the season.
Contributor $250-$499 All the benefits listed above, plus… Year-long donor recognition listing in Bravo! Magazine, CSO’s program book. Guest pass – receive a voucher for two complimentary tickets for your friends or family. Invitation to attend receptions following Chamber Orchestra Series concerts at the Dock Street Theatre.
Partner $500 - $1,499
Invitation to two “On the Stage” Rehearsals. Invitation to CSO’s Board of Directors’ Annual Meeting. Opportunity to sponsor a Musicians’ Chair (naming applies for the duration of your annual donation – receive program and online recognition, photo opportunity upon request, and access to sponsored musician).
Musicians’ Circle $5,000-$9,999 Receives all benefits above, plus … Invitations to exclusive events plus meet and greets with CSO guest artists and members of the Orchestra. Invitation to “An Evening with the Concertmaster” an exclusive event with Yuriy Bekker: Join CSO Concertmaster and Artistic Advisor, for a private Chamber Music recital and formal dinner at a very special location. Opportunity to sponsor a Musician’s Principal Chair (naming applies for the duration of your annual donation – receive program and online recognition, photo opportunity upon request, and access to sponsored musician).
All the benefits listed above, plus… Complimentary admission for four to a Donor Thank You Event. Access to two exclusive behind-the-scenes Open Rehearsals during the season.
Conductor’s Club $1,500-$2,999 All the benefits listed above, plus… Invitation to pre- and post-concert Conductor’s Club receptions throughout the season, including special events such as the CSO’s Opening Night Celebration. VIP ticket concierge service and priority seating when available. Special invitations to Conductor’s Club events featuring CSO musicians, guest artists and conductors throughout the year. Invitation to attend an exclusive Conductor’s Club “On the Stage” Rehearsal with your CSO musicians
Sustainer’s Club $10,000-$24,999 All the benefits listed above, plus… Private back stage tours with the Conductor or member of the Orchestra. Opportunity to underwrite a CSO Chamber Concert - receive additional recognition and benefits such as complimentary tickets and reception.
Leadership Circle $25,000+ All the benefits listed above, plus… Underwrite a CSO Concert – receive additional benefits such as complimentary tickets and a reception, with recognition for a concert in your name or in dedication to a loved one. One complimentary private performance – feature a CSO ensemble for a special personal or business hospitality event.
For more information on giving, please contact Alana Morrall, Director of Development at amorrall@charlestonsymphony.org or (843) 723-7528 ext 103. Memberships are valid for 12 months from date of gift.
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Thank You! The Charleston Symphony Orchestra gratefully acknowledges the following individuals, companies, foundations and government entities for generously supporting the organization between July 1, 2010 and October 11, 2011.
Leadership Circle
musicians’ circle
Gifts of $50,000+
Gifts of $5,000+
The Estate of Jon Burgin City of Charleston Charleston Symphony Orchestra League, Inc. Ingram Industries/Ingram Charitable Fund of the Community Foundation of Middle Tennessee Town of Kiawah Island WWW Foundation
Dr. Cynthia Cleland Austin Bank of America Matching Gifts Program Christopher & Lynn Burgess John & Jill Chalsty County of Charleston Mrs. Barbara Chapman Mr. & Mrs. Stuart A. Christie Detyens Shipyards, Inc. Dr. and Mrs. William T. Creasman First Federal of Charleston Ann & Gordon Getty Foundation Clyde & Jill Hiers Mr. Patrick Ilderton Johnson & Johnson Marty & Julie Klaper Lyndhurst Foundation Lt. Col. Wilson R. Pierpont SC Arts Commission Robert and Benita Schlau Elizabeth M. Smith Steel Family Charitable Trust Ms. Patience D. Walker Weight Watchers Wells Fargo
Gifts of $25,000+ Claire & James Allen Family Foundation BlueKey, Inc Coastal Community Foundation of SC Ms. Suzanne Gemmell, In Memory of Sue Metzger Knology MeadWestVaco Foundation Piggly Wiggly Carolina Co. Inc. Post and Courier Foundation Mr. & Mrs. Burton R. Schools
Sustainer’s Club Gifts of $10,000+ Tony & Linda Bakker John & Judy Clark Mr. and Mrs. Charles T. Cumbaa Legasey Family Fund of the Coastal Community Foundation Mr. Anthony McAlister McCrady’s Restaurant Mrs. Phyllis Miller Mrs. Marlies Tindall Mr. & Mrs. John H. Warren, III Henry & Sylvia Yaschik Foundation, Inc.
