CSO 2015 16 season program book vol 1 by Bob Durand Design

In Harmony with :MSP Life

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CONTENTS

CONCERTS Masterworks

Beethovenâ&#x20AC;&#x2122;s 4th Piano Concerto

Mozartâ&#x20AC;&#x2122;s 40th and Early Romantics

Heroic Revolutionaries

Pops

Special Events

34 Frankenstein Live 52 Holiday Pops featuring The Snowman Movie

Sounds of New Orleans

28 30 32 48 50 62

Steep Canyon Rangers Magnetic South Chamber Music Holy City Messiah Holiday Brass New Years Eve

6........House Notes

18........From the Orchestra

8........Musicians

20........CSO Chorus

10........Board of Directors

26........Educational Programs

12........Administration

70........Corporate Supporters

14........Letter from Executive Director

71 ........Membership Benefits

16........Letter from Music Director

72........Donor Recognition

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DISCOVER THE SOUL OF AN ISLAND IN THE HEART OF THE CITY

While strolling the cobblestone streets of Americaâ&#x20AC;&#x2122;s #1 City, let us introduce you to Americaâ&#x20AC;&#x2122;s #1 Island.* Stop by our Charleston office at the corner of Queen and State Streets and discover the 10 miles of pristine beach, famed fairways, renowned Club community, and world-class amenities that mark the Lowcountryâ&#x20AC;&#x2122;s highest standards. Just 21 miles from Charlestonâ&#x20AC;&#x2122;s charms, Kiawah Island invites you to recharge and renew, for a day, for a week, or for a lifetime.

R AINBOW ROW

ST. PHILIPâ&#x20AC;&#x2122;S CHURCH

GATEWAY TO KIAWAH

WATERFRONT PARK

KiawahIsland.com | 855.319.3317 | 12 Queen Street | Charleston, South Carolina homes t homesites t villas t cottages | $300,000 to over $20 million *CondĂŠ Nast Traveler 2014 2EWDLQ WKH 3URSHUW\ 5HSRUW UHTXLUHG E\ )HGHUDO ODZ DQG UHDG LW EHIRUH VLJQLQJ DQ\WKLQJ 1R )HGHUDO DJHQF\ KDV MXGJHG WKH PHULWV RU YDOXH LI DQ\ RI WKLV SURSHUW\ 9RLG ZKHUH SURKLELWHG E\ ODZ $Q RIIHULQJ VWDWHPHQW KDV EHHQ Ă&#x20AC; OHG ZLWK WKH 'HSDUWPHQW RI 6WDWH RI WKH 6WDWH RI 1HZ <RUN $ FRS\ RI WKH RIIHULQJ VWDWHPHQW LV DYDLODEOH XSRQ UHTXHVW IURP WKH VXEGLYLGHU 7KH Ă&#x20AC; OLQJ RI WKH YHULĂ&#x20AC; HG VWDWHPHQW DQG RIIHULQJ VWDWHPHQW ZLWK WKH 'HSDUWPHQW RI 6WDWH RI WKH 6WDWH RI 1HZ <RUN GRHV QRW FRQVWLWXWH DSSURYDO RI WKH VDOH RU OHDVH RU RIIHU IRU VDOH RU OHDVH E\ WKH 'HSDUWPHQW RI 6WDWH RU DQ\ RIĂ&#x20AC; FHU WKHUHRI RU WKDW WKH 'HSDUWPHQW RI 6WDWH KDV LQ DQ\ ZD\ SDVVHG XSRQ WKH PHULWV RI VXFK RIIHULQJ 7KLV SURMHFW LV UHJLVWHUHG ZLWK WKH 1HZ -HUVH\ 5HDO (VWDWH &RPPLVVLRQ 5HJLVWUDWLRQ GRHV QRW FRQVWLWXWH DQ HQGRUVHPHQW RI WKH PHULWV RU YDOXH RI WKH SURMHFW 2EWDLQ DQG UHDG WKH 1- 3XEOLF 2IIHULQJ 6WDWHPHQW DQG UHDG LW EHIRUH VLJQLQJ DQ\WKLQJ 1- 5HJ $1 $)),/,$7( 2) .,$:$+ 3$571(56

HOUSE NOTES TICKET INFORMATION • INDIVIDUAL CONCERT TICKETS Online: visit www.charlestonsymphony.org In Person: The Charleston Symphony Orchestra Office, 756 St. Andrews Blvd. (West Ashley) Monday thru Thursday, 9am to 5pm and Friday 9am to 12 pm. The Gaillard Center Box Office – Monday thru Friday, 11am to 6pm and beginning two hours prior to a performance on weekends. By Phone: Charleston Symphony Orchestra........... (843) 723-7528 The Gaillard Center Box Office...............(843) 242-3099

• STUDENT DISCOUNT All full-time students (6 to 22 years old) may purchase half price tickets in advance at the Gaillard Center Box Office or the Charleston Symphony Orchestra office. College students must show their valid college ID card. On concert night, Student Rush tickets are $10 (subject to availability). Some concerts are excluded; some concerts have special pricing noted on website.

FOR THE ENJOYMENT OF ALL • ELECTRONIC DEVICES Please refrain from use of personal electronic devices during the performances.

• LATE SEATING In consideration of both artists and audiences, latecomers will be seated at the discretion of the staff. Doors open at 6:30pm for Masterworks and Pops concerts.

6 - CharlestonSymphony.org

SUBSCRIBER EXCHANGES As an added benefit for our subscribers, If you are unable to attend one of your Masterworks or Pops subscription concerts, visit the CSO offices or the Gaillard Center Box Office no less than 48 hours prior to the performance to exchange tickets for a future Masterworks or Pops concert (subject to availability). If the ticket you choose has a greater value than the ticket you are returning, you will be responsible for the difference. You may also donate your tickets to the CSO (up to 48 hours prior to the concert) for a tax deductible contribution. As an alternative, you may pass along your tickets to friends or family. All tickets are non-refundable and only subscription tickets may be exchanged.

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

CSO PATRON SERVICES:

Two paid parking garages are located near the concert hall; the Gaillard Parking Garage adjacent to the hall and the parking garage located at the end of Calhoun Street near the SC Aquarium.

(843) 723-7528, ext. 110

• ACCESSIBILITY To purchase wheelchair accessible tickets, please call the Gaillard Center box office at (843) 242-3099.

• RESTROOMS All restrooms in The Gaillard Center are handicap accessible. Restrooms are available on all levels, with the exception of the Dress Circle.

• CONCESSIONS Concessions are available for purchase before concerts and during intermission. Food and drink are not allowed inside the concert hall.

ADDRESS: 756 St. Andrews Blvd. Charleston, SC 29407 OFFICE HOURS: Monday-Thursday: 9 am - 5 pm Friday: 9 am - 12pm WEBSITE: www.CharlestonSymphony.org CHARLESTON SYMPHONY E-NEWS Receive the latest news, information and special pricing opportunities by signing up for the CSO’s e-news at: www.CharlestonSymphony.org. SOCIAL MEDIA:

PLEASE HELP US RECYCLE

Facebook at: www.facebook.com/CharlestonSymphony

Please keep your program guide if you wish. We also encourage patrons to place your program guide in the recycle boxes as you leave this performance for use at future performances.

Concerts, performers, dates, times, and locations are subject to change.

FOR YOUR SAFETY In the event of an emergency, please use the exit nearest your seat. This is your shortest route out of the hall. A staff member is onsite at all performances.

Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and in photographs made during CSO events.

CharlestonSymphony.org -

CORE MUSICIANS VIOLIN

Yuriy Bekker

Micah Gangwer

Asako Kremer

Alexander Boissonnault

Concertmaster & Director of Chamber Orchestra

Principal Second

Assistant Principal Second

sponsored by Ted and Tricia Legasey

sponsored by Mr. and Mrs. Burton Schools

CharlestonSymphony.org -

2015-2016 BOARD OF DIRECTORS

• President: Cynthia Hartley* – Retired Senior Vice President of Human Resources, Sonoco • Treasurer: Michael Moody* – Retired CEO, Force Protection, Inc. • Secretary: Ellen Claussen Davis* – President, E. C. Davis & Associates • James Braunreuther – Fine Arts Coordinator, Charleston County School District • Judy Chitwood – CSO Advocate • Dr. William Cook – Physician, Lowcountry Internal Medicine • Julie Fenimore – Educator, CSO Advocate • Kevin Garvey – Senior Vice President of Development, Presbyterian Foundation • Andrea Gilliard – Physical Science Technician, United States Department of Agriculture • Edward Hart* – Chair, Department of Music, College of Charleston, Composer • Clyde Hiers – Certified Public Accountant, Daniel Island Financial Group • Becky Hilstad* - President of the Charleston Symphony Orchestra League • Paul Hilstad* - Retired Partner and General Counsel, Lord, Abbett & Co, LLC • Mary Agnes Burnham Hood – CSO Advocate • P. Frederick Kahn – Retired Managing Partner, Heidrick & Struggles • David H. Maybank, Jr. – Attorney, Maybank & Owings, LLC • Phyllis Miller – Retired Antique Dealer, CSO Advocate • Ellen Dressler Moryl – Retired, Director of Cultural Affairs, City of Charleston • Roy Owen – Independent Consultant and Manager • Robert Pearce – Attorney, Smith, Moore, Leatherwood, LLP • W. Bratton Riley – Director of Program Development, Maybank Industries, LLC • Robert Schlau* - Wealth Management Advisor, Merrill Lynch • Byron Stahl – Financial Advisor, Atlantic Coast Advisory Group • Roger Steel* - Former CEO, SNS Properties, Inc. • Jerry Theos - Attorney, Uricchio, Howe, Krell, Jacobson, Toporek, Theos & Keith, P.A. • Ann Hurd Thomas – Retired Fundraising Professional, CSO Advocate

* Executive Committee member

10 - CharlestonSymphony.org

IT APPEARS WE’RE READY FOR TAKEOFF.

The power of the arts inspires us to rise above the ordinary in our work and in our lives. Boeing is proud to support the Charleston Symphony Orchestra and its mission to enrich the cultural life of South Carolina’s Lowcountry.

ADMINISTRATION Administration

Development

Operations

Marketing

Michael Smith Executive Director

Kerri Collins Director of Development

Blue Ion

Stacey Swartzwelter Executive Administrator and Board Liason

Kyle Lane Director of Artistic Operations

Mitsuko Flynn Development Coordinator

Thomas Joyce Personnel Manager

Lou Hammond and Associates

John Barry Production Manager and Recording Engineer

Education

Patron Services Cynthia Branch Director of Patron Services LesLee Ames Patron Services Coordinator

Finance Shana Johnson Director of Finance

Rachel Gangwer Music Librarian

Public Relations

Janice Crews Director of Education and Community Engagement

Program book design and layout by Bob Durand Design

Proud supporter of the arts. Supporting our local communities and neighbors is the South State Way.

SouthStateBank.com Member FDIC

12 - CharlestonSymphony.org

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EXECUTIVE DIRECTOR

MICHAEL SMITH

his season, the Charleston Symphony Orchestra will celebrate its 79th year of bringing the world’s greatest music to the South Carolina Lowcountry. This remarkable achievement is the result of the dedication, vision, and hard work of many people – not the least of which are you, our patrons and ardent supporters. So we welcome you all – both longstanding and new friends – to this milestone season. In a bit of wonderful irony, so much about the CSO seems brand new. First, it is with great pleasure and excitement that we welcome our new Music Director, Ken Lam. I hope you will take the opportunity to get to know Ken beyond just the animated and immensely gifted person whose back you see as he leads our orchestra from the podium. After getting acclimated behind the scenes last season, Ken has fallen in love with Charleston. He has established his home here and is excited about becoming a part of our remarkable community. We invite you to get to know all of our talented musicians as we strive to be a new kind of symphony for the 21st century – one that is accessible to all, yet reverent towards the classical canon. The best music created through the centuries (including the present one) should not only edify, enlighten and uplift, it should also bring great pleasure. At its best, classical music should not be a medicine we endure because it’s good for us; rather, it should be a sumptuous feast of great variety. It is our mission to uplift our entire community through musical performance and education. For this very reason, the CSO has a proud history of expanding its programs beyond the confines of the music hall to make it more accessible for every member of the community. For example, last year our Music in Schools program reached more than 12,000 students in more than 60 schools across four counties, and is on track to reach nearly 20,000 students this year. CSO’s Director of Education and Community Outreach, Janice Crews, is executing expanded and innovative programs that are engaging students, budding musicians, and the community at large in new and incredibly creative ways. Finally, pause for a moment to take a close look around you: look up, look sideways, look behind you at this remarkable achievement that is the new Gaillard Center Performance Hall, which will serve as our “home base” while its physical presence emblemizes Charleston’s commitment to artistic and cultural excellence. Charleston is a city on the move – rooted in tradition, yet eagerly stretching towards the future. So it is with this season’s program, which we think promises to reach new heights – and beyond. Once again we thank you for joining us on this new day, in this new place, with many new partners – both in the seats and on the stage – for what promises to be an incredible new musical journey. I look forward to sharing it with you, Michael A. Smith

Executive Director

14 - CharlestonSymphony.org

THANK YOU,

Alyona Semenov, Alyona photography

Mayor Joe Riley, for your steadfast support, not only of the Charleston Symphony Orchestra and the new Gaillard Performance Hall, but of the entire Charleston arts community that contributes so vitally to the cityâ&#x20AC;&#x2122;s vibrant cultural landscape. Over the past four decades, your combination of clear vision and steadfast leadership has resulted in Charlestonâ&#x20AC;&#x2122;s emergence as a world-class destination for world-class arts. The CSO Music Director, administration, musicians and board of directors wish you and Charlotte all the very best upon your retirement from public service.

MUSIC DIRECTOR

KEN L AM

16 - CharlestonSymphony.org

aestro Ken Lam, recently named Music Director of the Charleston Symphony Orchestra, is the winner of the 2011 Memphis Symphony Orchestra International Conducting Competition, Associate Conductor for Education for the Baltimore Symphony Orchestra, Artistic Director of the Baltimore Symphony Youth Orchestras, Resident Conductor of the Brevard Music Center in North Carolina, Associate Professor and Director of Orchestra at Montclair State University in New Jersey, and Artistic Director of Hong Kong Voices. Maestro Lam was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony and made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors selected by Leonard Slatkin. In recent seasons he led performances with the symphony orchestras of Cincinnati, Baltimore, Detroit, Memphis, Illinois and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, and the Taipei Symphony Orchestra. In opera, he has directed numerous productions of the Janiec Opera Company at Brevard and was Assistant Conductor at Cincinnati Opera, Baltimore Lyric Opera, and the Castleton Festival. He has led critically acclaimed productions at the Spoleto Festival USA, the Lincoln Center Festival, and the Luminato Festival in Toronto, and his recent run of Massenet’s Manon at the Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington D.C/Baltimore area in 2010. Previously, Maestro Lam held positions as Assistant Conductor of the Cincinnati Symphony Orchestra and Principal Conductor of the Hong Kong Chamber Orchestra. Maestro Lam studied conducting with Gustav Meier and Markand Thakar at the Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. He read economics and law at St. John’s College, Cambridge University and was a finance attorney for ten years before becoming a conductor.