conductor’s circle Gifts of $3,000+ Jean F. Carlton Custom Home Sound, LLC Carol & Leo Fishman/Herzman-Fishman Foundation William & Prudence Finn Charitable Trust Dr. & Mrs. Mariano LaVia Dr. & Mrs. Michael Maginnis John F. and Katherine M. Maybank Dr. & Mrs. James M. Ravenel
continued >>
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conductor’s club Gifts of $1,500+ Ms. Patricia A. Abraham Ms. Susan Parsons & Dr. Angus Baker Charleston & Sharon Barnett Mr. & Mrs. John T. Benton Dennis Bergvall Blackbaud Frank & Kathy Cassidy Dr. & Mrs. Malcolm C. Clark Croghan’s Jewel Box Mr. Colin Cuskley Nicholas & Eileen D’Agostino Ellen and Tommy Davis Shani Diggs & Mr. Max Mahaffy Mr. & Mrs. Calvin H. East Mrs. Tina Edwards Julie & John Fenimore Mr. & Mrs. William A. Friedlander JoAnne & Nelson Hicks Robert & Catherine Hill Paul & Becky Hilstad Dr. & Mrs. Joseph M. Jenrette, III Ketner Fund for Social Justice of the Coastal Community Foundation William & Corrine Khouri Mr. Jack L. Lambert Charles & Brenda Larsen The Lasca & Richard Lilly Fund of Vanguard Charitable En Mr. James D. Lubs Nat and Linda Malcolm @ Indigo Books Ben & Cathy Marino Drs. H. W. & Carolyn B. Matalene Mrs. Elizabeth B. O’Connor Ms. Eloise Pingry Drs. Paul & Mary Jane Roberts David W. & Susan G. Robinson Foundation Schlau, Todd & Peterson Group-Merrill Lynch Dr. & Mrs. Norton M. Seltzer Mr. & Mrs. Linton Snapp Mary Ann and Cliff Solberg Albert & Caroline Thibault Dr. S. Dwane Thomas Trident United Way Richard & Martha Ulmer Mr. & Mrs. Charles S. Way, Jr. Yale University
partner Gifts of $500+ Mr. & Mrs. Ivan Anderson Robert W. Baird & Company The Beach Company Charles & Ann Beauchamp Gary & Karen Beeler Mr. David Brollier & Dr. Tina Brollier Alma & Greg Brown Mary Bullen & Polly Kronenberger Mr. & Mrs. T. G. Burke Mrs. Ilse Calcagno Mr. & Mrs. Wayland Cato, Jr.
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The Chitwood Family Fund of Ayco Charitable Foundation Mr. David Chorba Harry & Jennifer Clarke Dr. H. Paul Cooler Ethel A. Corcoran Mrs. Marilyn Curry Ms. Susan F. Cusson Jim & MaryJo Daugherty Miriam F. DeAntonio, M.D. Mrs. James D. Decker Ralph & Nancy Edwards Eli Lilly and Co. Foundation Dr. & Mrs. Haskell S. Ellison ExxonMobil Foundation Dr. Richard J. Friedman Joe & Sylvia Gamboa GE Foundation Mr. & Mrs. Carroll L. Gilliam Gwen & Randy Gilmore Dr. Rew A. Godow, Jr. Kerry Goldmeyer Mr. & Mrs. Barry Goldsmith Dr. & Mrs. Frederick J. Goulding Mr. Enrique Graf Mr. Clay M. Grayson and Mrs. Manoli Davani Dr. William D. Gudger Dr. & Mrs. Fitzhugh Hamrick Charles & Celia Hansult Frank & Kathleen Hayn Mr. & Mrs. Joseph Heckelman Dr. L. W. Heriot, Jr. Bill & Ruth Hindman Paul & Judy Hines Jack & Beverly Hoover Sue & Ken Ingram Harold & Jackie Jacobs Dr. Murray Jaffe Sheila & Tony Kelly Mr. & Mrs. Lee Kohlenberg Mr. John R. Lauritsen Dr. Walter Leventhal The Fulton Lewis Company, LLC Anne & Cisco Lindsey Charles & Joan Lipuma Valerie & John Luther Mr. & Mrs. John McTavish Ms. Jill Meyerdierks Mr. & Mrs. Lawrence D. Middaugh Terry & Martha Miller Allan & Carol Mysel James & Brenda Orcutt Mr. & Mrs. Lynn Pagliaro Gardner & Barbara Patrick Dr. & Mrs. Leonard L. Peters Mr. Norris Preyer & Dr. Lucy Preyer Mr. & Mrs. Wilbur J. Prezzano, Jr. Dr. & Mrs. A. Bert Pruitt Mr. & Mrs. G. Richard Query Ellen & Mayo Read Mr. Mark Reinhardt Mr. & Mrs. Clark Remsburg James & Jean Rion Mr. John M. Rivers, Jr. Mrs. Gail Roddey Mr. & Mrs. Dolph Rodenberg