Dear Friends, I am very excited to begin my first season as Music Director of the Charleston Symphony Orchestra. It has been just over a year since my appointment and, during that time, I have been busy meeting people, auditioning new musicians and making plans for the new season. Last year the orchestra appointed four new core musicians – Zachary Hammond (principal oboe), Joshua Baker (principal bassoon), Antonio Marti (principal trumpet) and Christopher Larios (second trumpet). We welcome all of them to our family. Connecting with our community is one of the most important goals of any orchestra and, for me, 20152016 is a season of renewed collaborations with important artistic partners such as the CSO Chorus, music educators, and the College of Charleston. The CSO Chorus will be featured in no less than five concerts with chorus director Dr. Robert Taylor conducting the first Holy City Messiah at the new Gaillard Center in December. The choral masterworks concerts will feature two of my favorite works - in November, Walton’s cantata Belshazzar’s Feast, and in the spring, Poulenc’s Gloria. We continue our collaborations with the College of Charleston and will perform Edward Hart’s Dover Beach as well as Brahms’ Piano Concerto No. 2 with CofC faculty and internationally renowned pianist, Ran Dank. I will also be conducting one program of contemporary music (Copland, Stucky, and Harbison) in our Magnetic South series at the College. Our concertmaster, Yuriy Bekker, will lead three Masterworks programs, playing Vivaldi’s Four Seasons and conducting symphonies of Mozart and Mendelssohn, as well as premiering a new work by composer Adam Schoenberg with Project Trio. On the education front, we are finding new ways to connect with teachers and students of all ages. We are doubling the number of our Young People’s Concerts and, through our in-school visits, we will reach thousands of students in the tri-country area. We will again host the National Young Artist Competition in April and continue our partnership with the Charleston Symphony Youth Orchestra. With the move to our new home, this season is truly the beginning of a new chapter for the Charleston Symphony. Please join us as we renew our efforts to connect with the community, reach new audiences, and inspire through music. Yours sincerely

Ken Lam Music Director Charleston Symphony Orchestra

CharlestonSymphony.org -

FROM THE ORCHESTRA

BRANDON NICHOLS

Principal Horn

ood evening and welcome to our 2015/16 season. Iâ&#x20AC;&#x2122;m Brandon Nichols, Principal Horn with the Charleston Symphony Orchestra. I came to Charleston two weeks before hurricane Hugo hit! Charleston was hit hard and the damage was devastating. During this time I learned of the character of Charleston and realized that I have never seen a City with a stronger spirit! Despite the fact that most performance venues were badly damaged by the hurricane, the Charleston Symphony managed to keep going on as we continued performances at the King St. Palace until the Gaillard was repaired. Weâ&#x20AC;&#x2122;ve been through many ups and downs over the years, but thanks to this city, we are here and we are stronger than ever! Our late music director, David Stahl, had a dream of a state of the art Concert Hall. Now Charleston has one of the truly great Concert Halls in the world. It feels like the start of a new era. With our new Music Director Ken Lam, an enthusiastic staff, devoted Board of Directors, and highly talented and enthusiastic musicians, the stage is set for a brilliant future of musicmaking! But most of all we are grateful for you, our Patrons, for your support through the years and being part of this wonderful music making experience! Sincerely, Brandon Nichols Charleston Symphony musician

18 - CharlestonSymphony.org

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CSO CHORUS

he Charleston Symphony Orchestra Chorus is composed of auditioned, volunteer singers drawn from the greater Charleston area. An independent, non-profit organization under the direction of Dr. Robert Taylor, the Director of Choral

20 - CharlestonSymphony.org

Activities for the College of Charleston, the CSO Chorus promotes the enjoyment and appreciation of choral music in the Lowcountry through the performance of a diverse choral repertoire presented in concerts of the highest musical excellence that seek to nurture and educate audiences and future singers. Founded in 1978 by Miss Emily Remington as the Charleston Singers Guild, the CSO Chorus has provided the choral component for a broad range of classical and modern choral Masterworks and Pops concerts for the City of Charleston for over 35 years. The CSO Chorus Chamber Singers, a division of the CSO Chorus, provides a smaller ensemble to perform works in the chamber repertoire, including annual performances of Handel’s Messiah. The CSO Chorus President for 2015-16 is Susan Cheves, who also serves on the CSO Board of Directors. The 2015-2016 season includes participation in the Gaillard Center Grand Opening Gala in October, Masterworks 1, featuring Walton’s Belshazzar’s Feast in November, the Holy City Messiah concerts and the Holiday Pops concerts in December, and Masterworks 7 in April performing Francis Poulenc’s Gloria and Dr. Edward Hart’s Dover Beach. Additional information about the CSO Chorus can be found at www.CSOChorus.com.

CHORUS ROSTER Sopranos

Altos

Tenors

Basses

Susanna Agrest Mary Bell Pat Benzien Susan Borick Judith Burns Susan Chagrin Sarah Chambers Gail Corvette Samantha Cribb Maryileen Cumbaa Erin Danly Libby Davis Tammy Dorociak Tia Edwards-Brock Debbie Fox Janice Grant Crystal Javaux* Phyllis Jestice Elise Jorgens Rachel Lindsay Donna Mastrandrea Yon Meyer Louisa Montgomery Mary Moser Martina Mueller Kay Nickel Carlen Quinn Beverly Rawls Andrea Scheulen Cathy Sippell Myrtle Staples Sharon Steffan Lynne Summers Meta Van Sickle Leah Whatley Malena Yablinsky

Eloise Brooks Susan Cheves Phyllis Dickinson Mary Ellen Doyle Julie Fenimore Susan Findlay Patricia Hoff Judith Johnson Janice Kisling Susan McAdoo Mary McConnell Christe McCoy Sarah Napier Sally Newell Marianne Nubel Anne Oâ&#x20AC;&#x2122;Neal Donna Padgette Joyce Peach* Faith Pecorella Nancy Pellegrini Terry Ritchen Cynthia Rosengren Anne Saunders Dianna Stern Char Stricklin Eileen Van Horn Hannah Waggener Judy Warren Charlene Whalen Bobbye Wilson

Celeste Carlson Rick Cumbee Terry Goans Steve Gurry Mark Lazzaro* Hank Martin Richard Rathmann Theresa Robards Bill Thornby McIver Watson Curtis Worthington

Tom Bracewell Bob Cantey Richard Carson Garris Davis Marlon Fox Joe Gamboa Rick Goldmeyer Lee Kohlenberg Wei-Kai Lai Josh Lee Charles Martin Scott McBroom Edgar Mitchell Gary Nichols Ed Ritchen Richard Saunders John Schroeder Paul Schwarz Randall Shealey Dwight Williams*

Dr. Robert Taylor, Director Jordan Boyd, Associate Director Susan McAdoo, Accompanist Susan Cheves, President Rick Goldmeyer, Vice President Bobbye Wilson, Secretary Joe Gamboa, Treasurer

* section leader

CharlestonSymphony.org -

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EDUCATION

he CSO is proud to offer more free or low-cost educational opportunities than ever before, with a special emphasis on reaching Title I schools and underserved areas. The CSO is committed to being more continually present in the lives of young learners by providing multiple ways to engage with the CSO, ranging from exploratory to highly intensive. For example, the Young People’s Concerts and Music in Schools programs introduce students to the symphony orchestra. In contrast, the CSO’s involvement with the Charleston Symphony Youth Orchestra and our annual National Young Artist Competition offers more rigorous experiences for advanced student musicians from Charleston and nationwide. Likewise, the Instrument Petting Zoo* allows children to try musical instruments for the first time, while Composition & Critique provides students with an in-depth study of musical and literary composition with a visiting composer. All of our programs are designed to fulfill our mission:

TO INSPIRE, CHALLENGE, AND EDUCATE STUDENTS THROUGH MUSICAL EXPERIENCES. Our sustained impact is being better tracked by recording both single and repeat interactions. Last season, 15 out of 60 participating schools engaged in two or more CSO education events or programs, reaching over 12,300 students in grades K-12 in over 15,000 unique experiences. This season, we anticipate reaching over 80 schools and increasing our impact significantly.

* The Instrument Petting Zoo is sponsored by the Charleston Symphony Orchestra League, Inc.

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WHAT’S NEW IN CSO EDUCATION THIS YEAR? This year, the CSO’s new “Education Week” will send six CSO chamber ensembles to as many as 50 schools over the span of six days. This high concentration of school visits is unheard of for any orchestra and will double the number of school performances from last year. This season, the CSO is expanding its Young People’s Concerts (YPC) to include two different events in order to reach all grades, K-12. In November, a new concert for grades 6-12 will engage a more mature student audience in a program connected to classic literature and mythology. Through an exciting new partnership with Carnegie Hall, our traditional YPC for elementary grades will have a new focus on student participation. Children in grades K-5 will sing along and play the recorder during this interactive concert called The Orchestra Moves. The YPCs will be performed with a large 60-member orchestra– twice the size of last year’s YPC orchestra– at the new Gaillard, under the direction of Music Director Ken Lam. We believe that students deserve the best possible experience, one that so many of us had as children, to inspire a life-long love of symphonic music. Our new model ensures the opportunity to hear the CSO each year from grades K-12.

The CSO is also providing new professional development opportunities for tri-county educators. Music Director Ken Lam and the CSO Director of Education and Community Engagement, Dr. Janice Crews, recently led workshops for K-12 music educators. These workshops focused on collaboration in music, arts integration, string techniques, and conducting. In addition, Dr. Crews will lead four teacher workshops in October to explore the Young People’s Concert curriculum. More opportunities for professional development will be presented throughout the year. HOW DO WE DO IT? The CSO is dedicated to providing high-quality educational experiences that go beyond that of a typical professional orchestra. What sets our organization apart is that fully one third of our musicians’ time is dedicated to education and outreach. The musicians of the CSO are firmly committed to education. Our education and outreach initiatives are made possible through the generous support of donors, corporate sponsors, and community partners. To learn more about how you can support our education programs, please contact the CSO’s Director of Education and Community Engagement, Dr. Janice Crews, at jcrews@charlestonsymphony.org or call 843-723-7528 ext. 101.

CharlestonSymphony.org -

SPECIAL EVENT

STEEP CANYON RANGERS

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September 26th, 2015 North Charleston Performing Arts Center

Charles Ives, arr. William Schuman Variations on “America” Tell the Ones I Love Easy to Love Slots Las Vegas Graveyard Fields Simple As Me Old Stone House Call the Captain Blow Me Away

INTERMISSION Ennio Morricone, arr. Robert Longfield Gabriel’s Oboe Blue Velvet Rain Come Dance Diamonds in the Dust Knob Creek Between Midnight and the Dawn Radio As I Go Stand and Deliver Auden’s Train

rom Asheville, NC, Steep Canyon Rangers are an acoustic Bluegrass group. In 2013 the band’s 8th record “Nobody Knows You” won the Grammy for Best Bluegrass Album. Before embarking on a world tour backing comedian/ banjoist Steve Martin, the Rangers were nominated for two International Bluegrass Music awards including Album of the Year “Lovin’ Pretty Women” (2007). Steep Canyon Rangers were also named

‘Emerging Artist of the Year’ in 2006 at the IBMA awards ceremony in Nashville, TN. The group performs heavily in the Bluegrass and Americana music world at festivals like MerleFest, Telluride, Hardly Strictly Bluegrass, Grey Fox, DelFest and RockyGrass. Abroad, Steep Canyon Rangers have performed in Sweden, Ireland, England, Germany, Switzerland and Canada.

CharlestonSymphony.org -

SPECIAL EVENT SPECIAL EVENT

Yiorgos Vassilandonakis, Conductor

The Music of Henryk Gorecki (1933-2010) String Quartet No. 3, Op. 67 (“… songs are sung”)

I. II. III. IV. V.

Adagio-Molto andante-Cantabile Largo, Cantabile Allegro, Sempre ben marcato Deciso-Espressivo ma ben tenuto Largo-Tranquillo

Three Pieces in the Old Style Kleines Requiem für eine Polka

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I. II. III. IV.

Tranquillo Allegro impetuoso-marcatissimo Allegro-deciso assai Adagio-cantabile

October 2nd, 2015 Simons Center, College of Charleston

ORCHESTRA ROSTER Violin

Cello

Oboe

Trumpet

Yuriy Bekker Alex Boissonnault Micah Gangwer Asako Kremer

Norbert Lewandowski Damian Kremer

Zac Hammond

Antonio Marti

Bass

Clarinet

Trombone

Charles Messersmith

Thomas Joyce

Bassoon

Percussion

Joshua Baker

Ryan Leveille

Horn

Piano

Brandon Nichols

Happy Bird

Viola Jan-Marie Joyce Alex Agrest

Thomas Bresnick

Flute Jessica Hull-Dambaugh

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CharlestonSymphony.org -

SPECIAL EVENT CHAMBER MUSIC

JOIN THE CSO WOODWIND QUINTET FOR A SPECIAL EVENING OF CHAMBER MUSIC. Jessica Hull-Dambaugh, Flute Zac Hammond, Oboe Charles Messersmith, Clarinet Josh Baker, Bassoon Anne Holmi, Horn CLUBHOUSE SERIES members only: Country Club of Charleston, Wednesday, October 7th, 2015 at 7:30pm Wild Dunes Resort Club, Tuesday, October 13th, 2015 at 7pm Daniel Island Club, Wednesday, October 21st, 2015 at 7pm open to the public: Bishop Gadsden, Thursday, October 8th, 2015 at 4pm August Klughardt (1847-1902) Quintet in C Major, Op. 79 I. Allegro non troppo II. Allegro vivace III. Andante grazioso IV. Adagio - Allegro molto vivace Malcolm Arnold (1921-2006) Three Shanties I. Allegro con brio II. Allegretto semplice III. Allegro vivace Paquito Dâ&#x20AC;&#x2122;Rivera (b. 1948) Aires Tropicales Alborada Son Habanera Vals Venezolando Dizzyness Contredanza Afro

32 - CharlestonSymphony.org

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CharlestonSymphony.org -

POPS!

Michael Shapiro, Conductor

Frankenstein Live Charles Gounod (1818-1893) Funeral March of a Marionette Modest Mussorgsky (1893-1881), arr. Rimsky-Korsakov Night on Bald Mountain Paul Dukas (1865-1935) The Sorcererâ&#x20AC;&#x2122;s Apprentice

INTERMISSION

Frankenstein (Film 1931 Universal Studios) Music by Michael Shapiro

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October 30th, 2015 Charleston Gaillard Center ORCHESTRA ROSTER MICHAEL SHAPIRO

CONDUCTOR

ichael Shapiro conducts the City of Birmingham Symphony Orchestra in England, Charleston Symphony (Gaillard Performance Hall), Virginia Symphony (Sandler Performing Arts Center in Virginia Beach), Dallas Winds (Meyerson Symphony Center in Dallas), Southeastern Wind Symphony (at the Columbia Theater near New Orleans), and The Chappaqua Orchestra, in concerts devoted to the music of Wagner, Mendelssohn, Schumann, Mussorgsky, Gounod, and Dukas as well as the Shapiro Second Symphony and Frankenstein-The Movie Score. Frankenstein-The Movie Score recent performances include those at University of Texas Austin (Jerry Junkin, conducting), Texas Tech University (Sarah McKoin, conductor), Purdue University (Jay Gephardt, conductor), Piedmont Wind Ensemble (Matthew Troy, conductor), University of Memphis (Albert Nguyen conducting), Bowling Green State University (Bruce Moss conducting), Kentucky Wesleyan (Steven Pederson conducting), Marist College (Michael Shapiro conducting), and the Garden State Philharmonic (Anthony LaGruth, conducting). Michael Shapiroâ&#x20AC;&#x2122;s Second Sonata for violin and piano received its California premiere at LACMA by Tim Fain, violin, and Inna Faliks, piano and will be recorded on Paumanok Records. His new piano concerto Archangel commissioned by the celebrated virtuoso Jose Ramos Santana and premiered by the New York Repertory Orchestra, David Liebowitz, conductor, will be performed by the the Orquesta Sinfonica de Puerto Rico, Maximiano Valdes, conductor, at the Festival Interamericano de las Artes, in San Juan, and later recorded in England. Michael Shapiro recently completed his Second Symphony (which he will record with the City of Birmingham Symphony Orchestra this summer) and Sections, a compendium of piano pieces based on portions from the Torah.

Violin

Bass Clarinet

Yuriy Bekker Alexander Boissonnault Micah Gangwer Asako Kremer Rex Conner Elizabeth Ehrlich Catherine Hazan Frances Hsieh Tomas Jakubek Mayumi Nakamura Liviu Onofrei Melissa Tong Shr-Han Wu

Gretchen Roper

Viola

Bassoon Joshua Baker Katherine St.John

Contrabassoon Ashley Hedrick

Horn Brandon Nichols Anne Holmi Michael Daly Debra Sherrill-Ward

Jan-Marie Joyce Alex Agrest Sadie deWall Nicole Feryok Ruth Goldsmith Daniel Urbanowicz Vladimir Yampolsky

Trumpet

Cello

Jason Stein Kate Jenkins

Norbert Lewandowski Damian Kremer Christopher Glansdorp Aubrey Gray Yuriy Leonovich Elizabeth Murphy

Bass Thomas Bresnick Joseph Farley Jonathan Rouse Matthew Waid

Flute Jessica Hull-Dambaugh Regina Yost Tacy Edwards

Oboe Zac Hammond Kari Kistler

Clarinet

Antonio Marti Chris Larios Kyle Lane Susan Messersmith

Trombone

Bass Trombone Thomas Joyce

Tuba Chris Bluemel

Harp Kathleen Wilson

Keyboard Ghadi Shayban

Timpani Beth Albert

Percussion Ryan Leveille Michael Haldeman Joshua Hoover Mathew Masie

Charles Messersmith Gretchen Roper JoElle Gardner

CharlestonSymphony.org -

MASTERWORKS

Ken Lam, Conductor Daria Rabotkina, Piano CSO Chorus

Dashon Burton, Baritone

Dr. Robert Taylor, Director

Beethoven’s 4th Piano Concerto Johannes Brahms (1833-1897) Academic Festival Overture, Op. 80 Ludwig van Beethoven (1770-1827) Piano Concerto No. 4 in G Major, Op. 58 I. Allegro moderato II. Andante con moto III. Rondo: Vivace

INTERMISSION Sir William Walton (1902-1983) Belshazzar’s Feast

Pre-concert conversations are held from 6:30pm-7:00pm prior to every Masterworks performance from the stage.

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Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.

November 6th & 7th, 2015 Charleston Gaillard Center

DARIA RABOTKINA

PIANO

aria Rabotkina, winner of the 2007 Concert Artists Guild International Competition, is lauded as “…a pianist full of fire and warmth” (The PlainDealer). Ms. Rabotkina’s ascending career has already led to solo appearances with the San Francisco and New World Symphonies under the baton of Michael Tilson Thomas and with the Kirov Orchestra and Valery Gergiev in a four concert North American tour. Whether in front of an orchestra, in the recital hall or in a chamber music setting, Ms. Rabotkina impresses audiences and critics alike with her “clearly prodigious musical gifts” (The Washington Post). She began the 2013-14 season with summer festival recitals featuring the Rockport Chamber Music Festival, and regular season highlights include recitals for the Dame Myra Hess series in Chicago and the Atlantic Music Center in Florida, as well as concerto engagements with the Dupage Symphony Orchestra in Illinois (Tchaikovsky No. 1), the Columbus Symphony in Georgia (Schumann), and the Orquesta Sinfonica de Concepción in Chile (Bernstein, Age of Anxiety). Ms. Rabotkina’s second solo CD on CAG Records (August 2012), featuring Beethoven’s Diabelli Variations, has been very well received: “Her subtle phrasing and lyrical playing are the highlight of the disc” (Fanfare). This follows her debut recital disc, spotlighting the Tchaikovsky Grand Sonata and Prokofiev’s Ten Pieces from Romeo and Juliet, which also garnered universal critical praise: “Her fearless virtuosity makes the most of the exciting passages.” (American Record Guide).

DASHON BURTON

BARITONE

ass-baritone Dashon Burton began 2014-15 season singing in the new St. Mark’s Passion at the Oregon Bach Festival, performing the role of Jesus in the St. Matthew Passion at the Carmel Bach Festival, and by joining the American Classical Orchestra as a soloist in Bach’s Mass in B minor at Alice Tully Hall. Dashon brought home a top prize from the 2012 ARD International Music Competition in Munich, as well as the first prize in Oratorio from the 49th International Vocal Competition in ‘s-Hertogenbosch, the Netherlands. These awards follow his First Place wins in both the 2012 Oratorio Society of New York’s Competition and the Bach Choir of Bethlehem’s Competition for Young American Singers. In addition to his work in early music, Mr. Burton is an avid performer of new music and has premiered works by many living composers. He is a founding member of 2013 Grammy Award Winning (Best Chamber Music/Small Ensemble Performance) Roomful of Teeth, with whom he tours internationally. This vocal ensemble, under the direction of Brad Wells, is devoted to the performance of new compositions using the fullest possible range of vocal techniques. Mr. Burton began his professional studies at Case Western Reserve University and graduated from the Oberlin College Conservatory of Music. Immediately upon graduation, he was invited to join Cantus, a professional men’s classical vocal ensemble based in Minneapolis and known for its concerts and collaborations with renowned organizations and artists such as the Saint Paul Chamber Orchestra, the Minnesota Orchestra, the Boston Pops, James Sewell Ballet and Bobby McFerrin.

CharlestonSymphony.org -

MASTERWORKS, NOVEMBER 6, 7, 2015

ORCHESTRA ROSTER Violin

Viola

Flute

Trumpet

Micah Gangwer Alexander Boissonnault Asako Kremer Kathleen Beard Alexandr Dzyubinsky David Edwards Elizabeth Ehrlich Andrew Emmett Henry Flory Catherine Hazan Frances Hsieh Tomas Jakubek Ki Won Kim Rudolf Kremer Allyson Michal Mayumi Nakamura Mao Omura Benjamin Scott Mary Taylor Jenny Weiss Shr-Han Wu

Jan-Marie Joyce Alex Agrest Sadie deWall Nicole Feryok Rachel Gangwer Ruth Goldsmith Gi Yeon Koh Taliaferro Nash Daniel Urbanowicz Benjamin Weiss

Jessica Hull-Dambaugh Regina Yost Julie DeMott

Antonio Marti Chris Larios

Oboe

David Roode Michael Kris

Cello

Clarinet Charles Messersmith Gretchen Roper

Norbert Lewandowski Damian Kremer Rose Bart Christopher Glansdorp Ismar Gomes Greg Homza Jeremy Lamb Daniel Mumm Elizabeth Murphy Daniel Shomper Cameron Williams

Bass Clarinet

Bass Thomas Bresnick Michael Ashton Peter Berquist Joseph Farley Ben Jensen Jan Mixter James Stroup

38 - CharlestonSymphony.org

Zac Hammond Kari Kistler

Jeffrey Brooks

Alto Saxophone Jonathan Kammer

Bassoon

Trombone

Bass Trombone Thomas Joyce

Tuba Chris Bluemel

Harp Kathleen Wilson

Organ William Gudger

Joshua Baker Katherine St.John

Timpani

Contrabassoon

Percussion

Ashley Hedrick

Ryan Leveille Mathew Masie Ray McClain Diana Sharpe

Horn Brandon Nichols Anne Holmi Michael Daly Anna Dodd

Beth Albert

Program notes by William D. Gudger, The College of Charleston Professor Emeritus of Music History and Theory Johannes Brahms (1833-1847) Academic Festival Overture, Op. 80 Famous composers have often been recognized by honorary degrees presented by universities and colleges. Haydn received a doctorate from Oxford, Cambridge honored Dvorák, and the University of Breslau (now Wroclaw, Poland) honored Brahms in 1879. He offered to write an overture in reply, which he composed in 1880 and conducted in Breslau on January 4, 1881. As a champion of serious, absolute music, Brahms might have been expected to write an overture full of learned devices. In fact he wrote a delightful potpourri of student songs, citing the popular operetta overtures of Franz von Suppé as his model. A loose sonata form holds the overture

together. The main themes are: “Wir hatten gebauet ein stattliches Haus” (about building a noble house), introduced by the brass; “Melodie des Landesvaters” (a patriotic song), heard first in the violins; ”Was kommt dort von der Höh” (a freshman song about a fox), played by the bassoons; plus a mock-fugue making fun of “academic” music. After these are recapitulated, the climax introduces the medieval student song “Gaudeamus igitur” (“Let us live and be glad while we are young”). The orchestra employed is Brahms’s largest, including the colorful sounds of percussion and piccolo that he usually eschewed.

Ludwig van Beethoven (1770-1827) Concerto for Piano and Orchestra No. 4 in G major, Op. 58 It is often remarked that Beethoven’s odd-numbered symphonies and piano concertos are dynamic, pathbreaking creations while the even-numbered works are lighter and more retrospective. This seems to explain the Fourth Piano Concerto which is a most gentle work and not a very loud one (no trumpets and drums). Unfortunately, this little guide falls apart when you learn that the Second Piano Concerto was actually written before the First, and that Symphonies No. 5 and 6 were composed simultaneously and their numbering could have actually gone either way. The G major Concerto was composed in 1805 and 1806. There was a private performance (a sort of trial run) at the Vienna home of Prince Franz Joseph von Lobkowitz, one of Beethoven’s valued patrons. The public premiere of the concerto, which would turn out to be the last time Beethoven was a concerto soloist in public, was as part of the famous marathon “Academy,” a concert on December 22, 1808, when Beethoven premiered not only the concerto but the

Fifth and Sixth Symphonies, the Choral Fantasy, and two movements of his Mass in C major. There was also a concert aria and a piano improvisation by Beethoven. The G major Concerto received a couple of favorable reviews but was not much performed until Felix Mendelssohn championed it. For connoisseurs of Beethoven’s music, it is often the most interesting of the piano concertos. There are the usual three movements, but with the second movement leading directly into the finale without a pause. The opening of the first movement, in its own way, is revolutionary: rather than a loud presentation of themes by the orchestra, the piano soloist begins, answered by the orchestra in a foreign key which gradually returns us to the “proper” home key. Rhythmically this movement uses much of the short-short-short-long motive which so permeates the Fifth Symphony; here, however, it is part of the overall gentle approach to rhythm and dynamics.

CONTINUED ON NEXT PAGE >

CharlestonSymphony.org -

MASTERWORKS, NOVEMBER 6, 7, 2015

The second movement was famously described as “Orpheus and the Furies at the gates of Hades” in Adolf Bernhard Marx’s 1859 biography of the composer. Here the orchestra (Furies) takes the lead with rather harsh unisons, while the piano (Orpheus) answers with contrasting soft chords. The finale starts in the “wrong” key, C major, which then gradually settles into the expected G major. It is a rondo, the light and playful form

favored by Mozart in his concerto finales. Beethoven left behind cadenzas for the outer movements. (In his Fifth Piano Concerto Beethoven would require the performer to play specified cadenzas, as the role of improvisation in public performance was giving way to the composer’s insistence and control over the details of the composition.)

Sir William Walton (1902-1983) Belshazzar’s Feast: Cantata for Choir, Baritone Solo, and Orchestra A 1929 commission by the BBC for a short choral work with a small (fifteen-piece) orchestra grew to such large proportions that the eventual premiere was at a festival in Leeds (Yorkshire) in 1931 with a massive orchestra under Malcolm Sargent. At the time, Walton was living with the eccentric family of three literary siblings, the Sitwells: Edith, Sachervell, and Osbert. Osbert skillfully selected the text from the Bible, using the Book of Daniel, Psalms 81 and 137, Revelation, and Isaiah. The story tells of the Hebrews captivity in Babylon (“By the waters of Babylon, there we sat down, yea, we wept”) and King Belshazzar’s feast where he profanes the sacred vessels of the Hebrews by drinking toasts to pagan gods. The handwriting appears on the wall: “Mene, mene, tekel upharsin” (“Thou art weighed in the balance and found wanting”). Curiously, Sitwell omitted Daniel’s interpretation of the writing and moved straightway to

40 - CharlestonSymphony.org

the death of Belshazzar, the fall of Babylon, and the rejoicing of the Hebrews. The Sitwells encouraged the young Walton to avoid the stuffy atmosphere of the London conservatories and helped expose him to the music of Stravinsky and other moderns. His resultant style, while still very tonal and not at all dissonant, is full of angular jazzy rhythms and brilliant orchestration. The result is a 35-minute cantata that stands rather alone in the British choral tradition. It has a symphonic scope and broad strokes that foretell the composer’s great success as a film composer. It has been performed by many of the major British and American conductor’s, and though he only performed it once, Herbert von Karajan (no particular fan of British music) found it the best choral work of the 20th century. Walton thought this performance by Karajan in 1948 to be the best ever; he always found Sargent’s conducting too slow.

Sir William Walton

Chrous: In Babylon Belshazzar the King Made a great feast, Made a feast to a thousand of his lords, And drank wine before the thousand.

Baritone Solo: And in that same hour, as they feasted Came forth fingers of a man’s hand And the King saw the part of the hand that wrote.

Chorus: Thus spake Isaiah – Thy sons that thou shalt beget They shall be taken away, And be eunuchs In the palace of the King of Babylon Howl ye, howl ye, therefore: For the day of the Lord is at hand!

Belshazzar, whiles he tasted the wine, Commanded us to bring the gold and silver vessels: Yea, the golden vessels, which his father, Nebuchadnezzar, Had taken out of the temple that was in Jerusalem.