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Ms. Janet Rosenzweig Del & Linda Schutte Schwab Charitable Fund Ginger & David Scott Dr. & Mrs. J. Bryan Smalley & Carol Ann Smalley Mr. & Mrs. George W. Smyth, Jr. South Carolina Bank & Trust South Carolina Electric & Gas Mrs. Nancy Stone Bud & Margaret Strauss Mr. & Mrs. James A. Stuckey Mr. James V. Sullivan Bundit & MaryJane Ungrangsee Mr. & Mrs. Gero von Grotthus John & Cecily Ward Dwight & Lindsey Williams Mr. & Mrs. George W. Williams Robert & Rosalind Williams Mr. & Mrs. Bonum S. Wilson, Jr. Mr. John A. Zeigler
contributor Gifts of $250+ Mr. Herb Ailes Mr. & Mrs. James P. Anderson Robert & Kathleen Anderson Anonymous Mr. James Bakker Ms. Betty Gore & Dr. Robert Ball Mr. Robert A. Barber, Jr. Ms. Karin Beckert John & Barbara Boatwright Mr. & Mrs. John D. Bowe Mr. Wayne L. Burdick Mr. & Mrs. Charles E. Childs, Jr. Mr. & Mrs. Richard B. Clarke Dr. John A. Colwell Dr. & Mrs. William R. Cook, Jr. Dr. & Mrs. Louis E. Costa, II
Ms. Angela Klehe Creed Mr. & Mrs. John R. Eagle Dr. & Mrs. James B. Edwards Morris & Deborah Ellison Mrs. Mollie C. Fair Mr. Jeffrey A. Foster Harvey D. Friedman Dr. David Garr & Ms. Deborah Williamson James & Betty Gilbert Mr. Thomas C. Graham Shirley & Keitt Hane Dr. & Mrs. Allen L. Harrell Dr. Donald R. Johnson, II Dr. Wendell S. Johnson Eileen Joyce & Edward Schleimer, Ph.D. Dr. & Mrs. George Khoury Mr. & Mrs. Richard A. Kronick Limehouse Produce Co., Inc. Mr. & Mrs. Wade H. Logan, III James M. Lombard Advised Fund Percy & Patricia Lyon Clarence & Judy Manning Merck Foundation Mr. Boulton D. Mohr Morris Financial Concepts, Inc. Mr. & Mrs. Morton Needle Ms. Michelle Powell Mrs. Newton G. Quantz Ms. Carol Rashbrook Mr. & Mrs. Clarence L. Reaser Mary B. Rice-Whittemore Ms. Deborah Ridgill Cynthia & Dave Rosengren Herk & Sherry Sims Mr. & Mrs. Sidney J. Smith Mr. & Mrs. John L. Strauch Thomas & Kristina Walle Mr. John Warren Charles & Marlene Williamon Mr. & Mrs. Glenn Workman Shelley & Marty Yonas
We apologize if your name has been inadvertently omitted or listed incorrectly. Please call the administrative office at 843.723.7528 to notify us of any changes you wish to make. Thank you again for your generosity.
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Fund for the Future Campaign Fund for the Future was launched to raise $1.5 million in support of the CSO for the 2010-11 and 2011-12 seasons. The foundation of this campaign is 25 for 25 -- that is, 25 businesses, individuals, or families who demonstrate their commitment to the CSO by pledging $25,000 annually for one to three years. We are deeply appreciative to the following members of 25 for 25: Â Dr. Jim and Claire Allen Tony Bakker and Anthony McAlister Martha Rivers Ingram MeadWestVaco Piggly Wiggly Carolina Co. The Post and Courier Foundation Burt Schools
Support the Businesses that Support the CSO
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- CH ARLE S TON SYM PHON Y OR C HEST R A
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Durlach Associates is pleased to support the Charleston Symphony Orchestra
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