And this was the writing that was written: ‘MENE, MENE, TEKEL UPHARSIN’

By the waters of Babylon, There we sat down: yea, we wept And hanged our harps upon the willows.

He commanded us to bring the golden vessels Of the temple of the house of God, That the King, his Princes, his wives And his concubines might drink therein.

Belshazzar’s Feast texts from the Bible selected by Osbert Sitwell

For they that wasted us Required of us mirth; They that carried us away captive Required of us a song. ‘Sing us one of the songs of Zion.’ How shall we sing the Lord’s song In a strange land? Baritone Solo and Chorus: If I forget thee, O Jerusalem, Let my right hand forget her cunning. If I do not remember thee, Let my tongue cleave to the roof of my mouth. Yea, if I prefer not Jerusalem above my chief joy. Chorus: By the waters of Babylon There we sat down: yea, we wept. O daughter of Babylon, Who art to be destroyed, Happy shall he be that taketh thy children And dasheth them against a stone, For with violence shall that great city Babylon be thrown down And shall be found no more at all. Baritone Solo: Babylon was a great city, Her merchandise was of gold and silver, Of precious stones, of pearls, of fine linen, Of purple, silk and scarlet, All manner vessels of ivory, All manner vessels of most precious wood, Of brass, iron and marble, Cinnamon, odours and ointments, Of frankincense, wine and oil, Fine flour, wheat and beasts, Sheep, horses, chariots, slaves And the souls of men.

Then the King commanded us: ‘Bring ye the cornet, flute, sackbut, psaltery And all kinds of music.’ They drank wine again, Yea, drank from the sacred vessels, And then spake the King: Baritone Solo: Praise ye the God of Gold! Chorus: Praise ye the God of Gold! Praise thee the God of Silver! Praise ye the God of Iron! Praise ye the God of Wood! Praise ye the God of Stone! Praise ye the God of Brass! Praise ye the Gods! Thus in Babylon, the mighty city, Belshazzar the King made a great feast, Made a feast to a thousand of his lords And drank wine before the thousand. Belshazzar, whiles he tasted the wine Commanded us to bring the gold and silver vessels That his Princes, his wives and his concubines Might rejoice and drink therein.

Chorus: ‘THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING’. Baritone Solo: In that night was Belshazzar the King slain Chorus: Slain! Baritone Solo: And his Kingdom divided. Chorus: Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob. Take a psalm, bring hither the timbrel, Blow up the trumpet in the new moon, Blow up the trumpet in Zion For Babylon the Great is fallen, fallen. Alleluia! Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob, While the Kings of the Earth lament And the merchants of the Earth Weep, wail and rend their raiment. They cry, ‘Alas, Alas, that great city, In one hour is her judgement come.’ The trumpeters and pipers are silent, And the harpers have ceased to harp, And the light of a candle shall shine no more. Then sing aloud to God our strength. Make a joyful noise to the God of Jacob. For Babylon the Great is fallen. Alleluia!

After they had praised their strange gods, The idols and the devils, False gods who can neither see nor hear, Called they for the timbrel and the pleasant harp To extol the glory of the King. Then they pledged the King before the people, Crying, ‘Thou, O King, art King of Kings: O King, live for ever...’

CharlestonSymphony.org -

MASTERWORKS

Yuriy Bekker, Conductor Charles Messersmith, Clarinet

Mozart’s 40th and Early Romantics Felix Mendelssohn (1809-1847) Selections from A Midsummer Night’s Dream, Op. 21 and 61 Overture Scherzo Nocturne Wedding March Carl Maria von Weber (1786-1826) Clarinet Concerto No. 1 in F minor, Op. 73

I. Allegro II. Adagio ma non troppo III. Rondo: Allegretto

INTERMISSION Wolfgang Amadeus Mozart (1756-1791) Symphony No. 40 in G minor, K. 550

I. Molto allegro II. Andante III. Menuetto: Allegretto IV. Allegro assai

Pre-concert conversations are held from 6:30pm-7:00pm prior to every Masterworks performance from the stage.

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Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.

November 20th & 21st, 2015 Charleston Gaillard Center

YURIY BEKKER

CONDUCTOR

uriy Bekker, violinist and conductor, has led the Charleston Symphony Orchestra as concertmaster since 2007 and was recently named Director of Chamber Orchestra. Mr. Bekker served as the orchestra’s Acting Artistic Director from 2010-2014 and played a major role in its successful resurgence. The City of Charleston recently presented Bekker with an Outstanding Artistic Achievement award to honor his cultural contributions to the city. Bekker is an adjunct faculty member of the College of Charleston School of the Arts as conductor of the College of Charleston Orchestra. He has been on faculty as violinist and conductor for the Miami Summer Music Festival since its inaugural season in 2014. Bekker has also served as Artistic Advisor to the Piccolo Spoleto Festival and is now Director of its Spotlight Series. He has also held the position of concertmaster for the Orlando Philharmonic Orchestra and AIMS Festival in Graz, Austria, and held additional positions with the Houston Symphony and the Houston Grand Opera and Ballet Orchestras. Bekker has performed worldwide as a celebrated

guest concertmaster, avid chamber musician, and critically-acclaimed soloist with the Vancouver Symphony (British Columbia), Ulster Orchestra in Northern Ireland, Buffalo Philharmonic, Chicago Chamber Music Society, European Music Festival Stuttgart (Germany), Pacific Music Festival (Japan), Spoleto Festival USA, and Aspen Music Festival. He has collaborated with Herbert Greenberg, Claudio Bohorquez, Alexander Kerr, Andrew Armstrong, Robert DeMaine, Sara Chang, Gil Shaham, Joshua Roman, JoAnn Falletta, and Andrew Litton. In addition to directing and performing with the Charleston Symphony Orchestra, Bekker’s 2015-2016 season consists of numerous engagements including conducting the opera Hänsel and Gretel with the Miami Summer Music Festival, playing the Beethoven Violin Concerto with the Missoula Symphony, conducting Dvorak’s New World Symphony with the Amarillo Symphony and others. Bekker 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 the Indiana University School of Music, where he studied violin with Nelli Shkolnikova and Ilya Kaler. Born in Minsk, Belarus, Bekker is now a United States citizen and is married to Dr. Jenny Glace Bekker.

CharlestonSymphony.org -

MASTERWORKS, NOVEMBER 20, 21, 2015

CHARLES MESSERSMITH

CLARINET

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 (studying with Franklin Cohen) in 1991. He then went on to The San Francisco Conservatory of Music and received his Master of Music degree (studying with David Breeden). In 1994, he won the Principal Clarinet position 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 has performed in Charleston with local, national, and internationally renowned chamber musicians. In the summer, he performs at the Wintergreen Music Festival in the Blue Ridge Mountains of Virginia. He has been featured as soloist with the Charleston Symphony performing the Copland Clarinet Concerto, Mozart Clarinet Concerto, and the Stamitz Double Concerto. He teaches at Charleston Southern University and the College of Charleston as well as private teaching and master classes.

ORCHESTRA ROSTER Violin

Clarinet

Micah Gangwer Alexander Boissonnault Asako Kremer Kathleen Beard Alexandr Dzyubinsky Andrew Emmett Tracy Ensley Frances Hsieh Tomas Jakubek Mayumi Nakamura Nonoko Okada William Ronning

Charles Messersmith Gretchen Roper

Viola Jan-Marie Joyce Alex Agrest Sadie deWall Taliaferro Nash Ben Weiss

Cello Norbert Lewandowski Damian Kremer Charae Krueger Elizabeth Murphy

Bass Thomas Bresnick Cody Rex

Flute Jessica Hull-Dambaugh Regina Yost

Oboe Zac Hammond Kari Kistler

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Bassoon Joshua Baker Katherine St.John

Horn Brandon Nichols Anne Holmi Debra Sherrill-Ward

Trumpet Antonio Marti Chris Larios

Trombone Jason Stein Michael Kris

Bass Trombone Thomas Joyce

Tuba Chris Bluemel

Timpani Beth Albert

Percussion Ryan Leveille Mathew Masie

Arts

&C ultu re

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Because it matters how you’re treated.

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MASTERWORKS, NOVEMBER 6 & 7, 2015

Program notes by William D. Gudger, The College of Charleston Professor Emeritus of Music History and Theory Felix Mendelssohn (1809-1847) Overture, Op. 21, and Incidental Music, Op. 61, to A Midsummer Night’s Dream Mendelssohn grew up in a family that included the philosopher Moses Mendelssohn, and early on he was exposed to great literature and the arts. He was a more-than-competent water-colorist, and his musical development as a youth rivals even that of prodigies like Mozart. At ages sixteen and seventeen, he produced two masterpieces: the String Octet, Opus 20, and the Overture to Shakespeare’s A Midsummer Night’s Dream, which must be the greatest musical compositions ever by any teenager. Mendelssohn had read Shakespeare in Tieck and Schlegel’s German translation, and his overture evokes the world of the theatrical play and its various characters. Mendelssohn’s brand of Romanticism lays great stock in structure, and it is to his credit that this overture can paint such a varied musical picture while still being cast in a textbook-perfect, even inspired, sonata form. The four opening chords in the winds announce the magic moods that are to follow: the fantastic world of the fairies (violins), the full orchestra outburst of the wedding music, a lyrical theme for the lovers, and a final theme with its “hee-haw” for the rustic characters, including Bottom who is turned into an ass. The four magic chords signal the restatement of the themes and are heard once more at the conclusion. With his

other overtures The Hebrides (“Fingal’s Cave”) and A Calm Sea and a Prosperous Voyage, Mendelssohn virtually created the “concert overture,” a work with a literary basis meant for the concert hall rather than the theater. In 1842, Mendelssohn was convinced to write additional incidental music for A Midsummer Night’s Dream so that the overture could be used in conjunction with a production of the play. Besides a number of vocal pieces and short orchestral passages needed within the play, the incidental music consists of four substantial movements which serve as entractes between the five acts. The scherzo follows Act I and sets up the magical mood of the wood, haunted by fairies, where the lovers and rustic craftsmen will meet. The sleep of the two pairs of lovers, brought on by a spell of Puck at Oberon’s command, ends Act IV with the Nocturne and its beautiful horn solo. The famous Wedding March connects Acts IV and V (it makes great music within the play), but its popularity at actual weddings came after one of Queen Victoria’s daughters used it at her wedding. Mendelssohn was a personal favorite of Victoria and her German spouse, Albert.

Carl Maria von Weber (1786-1826) Concerto No. 1 for Clarinet and Orchestra in F minor, Op. 73 Mozart used the clarinet so effectively and tellingly which we will hear in Symphony No. 40 later tonight. This seems to have rubbed off on his cousin by marriage, Carl Maria von Weber, also a composer whose life was cut short in middle age. Weber composed his first Clarinet Concerto in 1811 for Heinrich Bärmann, who also provided cadenzas for the concerto. Weber exploits to the fullest over the

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usual three movements (fast, slow, fast) the lyrical possibilities of the solo instrument, plus its great agility to jump from register to register, from the richer lower range color to the higher. The concerto is like an extended opera aria without words. In the orchestra pit, as well on the concert stage, Weber’s writing for the clarinet made it (along with the French horn) the Romantic Era instrument par excellence.

Wolfgang Amadeus Mozart (1756-1791) Symphony No. 40 in G minor, K. 550 There is a persistent urban legend that Mozart never heard any performances of his final three symphonies Nos. 39, 40, and 41 (“Jupiter”). Composed in the summer of 1788 and duly entered and dated by the composer in his list of compositions, these symphonies were probably intended for a series of upcoming concerts that apparently failed to happen. But the first of these concerts may have occured, and three out-of-town concerts and a 1791 concert in Vienna conducted by none other than Antonio Salieri all featured symphonies by Mozart. Further proof that No. 40 was performed is suggested by the existence of revisions in the manuscript of the first version of the symphony, and then a reworking which added clarinets (requiring rewriting of the flute and oboe parts). Mozart’s favorite clarinet players, Anton Stadler and his brother, played in the 1791 concert. (Mozart died on December 5 of that year.) As one of only two symphonies in a minor key (the other, No. 25, is also in G minor and was featured in the film of Amadeus), Symphony No. 40 is often seen as a melancholic, even tragic masterpiece. G minor is also the key of one of Mozart’s string quintets and of Pamina’s heart-aching aria in the opera The Magic Flute. This G minor mood is not the result of some personal tragedy, but rather is the composer’s desire to work on contrasting projects at the same time. Just

as the G minor symphony was followed shortly by work on the noble C major “Jupiter” symphony, similarly in 1790 he wrote two masterful string quintets in direct succession whose keys are C major and G minor. Symphony No. 40 is in the traditional four-movement form. The inner movements consist of the gentle Andante and the vigorous third movement, in Minuet form and meter though with rather violent syncopations in the main theme. The Trio of this movement is the only time Mozart turns to G major, almost a rustic interlude. The outer movements of the symphony each begin with arresting, agitated themes, the opening the last movement a minor-key version of the “rocket” theme popularized in the mid-18th century by the Mannheim composers. While each of the outer movements turns to a lyrical second theme in the relative major key (B-flat), Mozart in both cases brings these themes back in the tonic minor (G minor) rather than a possible turn to major. This gives a darker color to each theme in the recapitulation, leaving us firmly in G minor. Unlike Romantic symphonies that use minor-to-major as a darkness-to-light metaphor, this symphony keeps its dark mood to the end of each of the outer movements and thus the symphony as a whole. Composer Robert Schumann found in Mozart’s G minor Symphony “a weightless, Hellenic grace.”

CharlestonSymphony.org -

SPECIAL EVENT

Dr. Robert Taylor, Conductor Kori Miller, Soprano

Emmalee Hinson, Alto

Stuart Howe, Tenor

David Templeton, Bass

Holy City Messiah George Frideric Handel (1685-1759) The Messiah, HWV 56 Part the First 1. Sinfonia 2. Comfort Ye (Tenor recit) 3. Ev’ry Valley (Tenor aria) 4. And the Glory of the Lord (Chorus) 5. Thus Saith (Bass recit) 6. But Who May Abide (Alto aria) 7. And He Shall Purify (Chorus) 8. Behold, A Virgin (Alto recit) 9. O Thou That Tellest (Alto aria with Chorus) 10. For Behold, Darkness (Bass recit) 11. The People That Walked (Bass aria) 12. For Unto Us (Chorus) 13. Pifa “Pastoral Symphony” 14a. There Were Shepherds Abiding in the Field (Soprano recit) 14b. And Lo, the Angel of the Lord Came Upon Them (Soprano recit) 15. And the Angel Said to Them (Soprano recit) 16. And Suddenly There Was With the Angel (Soprano recit) 17. Glory to God (Chorus) 18. Rejoice Greatly (Soprano aria) 19. Then Shall the Eyes (Alto recit) 20. He Shall Feed His Flock (Alto/Soprano duet) 21. His Yoke (Chorus)

Part the Second 22. Behold the Lamb of God (Chorus) 43. Thou shalt break them (Tenor aria) 44. Hallelujah (Chorus)

Part the Third

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46. 47. 48. 49. 50. 51. 53.

Since By Man Came Death (Chorus) Behold I tell you (Bass recit) Trumpet Shall Sound (Bass aria) Then Shall Be Brought To Pass (Alto recit) O Death, Where Is Thy Sting (Alto/Tenor duet) But Thanks be to God (Chorus) Worthy is the Lamb....Amen (Chorus)

ROBERT TAYLOR

DIRECTOR, CSO CHORUS

r. Robert Taylor is the Director of Choral Activities at the College of Charleston, the Director of the Charleston Symphony Orchestra Chorus, and the Founding Artistic Director and President of the Taylor Festival Choir and Taylor Music Group. Taylor’s ensembles have performed throughout the United States and Europe. They have been featured in numerous festivals, conventions and special concerts, including the 2009 and 2005 American Choral Directors National Conventions, the 2013, 2011 and 2008 National Collegiate Choral Organization National Convention, and multiple appearances in regional and state ACDA and AGO conventions. Dr. Taylor’s professional ensemble, the Taylor Festival Choir (TFC), has recorded with Centaur Records and MSR Classics. TFC’s upcoming release with TFC will be the world premier recording of Celtic Mass by Michael McGlynn, alongside Mass by James MacMillan. Taylor has conducted over 30 major choral/orchestral works to critical acclaim. He has also prepared numerous choral/orchestral masterworks for prestigious conductors such as the late Maestro David Stahl, Dr. Joseph Flummerfelt, Dr. Kenneth Fulton, Louis Solemno, Stuart Molina, and Dr. Joe Miller. At the College of Charleston, Dr. Taylor oversees all undergraduate and graduate choral studies and endeavors. He serves as editor of the Robert Taylor Choral Series with Colla Voce Publications. Along with his wife, violinist/Irish fiddler Mary Taylor, Taylor coordinates the Celtic Arts Series (formerly the Taylor Music Festival) in Piccolo Spoleto, a series of concerts and workshops emphasizing musical education and performance in both classical and Celtic/folk disciplines. Deeply involved in Piccolo Spoleto and with the Charleston Office of Cultural Affairs, Taylor was recently awarded the Piccolo Spoleto Lifetime Achievement Award.

Thursday, December 10th Gaillard Performance Hall, 7:30 pm Friday, December 11th St. Theresa the Little Flower Catholic Curch, 7:00 pm 11001 Dorchester Rd., Summerville Saturday, December 12th St. Andrew’s Church, Ministry Center, 7:30 pm 440 Whilden St., Mt. Pleasant

ORCHESTRA ROSTER Violin

Bass

Yuriy Bekker Alex Boissonnault Micah Gangwer Asako Kremer Andrew Emmett Tomas Jakubek Mayumi Nakamura Nonoko Okada Mary Taylor

Thomas Bresnick

Viola

Trumpet

Jan-Marie Joyce Alex Agrest Ruth Goldsmith

Cello Norbert Lewandowski Damian Kremer

Oboe Zac Hammond Kari Kistler

Bassoon Joshua Baker Katherine St.John

Antonio Marti Chris Larios

Timpani Beth Albert

Harpsichord Julia Harlow

CharlestonSymphony.org -

SPECIAL EVENT HOLIDAY BRASS

JOIN THE CSO BRASS FOR A FUN, FAMILY-FRIENDLY CONCERT OF FAVORITE CHRISTMAS AND HOLIDAY SONGS AND HYMN SING-ALONGS. BRING THE WHOLE FAMILY TO CELEBRATE THE HOLIDAYS WITH THE CSO BRASS. Antonio Marti, Trumpet Chris Larios, Trumpet Brandon Nichols, Horn Jason Stein, Trombone Thomas Joyce, Bass Trombone & Tuba Ryan Leveille, Percussion CLUBHOUSE SERIES members only: Seabrook Island Club Saturday, December 12th, 2015 at 4pm Wild Dunes Resort Club Wednesday, December 16th, 2015 at 4pm Country Club of Charleston Wednesday, December 16th, 2015 at 7:30pm open to the public: St. Thomas Episcopal Church in Park Circle Sunday, December 13th, 2015 at 7pm Bluffton United Methodist Church Tuesday, December 15th, 2015 at 7pm Bishop Gadsden Thursday, December 17th, 2015 at 4pm

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KapStone® Charleston Kraft LLC is proud to sponsor the Charleston Symphony Orchestra.

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POPS!

Ken Lam, Conductor CSO Chorus

Dr. Robert Taylor, Director

Charleston Children’s Chorus

Dr. Charles Benesh, Director

Holiday Pops featuring The Snowman Movie John Rutter Gloria I. Gloria in excelsis Deo II. Domine Deus III. Quoniam tu solus sanctus The Snowman Music by Howard Blake INTERMISSION Nikolai Rimsky-Korsakov Christmas Eve Suite: Introduction and Polonaise John Rutter Star Carol Traditional Still, Still, Still John Rutter The Very Best Time of Year John Rutter The Twelve Days of Christmas David Willcocks Selections from Five Christmas Carols: O Come All Ye Faithful, The First Nowell, Hark the Herald Angels Sing Matthew Naughtin Santa Claus is Comin’ To Town: A Medley Leroy Anderson Sleigh Ride Harold Darke In the Bleak Midwinter Arthur Harris O Tannenbaum

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December 19th, 2015 Charleston Gaillard Center

ORCHESTRA ROSTER Violin

Cello

Bass Clarinet

Bass Trombone

Yuriy Bekker Alexander Boissonnault Micah Gangwer Asako Kremer Rex Conner Andrew Emmett Tracy Ensley Catherine Hazan Tomas Jakubek Mayumi Nakamura Stephanie Silvestri Mary Taylor Liviu Onofrei Shr-Han Wu

Norbert Lewandowski Damian Kremer Tanja Bechtler Barney Culver Aubrey Gray Cameron Williams

Gretchen Roper

Thomas Joyce

Bassoon

Tuba

Joshua Baker Katherine St.John

Chris Bluemel

Horn

Ghadi Shayban

Viola Jan-Marie Joyce Alex Agrest Travis Baird Rachel Gangwer Ruth Goldsmith Daniel Urbanowicz

Bass Thomas Bresnick Joseph Farley

Flute Jessica Hull-Dambaugh Tacy Edwards Julie DeMott

Oboe Zac Hammond Kari Kistler

Clarinet

Brandon Nichols Anne Holmi Michael Daly Debra Sherrill-Ward

Trumpet Antonio Marti Chris Larios Kyle Lane

Trombone

Keyboards Harp Kathleen Wilson

Timpani Beth Albert

Percussion Ryan Leveille Mathew Masie

Jason Stein Kate Jenkins

Charles Messersmith Gretchen Roper

SEE NEXT PAGES FOR CAROL LYRICS >

CharlestonSymphony.org -

POPS, DECEMBER 19, 2015

Gloria

Latin Text:

English translation:

I. Allegro vivace Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam.

1. Allegro vivace Glory be to God on high. And in earth peace towards men of good will. We praise thee. We bless thee. We worship thee. We glorify thee. We give thanks to thee for thy great glory.

II. Andante Domine Deus, Rex cĂŚlestis, Deus Pater omnipotens. Domine Fili Unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

II. Andante O Lord God, heavenly King God the Father almighty. O Lord, the only-begotten Son Jesus Christ. O Lord God, Lamb of God, Son of the Father. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right of the Father, have mercy upon us.

III. Vivace e ritmico Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe,cum Sancto Spiritu: in gloria Dei Patris. Amen.

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III. Vivace e ritmico For thou only art Holy. Thou only art the Lord. Thou only art the Most High. Jesus Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen.

O Come All Ye Faithful

Hark! The Herald Angels Sing

1. O come, all ye faithful, joyful and triumphant, O come ye, O come ye, to Bethlehem. Come and behold Him, born the King of angels

1. Hark! The herald angels sing, “Glory to the newborn King; Peace on earth, and mercy mild, God and sinners reconciled!” Joyful, all ye nations rise, Join the triumph of the skies; With th’angelic host proclaim, “Christ is born in Bethlehem!”

O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord. 6. Child, for us sinners poor and in the manger, We would embrace Thee, with love and awe; Who would not love Thee, loving us so dearly? O come, let us adore him… 7. Yea, Lord, we greet Thee, born this happy morning; Jesus, to Thee be all glory given; Word of the Father, now in flesh appearing. O come, let us adore him…

Hark! the herald angels sing ”Glory to the new born King!” 2. Christ, by highest Heav’n adored; Christ the everlasting Lord; Late in time, behold Him come, Offspring of a virgin’s womb. Veiled in flesh the Godhead see; Hail th’incarnate Deity, Pleased with us in flesh to dwell, Jesus our Emmanuel. Hark! the herald angels…

The First Nowell 1. The first Nowell the Angels did say Was to certain Shepherds in fields as they lay. In fields where they lay keeping their sheep, On a cold winter’s night that was so deep. Nowell, nowell, nowell, nowell. Born is the King of Israel. 4. This Star drew nigh to the North West; O’er Bethlehem it took it’s rest. And there it did both stop and stay, Right over the place where Jesus lay

3. Hail the heav’nly Prince of Peace! Hail the Sun of Righteousness! Light and life to all He brings, Ris’n with healing in His wings. Mild He lays His glory by, Born that man no more may die. Born to raise the sons of earth, Born to give them second birth. Hark! the herald angels…

Nowell, … 6. Then let us all with one accord Sing praises to our heavenly Lord That hath made heaven and earth of nought, And with his blood mankind hath bought: Nowell, …

CharlestonSymphony.org -

MASTERWORKS

Ken Lam, Conductor Bella Hristova, Violin

Heroic Revolutionaries Jean Sibelius (1865-1957) Finlandia, Op. 26 Jean Sibelius (1865-1957) Violin Concerto in D minor, Op. 47

I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto

INTERMISSION Ludwig van Beethoven (1770-1827) Symphony No. 3 in E-flat Major, Op. 55 “Eroica”

I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

Pre-concert conversations are held from 6:30pm-7:00pm prior to every Masterworks performance from the stage.

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Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.

January 15th & 16th, 2016 Charleston Gaillard Center ORCHESTRA ROSTER BELLA HRISTOVA

VIOLIN

cclaimed for her passionate, powerful performances, beautiful sound, and compelling command of her instrument, violinist Bella Hristova is a young musician with a growing international career as a soloist and recording artist. Her talent has been recently recognized with a prestigious 2013 Avery Fisher Career Grant, given to outstanding instrumentalists and based on excellence alone. The Strad has praised, “Every sound she draws is superb”, and the Washington Post’s The Classical Beat has stated she is “a player of impressive power and control”. Following summer engagements at music festivals including Mainly Mozart, Chesapeake Chamber, Cactus Pear, Summer Stars Chamber, Brevard, and Skaneateles, Ms. Hristova’s 2013-2014 season features a mix of solo, recital and chamber music performances, among them performances of concertos by Korngold, Vivaldi, Prokofiev, Mendelssohn, Saint-Saëns, Brahms, Barber, Beethoven and Bruch. Engagements of note include Bella leading/performing Vivaldi’s The Four Seasons with the Colorado Springs Philharmonic; performances with the Chamber Music Society of Lincoln Center; a national tour with the Musicians from Marlboro; a solo violin recital at Vermont’s Brattleboro Music Center; a Christmas eve performance of Mendelssohn’s Violin Concerto at Carnegie Hall with the New York String Orchestra; and two world premieres written specifically for her: David Ludwig’s violin concerto with the Mobile Symphony Youth Orchestra, and Anthony Richie’s violin concerto with New Zealand’s Southern Sinfonia. North American appearances also include orchestral engagements with the symphony orchestras of Amarillo, Bakersfield, Des Moines, Edmonton (Canada), Meridian, Southwest Michigan, Westmoreland, and the InterSchool Orchestra of New York.

Violin

Flute

Yuriy Bekker Alexander Boissonnault Micah Gangwer Asako Kremer Corine Brouwer Lauren Cless Rex Conner Alexandr Dzyubinsky Elizabeth Ehrlich Andrew Emmett Tracy Ensley Catherine Hazan Frances Hsieh Tomas Jakubek Joanna Mulfinger Lebo Allyson Michal Mayumi Nakamura William Ronning Florence Wang Jenny Weiss Shr-Han Wu

Jessica Hull-Dambaugh Regina Yost

Viola

Trumpet

Jan-Marie Joyce Alex Agrest Sadie deWall Rachel Gangwer Ruth Goldsmith Taliaferro Nash Daniel Sweaney Benjamin Weiss

Antonio Marti Chris Larios Susan Messersmith

Trombone

Cello

Thomas Joyce

Norbert Lewandowski Damian Kremer Megan Carey Aubrey Gray Jeremy Lamb Yuriy Leonovich Daniel Mumm Peter Sachon

Bass Thomas Bresnick Joseph Farley Jan Mixter Cody Rex Jonathan Rouse Paul Sharpe

Oboe Zac Hammond Kari Kistler

Clarinet Charles Messersmith Gretchen Roper

Bassoon Joshua Baker Katherine St.John

Horn Brandon Nichols Anne Holmi Debra Sherrill-Ward Josh Michal

Hans Bohn Kate Jenkins

Bass Trombone Tuba Chris Bluemel

Timpani Beth Albert

Percussion Ryan Leveille Mathew Masie

CharlestonSymphony.org -

MASTERWORKS, JANUARY 15, 16, 2016

Program notes by William D. Gudger, The College of Charleston Professor Emeritus of Music History and Theory Jean Sibelius (1865-1957) Finlandia, Op. 26 and Violin Concerto in D minor, Op. 47 December 8, 2015 marked the 150th anniversary of the Sibelius’s birth. His music was a powerful voice in the rise of Finnish national identity, which had been suppressed for some seven centuries until Finland gained independence in 1917. Tonight’s music comes from the prolific period between 1899 and 1905 and includes his two most famous pieces - Finlandia and his only concerto, for violin. Finlandia was written in 1899 to be heard during the last tableau (Finland awakes) of the Press Celebrations, a thinly-disguised protest against Russian censorship. Revised in 1900, Finlandia was published as the composer’s Opus 26. It was immediately popular, with the two sections of the piece representing the struggle of the Finnish people and ending with a serene hymn of triumph first heard in the woodwind choir. This hymn-like tune later had words put to it and has been used in many contexts as it seems to strongly convey the Finnish spirit. Many incorrectly think it a traditional folk hymn when it is, in fact, Sibelius’s own composition. Like Edward Elgar’s Pomp and Circumstance orchestral march that became Land of Hope and Glory, the Finlandia hymn became an unofficial national anthem.

As with many of his works, Sibelius revised the Violin Concerto after its initial performance in 1904; it is the revised version of 1905 which is usually performed. A tangle of soloist’s names is connected with the first performances of the two versions and with the possible dedicatees of the printed score. Suffice to say that - like many now famous but difficult concertos (Tchaikovsky’s First Piano Concerto comes immediately to mind) - soloists found the work a challenge. The Violin Concerto is considered one of the best in the repertory in that combines the symphonic approach of concertos by Beethoven and Brahms with the virtuoso display type of concerto where the orchestra is mere accompaniment. As we might expect from a composer whose seven symphonies are each distinctive contributions to the repertory, the Violin Concerto has all the evidence of Sibelius’s personal style while being cast in the traditional three-movement form (fast, slow, fast). In the first movement, the cadenza is notably found at the end of the development section (not after the recapitulation as in “standard” concerto form). After the beautiful aspects of the second movement, the finale seems fierce, and it is the most difficult for the soloist. Critic Donald Tovey famously called this movement “a polonaise for polar bears”!

Ludwig van Beethoven (1770-1827) Symphony No. 3 in E-flat major (“Eroica”), Op. 55 After his first two symphonies, in which he synthesized the symphonic style and form of Haydn and Mozart, Beethoven set out on what was to be a path-breaking project. Beethoven rarely reused thematic material, but an exception was the theme that is the foundation for a series of variations in the finale of the Third Symphony. This theme first appears in his ballet music for The Creatures of Prometheus, first performed in 1801 and

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then was worked out more completely in the 1802 set of piano variations published as Opus 35. Around this time came the first sketches for a symphony in E-flat, and it was clear that the theme and variations (greatly expanded) would form the last movement of the symphony. The sketching process, which with Beethoven was always extensive, continued through most of 1803. Beethoven kept touching up the music

until the first performance which he himself conducted in Vienna on April 7, 1805. The publication of the Third Symphony followed a year later. It is not just the length and complexity of the Third Symphony that was revolutionary (it is twice as long as Mozart’s “Jupiter” Symphony) but - for the first time - there are specific extra-musical associations. According to one account, the symphony was initially written in memory of a fallen war hero, General Abercromby, but early on Beethoven decided to dedicate the work instead to Napoleon Bonaparte. When news reached Vienna that Napoleon had proclaimed himself emperor, Beethoven reportedly tore up the title page, screaming “Is he too nothing more than an ordinary man? Now he too will trample on all human rights.” Whether this is true or not, there still exists a manuscript copy of the score of the symphony where Napoleon’s name is so heavily deleted that there is a hole in paper. Beethoven finally decided to call the work Sinfonia eroica, (“Heroic symphony”), the first edition proclaiming the work to be a “Heroic Symphony composed to celebrate the memory of a great man.” Thus, Beethoven’s original thoughts about Napoleon are still here, though many see Beethoven himself, the struggling artist, to be the hero of the symphony. The dedication of the symphony finally went to Prince Franz Maximilian Lobkowitz, one of Beethoven’s important Viennese patrons. Prince Lobkowitz not only paid for the dedication but also arranged for rehearsals of the music to be held at his palace before the first public performance. All of the musical material in the Eroica derives from the essential elements of the key of E-flat. The theme of the finale sets forth the tonic and dominant pitches of the scale and the first movement has a theme built around the E-flat triad: E-flat, G, B-flat. The scope of the first movement is wide-ranging. The development goes as far afield as E minor where is heard what

seems like a new theme (though it, too, can be derived from the triadic first theme), this following very dissonant chords. And at the end of the development, there is the famous passage where the French horn gives out the main theme in E-flat while the strings are still on the chord of B-flat—a striking foreshadowing of the recapitulation. No less unusual is the lengthy coda (ending section) to the first movement, in effect a second development section. The second movement, a funeral march, is no less remarkable, the musical material being subjected to extensive development. The fragmentation of the melodic material adds to the grief expressed by this movement. At this point, composer Hector Berlioz heard “shreds of the lugubrious melody, alone, naked, broken crushed,” with the winds “shouting a cry, a last farewell of the warriors to their companions at arms.” The third movement is not Beethoven’s first scherzo (there are earlier ones and examples in Haydn as well), but it certainly was the movement that - more or less -banished the minuet from the symphony almost for good. “Scherzo” means “joke,” and the jesting here is with rhythmic groupings and phrase lengths, which are not always what you expect in triple meter. After a trio with triadic horn calls (again material derived from the basic chord of the key of E-flat), the return of the main scherzo theme introduces a totally unexpected passage with awkward-sounding duplets replacing the triplets. In the finale, the series of variations are notable for their presentation of the bass line first, only later decorated with a melody, heard first in the oboe. The range of expression is great, and Beethoven is clearly grasping with the idea of how to make the last movement a real finale, a climax to the whole symphony, and not merely an additional or fourth movement. The use of theme and variations as a symphonic finale is probably without precedent.

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POPS!

Ken Lam, Conductor Byron Stripling, Trumpet

The Sounds of New Orleans: A Tribute to Louis Armstrong Duke Ellington, arr. Ralph Hermann Fantasy arr. Albam New Orleans Medley: I Gotta Right To Sing The Blues, South . Rampart Street Parade, Saint James Infirmary, Royal Garden Blues Red Rodney, arr. Albam Red Arrow Eddie DeLange and Louis Alter, arr. Grimes Do You Know What Is Means to Miss New Orleans W.C. Handy, arr. Jeff Tyzik Saint Louis Blues Maceo Pinkard and Ken Casey, arr. Dennis Mackrel Sweet Georgia Brown

INTERMISSION Irving Berlin, arr. Jeff Tyzik Alexander’s Ragtime Band Cab Calloway and Irving Mills, arr. Jeff Tyzik Minnie The Moocher Fats Waller, arr. Jeff Tyzik Honeysuckle Rose Fats Waller, arr. Jeff Tyzik Ain’t Misbehavin’ Slim Gillard, arr. Jeff Tyzik Flat Foot Floogie arr. Albam Louis Armstrong Tribute

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January 30th, 2016 Charleston Gaillard Center

ORCHESTRA ROSTER

BYRON STRIPLING

TRUMPET

ith a contagious smile and captivating charm, trumpet virtuoso, Byron Stripling, has ignited audiences internationally. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special, “Evening at Pops,” with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra. Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, Stripling has become a pops orchestra favorite throughout the country, soloing with Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world. An accomplished actor and singer, Stripling was chosen, following a world-wide search, to star in the lead role of the Broadway-bound musical, “Satchmo.” Many will remember his featured cameo performance in the television movie, “The Young Indiana Jones Chronicles,” and his criticallyacclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of “From Second Avenue to Broadway.” Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs (including 20/20 and CNN), and on the soundtracks of favorite movies.

Violin

Clarinet

Yuriy Bekker Alexander Boissonnault Micah Gangwer Asako Kremer Kathleen Beard David Edwards Andrew Emmett Tracy Ensley Catherine Hazan Julia Gessinger Mayumi Nakamura Mao Omura Liviu Onofrei Mary Taylor Jenny Weiss Shr-Han Wu

Charles Messersmith Gretchen Roper

Viola Jan-Marie Joyce Alex Agrest Rachel Gangwer Ruth Goldsmith Douglas Pritchard Taliaferro Nash

Cello Norbert Lewandowski Damian Kremer Barney Culver Aubrey Gray Elizabeth Murphy

Bassoon Joshua Baker Katherine St.John

Saxophones Mark Sterbank Simon Harding Jonathan Kammer Robert Lewis

Horn Brandon Nichols Michael Daly

Trumpet Antonio Marti Chris Larios Susan Messersmtih

Trombone Jason Stein

Bass Trombone Thomas Joyce

Tuba Chris Bluemel

Bass

Harp

Thomas Bresnick Taddes Korris Jan Mixter Jonathan Rouse

Kathleen Wilson

Flute

Percussion

Jessica Hull-Dambaugh Regina Yost

Ryan Leveille Mathew Masie

Oboe

Combo Bass

Zac Hammond Kari Kistler

Jeremy Wolf

Timpani Beth Albert

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SPECIAL EVENT

Ken Lam, Conductor TBA, soprano Amanda Hill, soprano MaryAnn McCormick, mezzo soprano

New Year’s Eve Celebration Richard Strauss (1864-1949) Don Juan, Op. 20 Gustav Mahler (1860-1911) Rückert Lieder 1. Blicke mir nicht in die Lieder 2. Ich atmet’ einen Linden Duft 3. Ich bin der Welt abhanden gekommen 4. Liebst du um Schönheit 5. Um Mitternacht Richard Strauss (1864-1949) Morgen, Op. 27, No. 4 Zueignung, Op. 10, No. 1 Final Scene from Der Rosenkavalier

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December 31st, 2015 Charleston Gaillard Center

MARYANN MCCORMICK

MEZZO SOPRANO

Internationally acclaimed mezzo-soprano MaryAnn McCormick has been hailed in the press as “charismatic”, “spell-binding”, and “elegant”. Her international credits include Isabella in L’italiana in Algeri at La Scala, Azucena in Il trovatore at the Teatro Regio Torino, and First Maid in Elektra with Christoph von Dohnanyi at the Opéra National de Paris. She has also performed Maddalena in Rigoletto under Daniele Gatti at the Teatro Comunale di Bologna and with Seattle Opera and Gluck’s Alceste under Bruno Bartoletti at the Teatro Regio di Parma. Her recent accomplishments include performances as Carmen with Theater St. Gallen, Switzerland of which the critics wrote “She acts and sings a wonderful Carmen” a role she has also performed with Teatro dell’Opera di Roma, Teatro Regio di Torino and the Staatsoper Stuttgart among others. MaryAnn’s recent engagements have included performances as Suzuki in Madama Butterfly at Lyric Opera of Chicago during their 2013-14 season, and the North American premiere of Huang Ruo’s opera Dr. Sun Yat-Sen, sung in Mandarin, for Santa Fe Opera’s 2014 season in the role of Ni Gui-Zhen. MaryAnn sang with the Metropolitan Opera in their 2011 season to sing the role of Grimgerde in their new production of Die Walküre which was broadcast in HD in theaters internationally. This production part of the complete Ring Cycle was released on DVD and also won the 2012 Grammy award for Best Classical Album (Feb.

2013). In recent seasons she made debuts with both Teatro la Fenice in Die Walküre conducted by Jeffrey Tate and Teatro dell’Opera di Roma as “Priyamvada” in Alfano’s Sakuntala. She can be heard as Tigrana in Puccini’s Edgar in a recording with the Orchestre National de France led by Yoël Levi. MaryAnn returned to the Metropolitan Opera in 2014 to sing again in their productions of Die Walküre and as Soeur Mathilde in their critically acclaimed production of Dialogues of the Carmelites. In the 2015 season she has performed the role of Giovanna in Verdi’s Ernani with the Metropolitan Opera conducted by James Levine and staring Placido Domingo as Carlo, Das Lied von der Erde at Montclair State University, Ken Lam conducting and Beethoven’s Missa Solemnis with the New Choral Society in NY. In previous seasons MaryAnn sang Act III of Die Walküre at the Tanglewood festival with the Boston Symphony, Suzuki in Madama Butterfly with Opera Colorado, the role of Nefertiti in Phillip Glass’ Akhnaten with the Atlanta Opera, and performances of Das Lied Von der Erde with the Orchestra Verdi in Milan; a piece she has also performed with the Chamber Orchestra of Philadelphia to standing ovations. Upcoming engagements include an Opera Gala concert for the Portland Summer Festival with Angela Meade, Rigoletto at the Metropolitan Opera conducted by Roberto Abbado, and a reprisal of Ni Gui-Zhen in Dr. Sun Yat-Sen for the Vancouver Opera. MaryAnn also joins the voice faculty of New England Conservatory of Music in the 2015-16 academic year.

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NEW YEARâ&#x20AC;&#x2122;S EVE, DECEMBER 31, 2015

ORCHESTRA ROSTER Violin

Cello

Clarinet

Trombone

Yuriy Bekker Alexander Boissonnault Micah Gangwer Asako Kremer Kathleen Beard Rex Conner David Edwards Elizabeth Ehrlich Andrew Emmett Tracy Ensley Julia Gessinger Catherine Hazan Rudolf Kremer Amos Lawerence Mayumi Nakamura Liviu Onofrei Stephanie Silvestri Muneyoshi Takahashi Shr-Han Wu

Norbert Lewandowski Damian Kremer Charae Krueger Erin Ellis Yuriy Leonovich Daniel Mumm Elizabeth Murphy

Charles Messersmith Gretchen Roper

Jason Stein Kate Jenkins

Bassoon

Bass Trombone

Joshua Baker Katherine St.John Ashley Hedrick

Thomas Joyce

Bass

Contrabassoon

Thomas Bresnick Joseph Farley Ben Jensen Levi Jones Jan Mixter Cody Rex

Ashley Hedrick

Viola Jan-Marie Joyce Alex Agrest Travis Baird Sadie deWall Rachel Gangwer Ruth Goldsmith Taliaferro Nash Douglas Pritchard Vladimir Yampolsky

Flute Jessica Hull-Dambaugh Regina Yost Tacy Edwards

Oboe

Horn Brandon Nichols Anne Holmi Michael Daly Debra Sherrill-Ward

Trumpet Antonio Marti Chris Larios Susan Messersmith

Tuba Chris Bluemel

Celeste Michael Braz

Timpani Beth Albert

Percussion Ryan Leveille Mathew Masie Ray McClain

Zac Hammond Kari Kistler

SEE NEXT PAGES FOR POEMS >

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Revolutionary thinking moves us Weâ&#x20AC;&#x2122;re honored to be part of a community that embraces the arts. It makes our community an inspiring place to live and work. And itâ&#x20AC;&#x2122;s beautiful proof of the power of creativity - something we celebrate every day at WestRock.

Music is the wine that fills the cup of silence.

-Robert Fripp

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NEW YEARS EVE, DECEMBER 31, 2015

Gustav Mahler

Rückert Lieder

Rückert Songs

Poems by Friederich Rückert

1. Blicke mir nicht in die Lieder! Blicke mir nicht in die Lieder! Meine Augen schlag’ ich nieder, Wie ertappt auf böser Tat. Selber darf ich nicht getrauen, Ihrem Wachsen zuzuschauen. Deine Neugier ist Verrat!

1. Look not into my songs! Look not into my songs! My eyes I lower, As if I’ve been caught in an evil deed. I can’t even trust myself To watch them grow. Your curiosity is a betrayal!

Bienen, wenn sie Zellen bauen, Lassen auch nicht zu sich schauen, Schauen selber auch nicht zu. Wenn die reichen Honigwaben Sie zu Tag gefördert haben, Dann vor allen nasche du!

Bees, when they build their cells, Also do not let anyone observe them; Even themselves. When the rich honeycombs Are brought out to the light of day, Then you shall taste them before everyone else!

2. Ich atmet’ einen linden Duft Ich atmet’ einen linden duft! Im Zimmer stand Ein Zweig der Linde, Ein Angrebinde Von lieber Hand. Wie lieblich war der Lindenduft!

2. I breathed a gentle fragrance! I breathed a gentle fragrance! In the room stood A sprig of linden, A gift From a dear hand. How lovely was the fragrance of linden!

Wie lieblich ist der Lindenduft! Das Lindenreis Brachst du gelinde! Ich atme leis Im Duft der Linde Der Liebe linden Duft.

How lovely is the fragrance of linden! That twig of linden You broke off so gently! Softly I breathe in The fragrance of linden, The gentle fragrance of love.

3. Ich bin der Welt abhanden gekommen Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben!

3. I am lost to the World! I am lost to the world With which I used to waste so much time, It has heard nothing from me for so long That it may very well believe that I am dead!

Es ist mir auch gar nichts daran gelegen, Ob sie mich für gestorben hält, Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt.

It is of no consequence to me Whether it thinks me dead; I cannot deny it, For I really am dead to the world.

Ich bin gestorben dem Weltgetümmel, Und ruh’ in einem stillen Gebiet! Ich leb’ allein in meinem Himmel, In meinem Lieben, in meinem Lied!

I am dead to the world’s tumult, And I rest in a quiet realm! I live alone in my heaven, In my love and in my song.

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4. Liebst du um Schönheit Liebst du um Schönheit, O nicht mich liebe! Liebe die Sonne, Sie trägt ein gold’nes Haar!

4. If you love for beauty If you love for beauty, Oh do not love me! Love the sun, It has gold hair!

Liebst du um Jugend, O nicht mich liebe! Liebe der Frühling, Der jung ist jedes Jahr!

If you love for youth, Oh do not love me! Love the spring-time That is young each year!

Liebst du um Schätze, O nicht mich liebe. Liebe die Meerfrau, Sie hat viel Perlen klar.

If you love for wealth, Oh do not love me! Love the mermaid, Who has many limpid pearls!

Liebst du um Liebe, O ja, mich liebe! Liebe mich immer, Dich lieb’ ich immerdar.

If you love for love, Oh yes, love me! Love me forever; I will love you forevermore!

5. Um Mitternacht Um Mitternacht Hab’ ich gewacht Und aufgeblickt zum Himmel; Kein Stern vom Sterngewimmel Hat mir gelacht Um Mitternacht.

5. At Midnight Hour At midnight I awoke And gazed up to heaven; No star in the entire mass Did smile down at me At midnight.

Um Mitternacht Hab’ ich gedacht Hinaus in dunkle Schranken. Es hat kein Lichtgedanken Mir Trost gebracht Um Mitternacht.

At midnight I projected my thoughts Out past the dark barriers. No thought of light Brought me comfort At midnight.

Um Mitternacht Nahm ich in acht Die Schläge meines Herzens; Ein einz’ger Puls des Schmerzes War angefacht Um Mitternacht.

At midnight I paid close attention To the beating of my heart; One single pulse of agony Flared up At midnight.

Um Mitternacht Kämpft’ ich die Schlacht, O Menschheit, deiner Leiden; Nicht konnt’ ich sie entscheiden Mit meiner Macht Um Mitternacht.

At midnight I fought the battle, O Mankind, of your suffering; I could not decide it With my strength At midnight.

Um Mitternacht Hab’ ich die Macht In deine Hand gegeben! Herr! über Tod und Leben Du hältst die Wacht Um Mitternacht!

At Midnight I surrendered my strength Into your hands! Lord! Over death and life You keep watch At midnight!

CONTINUED >

CharlestonSymphony.org -

NEW YEARS EVE, DECEMBER 31, 2015

Richard Strauss

Morgen

Tomorrow

Poem by John Henry Mackay

Translation by John Bernhoff

Und morgen wird die Sonne wieder scheinen, und auf dem Wege, den ich gehen werde, wird uns, die Glücklichen, sie wieder einen inmitten dieser sonnenatmenden Erde…

Tomorrow Tomorrow again will shine the sun And on my sunlit path of earth Unite us again, as it has done, And give our bliss another birth.

Und zu dem Strand, dem weiten, wogenblauen, werden wir still und langsam niedersteigen, stumm werden wir uns in die Augen schauen, und auf uns sinkt des Glückes stummes Schweigen…

The spacious beach under wave-blue skies We’ll reach by descending soft and slow, And mutely gaze in each other’s eyes, As over us rapture’s great hush will flow.

Richard Strauss

Zueignung

Dedication

Poem by Gilm zu Rosenegg

Translation by Charles Fonteyn Manney

Ja, du weißt es, teure Seele, Daß ich fern von dir mich quäle, Liebe macht die Herzen krank, Habe Dank.

Dear, thou knowest sorrows grieve me When sad fate doth bid me leave thee. Love but maketh sick the heart: Thanks, dear heart!

Einst hielt ich, der Freiheit Zecher, Hoch den Amethysten-Becher, Und du segnetest den Trank, Habe Dank.

Once, when I, with ardor glowing, Drank from freedom’s chalice flowing, Thous didst bless, and joy impart: Thanks, dear heart!

Und beschworst darin die Bösen, Bis ich, was ich nie gewesen, Heilig, heilig an’s dir sank, Habe Dank.

Thou didst quell my evil spirit, Till I, thro’ thy shining merit, Sank transfigured upon thy heart: Thanks, dear heart!

FEBRUARY 3rd 7:00 pm Grand Ballroom of the Galliard Center Join Conductor Yuriy Bekker and special guests Quentin Baxter, Charlton Singleton, Mark Sterbank, and Chris Bluemel for Charleston’s own Mardi Gras celebration.

Join us at 6:30 for dance lessons before the concert 68 - CharlestonSymphony.org

Get your tickets today at CharlestonSymphony.org

Richard Strauss

Der Rosenkavalier (The Rose-Bearer) Libretto by Hugo von Hofmannsthal (1874-1929) Translations by Alfred Kalisch “Hab’ mir’s gelobt” (“I Made a Vow”)

“Ist ein Traum” (“Tis a Dream”)

Octavian: Marie Therese!

Octavian (together with Sophie): You alone I know, only you, that you love me and I love you! All besides like a vision seems of fleeting dreams!

Princess: I made a vow to love him rightly as a good woman should, Nay, even to love the love he bore another I promised! But in truth I did not think That all so soon my vow would claim fulfilment.

Sophie (together with Octavian): ‘Tis a dream of heaven, is it true. That you love me and I love you? Never in this world to part, one soul and one heart!

(Sighing.) Full many a thing is ordained in this world, Which we should scarce believe could be, If we heard others tell of them; But someday whom they wound believes in them, and knows not how — There stands the boy and here stand I; and with his love, new found this day, he will have happiness. After the manner of men, who think they know it all. ‘Tis done — so be it. Octavian: What wonderous has come to pass. I fain would ask her, can it be? And just that question, I know I cannot ask of her. I fain would ask her: oh, why trembles all my soul? Has bitter wrong, a sinful deed been done? And just of her, of her, I may not ask the question. and then on your dear face I gaze, Sophie, and see but you, and know but you, Sophie, and nothing I know but this: You, you I love! Sophie (together with the Princess and Octavian): As one at worship, thoughts most holy fill my soul; And yet thoughts most unholy too possess me! I’m distraught.

Octavian (louder): In a great house, in it you were on a foolish quest folk sent me there, But sent me to my fate and you! Wise things they knew! Sophie: Dare you laugh so? I fear my fate as a soul that trembles at Heav’n’s own gate! Hold me! A maid friendless and weak, Your arms I seek. Faninal: ‘Tis just their way, youth will be young! Princess: Yes, yes. Octavian (dreamily with Sophie): You alone, I know, only you, that you love me and I love you! All besides like a vision seems of fleeting dreams. Sophie (dreamily with Octavian): ‘Tis a dream, tell me, is it true, that you love me and I love you! Never in this world to part, one soul, one heart. Octavian and Sophie: I know you alone, you alone!

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CORPORATE SUPPORT

In addition to concerts, sponsorships of educational programs and special events are also available. For more information on Corporate Support, please contact the Development Office at: 843.723.7528

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MEMBERSHIP BENEFITS 2015-2016 All donations received July 1, 2015 through June 30, 2016 will qualify for the following benefits:

PARTNER’S CIRCLE Bronze ($1-$499)

Listing in on-line Annual Report Bi-annual E-Newsleter

Silver ($500-$1999) Above benefits plus:

Listing in Bravo program book (fall 2016 publication) Invitation to CSO rehearsal

Gold ($2000-$4999) Above benefits plus:

Invitation to opening and closing receptions Complimentary parking at Gaillard parking garage Invitation to neighborhood Chamber event

MUSICIAN’S CIRCLE Bronze ($5000-$9999) Above benefits plus:

Sponsor section musician Invitation to “Meet the Musician” series Invitation to musician/sponsor luncheon VIP access to special events

Silver ($10,000-$14,999) Above benefits plus:

Reserved seating at Customs House Concert Sponsor principal musician

Gold ($15,000-$24,999) Above benefits plus:

Lunch with musician of choice Picture with one guest artist (upon availability)

MAESTRO’S CIRCLE Bronze ($25,000-$34,999) Above benefits plus:

Dinner with concertmaster Box seating during CSO rehearsal with high tea Sponsor concert or musician of choice

Silver ($35,000-$49,999) Above benefits plus:

Guest of Executive Director in box seats for 4 people (upon availability) CSO quartet in-home performance (8 week notice)

Gold ($50,000+) Above benefits plus:

Dinner with Music Director Guest of Maestro in box seats for 8

CharlestonSymphony.org -

DONORS Music Director’s Circle $ 50,000+ Anonymous Fund of Central Carolina Community Foundation City of Charleston Charleston Symphony Orchestra League, Inc. Town of Kiawah Island Speedwell Foundation Dr. S. Dwane Thomas

Concertmaster’s Circle $ 25,000-$49,999 Claire and James Allen Family Foundation The Boeing Company Robert Bosch Corporation John T. and Elizabeth K. Cahill Fund of Coastal Community Foundation of SC Herzman-Fishman Foundation/Leo and Carol H Fishman Martha Rivers Ingram Advised Fund of The Community Foundation of Middle Tennessee Valerie and John Luther PepsiCo Mr. and Mrs. Burton R. Schools

Principal’s Circle $ 10,000-$24,999 Dr. Cynthia Cleland Austin Bridging Peace Fund of Tides Foundation John and Jill Chalsty Barbara Chapman John and Lucia Childs Mr. and Mrs. Stuart A. Christie Dr. and Mrs. William T. Creasman Gaylord & Dorothy Donnelley Foundation Mr. Ronald H. Fielding and Ms. Susan Lobell Oscar Fitzhenry Ted and Joan Halkyard Cindy and George Hartley Clyde and Jill Hiers Legasey Family Fund of Coastal Community Foundation of SC Mrs. John F. Maybank MeadWestvaco Mrs. Phyllis Miller Mr. and Mrs. Jeffrey Place

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SC Arts Commission South State Bank The Marlies G. Tindall Charitable Fund of Coastal Community Foundation of SC Mrs. Andrea Volpe Henry & Sylvia Yaschik Foundation, Inc.

Musician’s Circle $ 5000-$9999 Anonymous John and Diane Avlon Ilse Calcagno Frank and Kathy Cassidy Coastal Community Foundation Open Grants Coastal Community Foundation of SC Colbert Family Fund of Coastal Community Foundation of SC County of Charleston Cumbaa Family Fund of Coastal Community Foundation of SC Nicholas and Eileen D’Agostino, Jr. Dr. Miriam DeAntonio Jerry H. Evans and Stephen T. Bajjaly Paul and Becky Hilstad Sue and Ken Ingram Kapstone Katherine Kelsey William and Corinne Khouri Kiawah Seabrook Exchange Club Dr. and Mrs. Mariano F. La Via Elizabeth C. Rivers Lewine Endowment of the Coastal Community Foundation of SC The Mark Elliott Motley Foundation Barbara and Michael Moody Mr. David Savard SCE&G Joseph and Claire Schady Robert M. Schlau Mr. Christian Schwabe Roger and Vivian Steel Albert and Caroline Thibault

Symphony Circle $ 3000-$4999 Mr. and Mrs. Roger Ackerman Anonymous (2) Mr. and Mrs. Robert B. Black Mr. and Mrs. T. G. Burke Jean F. Carlton

Dr. James L. and Judy E. Chitwood Eliza Chrystie Judith and L. John Clark Mrs. William H. Cogswell, III John and Elizabeth Connolly Gail and David Corvette Ellen and Tommy Davis Mrs. Clementina Edwards William and Prudence Finn Charitable Trust Friedlander Family Fund Dr. and Mrs. Frederick J. Goulding Gray Charitable Trust Richard and Ann Gridley In Memory of JoAnne Hicks Virginia and Jean Hiestand Mr. and Mrs. P. Frederick Kahn Bettie and Jim Keyes The Lasca and Richard Lilly Fund of Vanguard Charitable Endowment Dr. and Mrs. Fritz Lorscheider Dr. and Mrs. Michael Maginnis Mr. and Mrs. David H. Maybank, Jr. Ms. Janette Moody, Ph.D. Anne P. Olsen Paul and Mary Jane Roberts Charitable Gift Fund Publix Super Market Charities Elizabeth and James Ravenel Ellen and Mayo Read Dr. and Mrs. Del Schutte, Jr. Ms. Mindelle Seltzer and Dr. Robert Lovinger Ms. Ann Hurd Thomas Eugenia and Blair Torrey Ms. Patience D. Walker

Conductor’s Club $ 1500-$2999 Almeida Family Foundation Bartley Antine, M.D. and Sonya O’Malley Atlantic Services of Charleston Charitable Trust Ms. Susan Parsons and Dr. Angus Baker Lees and John Baldwin Ann Beauchamp Karen and Gary Beeler Mr. and Mrs. John T. Benton Philip and Anne Bergan Blackbaud Dr. and Mrs. Robert P. Bland, Jr. Dr. and Mrs. G. Stephen Buck Mr. and Mrs. Fernando E. Casasco

The Charleston Symphony Orchestra gratefully acknowledges supporters from the following individual, corporate, foundation, and government entities for generously supporting the organizationâ&#x20AC;&#x2122;s Annual Fund between July 1, 2014 - June 30, 2015.

Mr. and Mrs. Wayland H. Cato, Jr. Barbara Christie City of North Charleston Dr. Malcolm C. Clark Dr. Harry and Mrs. Jennifer Clarke Anne and Will Cleveland Bill and Sherry Cook Dr. and Mrs. C. Richard Crosby Sally and Colin Cuskley The Ceara Donnelley & Nathan Berry Fund Dr. and Mrs. Haskell S. Ellison Elston Family Foundation Mr. and Mrs. Christopher Eustis Hal and Jo Fallon Julie and John Fenimore The Francis Marion Hotel Richard J. Friedman, M.D. and Sandra Brett Richard and Neva Gadsden Joe and Sylvia Gamboa Dr. Robert Gant Stephen and Laura Gates Robert and Ornella Gebhardt Mr. and Mrs. Gerald L. Gherlein Dr. Rew A. Godow, Jr. Rajan and Suman Govindan Mrs. Judith Green Michael Griffith and Donna Reyburn Dr. William D. Gudger David and Patricia Hannemann Charles & Celia Hansult Mr. and Mrs. James C. Hare, Jr. Suzanne Harvie Mr. and Mrs. Frank Haygood Mr. and Mrs. Joseph Heckelman Robert and Catherine Hill Bill and Ruth Hindman Mr. and Mrs. Robert H. Hood Mrs. Betty Howell Ilderton Contractors Arthur Jenkins Dr. and Mrs. Joseph M. Jenrette, III Ambassador and Mrs. William E. Kennard Drs. Kenneth Kwochka and Theresa Brim Mrs. Joan S. Ladd Charles and Brenda Larsen Susan and Ronald Leggett Theodore and Rose Levin Mr. and Mrs. Fulton D. Lewis Anne and Cisco Lindsey

Mr. James D. Lubs Drs. H. W. and Carolyn B. Matalene Dr. David Maves Jack and Cathy McWhorter Mr. and Mrs. Robert Mesel William Milligan Richard and Ellen Moryl Nucor Steel Roy Owen and Susan McClinton Bobby and Pam Pearce Drs. Lucy and Norris Preyer Bill and Sheila Prezzano Dr. and Mrs. A. Bert Pruitt Mr. and Mrs. G. Richard Query Mr. and Mrs. William J. Raver Mr. Mark Reinhardt Robert S. and Sylvia K. Reitman Family Foundation Mr. John M. Rivers, Jr. David W. & Susan G. Robinson Foundation Col. and Mrs. J.G. Richards Roddey Royall Ace Hardware, Inc. Ms. Nancy Rudy Gretchen and Fritz Saenger Sanders Family Fund of the Community Foundation for Southeast Michigan Frances Short Norman and Merinda Smith Mr. Edward H. Sparkman Byron Stahl Drs. Carl and Debbie Stanitski Kate and David Stanton Elizabeth and Charles Sullivan Susan W. and James V. Sullivan Dr. and Mrs. George Taylor Mr. and Mrs. W. Yates Trotter, Jr. Tom and Ariel Trouche Dr. and Mrs. Richard Ulmer The Reverend Al Votaw Mr. and Mrs. John H. Warren, III Mary Ellen and Charles S. Way Terry and Joe Williams Mr. Bright Williamson Shawn Pagliarini and Russell Williamson L. Grier Williford Mr. and Mrs. Bonum S. Wilson, Jr. Womble Carlyle Sandridge & Rice, LLP Christine and Richard Yriart Stanley Zweck-Bronner

Partner $500-$1499 Mr. Ivan V. Anderson and Dr. Renee Dobbins Anderson Renee Anderson Charles Andrus Anonymous Karen Attanasi Joan T. Avioli Charles and Sharon Barnett Charles and Bonnie Bensonhaver Henry M. Blackmer Foundation, Inc. The Boatwright Family Charitable Fund Shannon Bogan Mr. and Mrs. Gordon E. Bondurant Elizabeth Calvin Bonner Foundation Mr. and Mrs. Thomas W. Boswell Anna M. Boulden Boylston Family Fund of Coastal Community Foundation of SC John & Jean Breza Ms. Jessica Buchanan William Buckley Mr. and Mrs. James A. Cathcart, III Polly Cathcart Monika and William Coker Colliers International Mike and Kerri Collins Ethel A. Corcoran Angela Klehe Creed Marilyn W. Curry William H. Danforth Melissa Darby Mr. Ted Davis Dr. and Mrs. Victor E. Del Bene Phyllis and George Dickinson Oliver S. & Jennie R. Donaldson Charitable Trust Naomi Donnelley Ms. Carol Drowota Linda A. Dryden Keith and Susanne Emge Nancy Fiedler Mrs. Billie F. Floyd Dr. and Mrs. Samuel C. Franklin, Jr. Dr. and Mrs. James W. Freston Peter and Marianne Fritts Sallie and Stephen Fuerth Deborah Williamson and David Garr Pete and Kathy Gaynor Mr. and Mrs. Lawrence W. Gillespie Dr. and Mrs. M. Boyd Gillespie

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DONORS Peggy Gilliam Mr. and Mrs. Ben Goldberg Dr. and Mrs. S.T. Griffin Mr. and Mrs. Benjamin A. Hagood Lynn S. Hanlin Thomas and Sabine Haythe Bob and Marcia Hider Mrs. Aileen Hock Gail and Tim Hughes Indigo Books, LLC Dr. Wendell S. Johnson Sheila and Tony Kelly Dr. and Mrs. George Khoury Mrs. Annette Kibler Sola Kim, M.D. Mr. and Mrs. Michael Kirk Marty and Julie Klaper Ms. Louis Lancaster Karyn S. Lee Mr. and Mrs. Benjamin Lenhardt Drs. Walter and Leonie Leventhal Mrs. Jan MacDougal Mr. and Mrs. Emory Main Mr. and Mrs. Alfred L. Malabre, Jr. Capt. and Mrs. Nat Malcolm Clarence and Judy Manning Mrs. Cathy Marino The Jack and Joanne Martin Charitable Foundation Mr. John Martin Dr. Joseph Marzluff Mr. David Masich Mr. and Mrs. Gary A. Mastrandrea Mr. Tony Mazurkiewicz Gwen and Layton McCurdy Mr. and Mrs. Hugh McDaniel Sarah and Stuart McDaniel Ms. Lorraine McDermott Helen McLendon Mr. and Mrs. John McTavish Mr. and Mrs. Lawrence D. Middaugh Dr. and Mrs. Terence N. Moore Mr. and Mrs. Saunders Morton Paul and Jane Ann Mougey Mr. and Mrs. Gerd D. Mueller Ms. Martina Mueller Monica Mutter Margalit and Gary Neiman Robert Nicholson Gene and Jocelyn Notz Mr. Anthony R. Oglietti Mr. and Mrs. Robert Omahne Brenda and James Orcutt

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Velvet Padgett Tony and Joanne Panek Patrick Family Foundation Dr. and Mrs. Leonard L. Peters H. Dickman Pfann Lt. Col. Wilson R. Pierpont Ms. Eloise Pingry Mr. and Mrs. Robert M. Prioleau Dr. and Mrs. William H. Prioleau, Jr. Michael and Tammy Psenka Mr. and Mrs. Donald Reid Mr. and Mrs. Clark L. Remsburg Mr. and Mrs. William R. Richardson, Jr. Harriet & Linda Ripinsky Fund of The Coastal Community Fdn Bill and Gloria Seaborn Mr. and Mrs. Kenneth Seeger Judy Selby and Reid Spencer Steve Simon and Downing Child Pamela Simons Elaine and Bill Simpson Ike and Betsy Smith Mr. and Mrs. George W. Smyth, Jr. South Carolina Ports Authority Dr. and Mrs. Anthony Speno William and Patricia Staempfli Mrs. Ursula Stocko Tim Strand Mr. and Mrs. Al Straub Mr. and Mrs. John L. Strauch The Sullivan Crawford Group of Morgan Stanley Barbara and Lawrence Sussberg Ms. Lavinia Thaxton Dr. Terri Thomas Ken Tidwell Frances Trapales Ann and Peter Trees Gero and Linda vonGrotthuss David Wallace Walmart Foundation John and Cecily Ward Mr. and Mrs. Leo Weber Mr. James Werth Doris Gelzer Whitaker Mr. and Mrs. D. Sykes Wilford Mr. and Mrs. Thomas H. Winkleman Mr. Joseph L. Wright, Jr. Shelley and Marty Yonas Mr. and Mrs. Stephen Ziff Lenny and Barbara Zucker

Friend $ 250-$499 Herbert and Barbara Ailes Mr. and Mrs. James P. Anderson Mrs. Louis Anderson Robert and Kathleen Anderson Anonymous Marylou and Doc Ardrey Ms. Nancy Austin Gloria Adelson and Dr. Sly Baron Elizabeth Battle The Beach Company Dr. and Mrs. Norman H. Bell Mr. and Mrs. Richard Blake William E. Blevins Martin Bowen Dr. D. Oliver Bowman and Dr. Robert Sauers Dr. and Mrs. William Y. Buchanan Wayne and Joyce Burdick Mary Elizabeth Canaday Dr. and Mrs. J. Robert Cantey Susan and Stuart Chagrin Ron and Sue Ciancio Croghanâ&#x20AC;&#x2122;s Jewel Box Mr. and Mrs. Thomas Cronier The Decker Family Fund of Coastal Community Foundation of SC Alan and Rella Eysen Mr. and Mrs. Fair Mr. and Mrs. Rick Ferencz Mr. and Mrs. Henry Fishburne Mr. Jeffrey A. Foster Deena Frooman Joe Fuhrmaneck Mr. and Mrs. Bernard Fulk N. John and Susan B. Garcia James A Gergen Mr. and Mrs. Rodgers Gilliard Capt. Dean and Mary Glace Mr. and Mrs. Peter B. Goodrich Mr. and Mrs. Maurice Halsey Bernadette and Bert Hefke Paul and Judy Hines Elwood and Lou Housand Peter and Judy Hubbard Dr. Murray Jaffe Mr. and Mrs. Lawrence Kash Mrs. Louise King Mr. and Mrs. Lee Kohlenberg Mr. and Mrs. Richard A. Kronick Mr. and Mrs. John Labriola

Kathleen Lally and Mark Sothmann Jonathan R. Lamb Julia Lamson-Scribner Staurt and Linda Larsen Mr. John R. Lauritsen Ms. Meggett B. Lavin and Mr. Malcolm M. Crosland, Jr. Mrs. Bess Lawton Phillip and Nancy Clayton Lefter Dr. Edmund LeRoy Limehouse Produce Co., Inc. Charles and Joan Lipuma Sally Gray Lovejoy Dr. and Mrs. John C. Maize Mr. and Mrs. Louis Matagrano Deanna & Scott McBroom Ms. Harriet P. McDougal Dr. and Mrs. Francis G. Middleton Valerie Morris and Boris Bohun-Chudyniv Mr. and Mrs. Peter B. Moss Mr. Donald Muglia James and Judith Murphy Valeria S. Myers & G. Clinton Myers Mrs. Carol Mysel Dr. and Mrs. Robert E. Notari Ms. Catherine O’Brien Mr. and Mrs. Dennis O’Brien Mr. and Mrs. Ron Oswalt Mr. and Mrs. Lynn Pagliaro Steve Penn Dr. and Mrs. Newton G. Quantz, Jr. Dr. and Mrs. Daniel Ravenel Barbara L. Reed and Robert L. Day In honor of our mother Emily Remington Pat and Tom Richards Mr. Bratton Riley Ms. Kathleen H. Rivers Drs. Chester Rogers and Elise Jorgens Mr. and Mrs. Alwyn Rougier-Chapman Henry and Lynn Russell Henry Sawyer and Gail Peeler Jan and Mark Schreiber Dr. and Mrs. Paul Schulman Sandy and Robert Schwarz Ms. Linda M. Shortridge Herk and Sherry Sims Carol Ann and Bryan Smalley Mr. and Mrs. Kenneth B. Smith Michael Smith Dr. and Mrs. Cheves M. Smythe Speedwell Foundation Delano and Jean Spell

Dr. and Mrs. Douglas B. Stalb Diane and Mark Terrero Thomas and Kristina Walle Mr. and Mrs. Warren D. Watts Al Weinrich Dr. and Mrs. James D. Wells, III Mr and Mrs. David L. Wertz Carly Westerman Elizabeth M. White Bret and Betty Williams Dr. and Mrs. William C. Wilson Mr. and Mrs. Robert Wood Mr. and Mrs. Glenn Workman Dr. and Mrs. Worsham Mr. and Mrs. Nicholas Zervos

Member $ $ 1- 249 JP Abbott Todd and Emily Abedon Kate Adams Deanna Adkins Dr. A. Julia Alissandratos LesLee Ames William Andrews Anonymous (7) Apothecary Products Ann Apple M. Hunter and Ruth Arnold Charitable Trust Linda Art Mr. Todd Ashworth Ms. Valerie Assey Ann Auburn Julia Augdahl Adm. and Mrs. Albert Baciocco, Jr. Mr. and Mrs. Donald Backer Andrew Baker Mr. and Mrs. R. Martin Ball, Jr. James Ballard Mr. and Mrs. Ronald S. Banks Dr. Lisa K. Barclay Mr. and Mrs. Frank L. Barkley, Jr. Bonnie Barrow John Barry William Basco and Mildred Currie Bass/Bradford Gift Fund of Fidelity Charitable Mr. Carmine Battista Jodi Rush and Jon Baumgarten Mr. and Mrs. Yuriy Bekker Alex and Elena Bell Laura Bell

Jessica Bellamy Emily Belliveau Ann Beltz Anne and Andrew Benbow Rose Benecki Katharine Bentley Linda Bergman Laurie and Stephen Berman Ellen Berrier Mr. J M Billingsley Ms. Ann T. Birdseye The Reverend and Mrs. R. Richard Blocker Dr. and Mrs. Stuart Blum Morene Bodner Elaine Bonner David R. Boone J. Sidney Boone Joyce Braga James and Cynthia Branch Mr. and Mrs. Braunreuther Mr. and Mrs. David Breedlove Mr. and Mrs. Jack Brickman Melissa Britton Ms. Tracy Brokes Mr. Peter Brooke Daniel Brooks Matt Brown Thomas and Nancy Brown Ms. Dianne S. Burden Ms. Barbara Burgess Lawrence and Anne Burpee Mary B. Cabezas Mr. Lee Camden Mrs. Nancy Canavera Ms. Linda Cantu Mr. and Mrs. Frank Cassara Kathryn Cavanaugh Joanna S. Cawley Patrick Cawley and Pamela Charity Mrs. Carmel M. Chamier Ronald H. and Gail E. Charron Mrs. Henry Cheves Mr. & Mrs. Wiliam J. Cody Michael & Suzanne Coffman Ms. Susan Coggins Margaret Comfort Mrs. Sylvia Cone William and Ann Connellee Mr. and Mrs. John Conyers Adaline Cook Dr. H. Paul Cooler Samuel Cooper

CharlestonSymphony.org -

DONORS Dr. and Mrs. John Corless Margaret Cormack Mr. and Mrs. George Cornmesser Mr. and Mrs. Michael Cotsonas Mr. Greg Couch Janice Crews Mrs. Margaret Crotts William and Rosalie Crouch Sarah Crowder Joan and Robert Dâ&#x20AC;&#x2122;Amato Ann Davis Mr. and Mrs. C. Stuart Dawson, Jr. Mrs. Gisela Dawson Susan Dawson D. Todd Deter Mrs. Shani Diggs and Mr. Max Mahaffee Al and Angela DiPaolo Directions in Research Bernard R. Ditter Mr. and Mrs. J. Gardiner Dodd Heather Dolan Ms. Kate Dolan Evelyn and Earl Dolven Denise Doyon Patricia Ann Drew Jan Dulle Carol Ann-Roberts Dumond Bob Durand Design Ms. Kay Durst Mr. and Mrs. Eagle Morris and Deborah Ellison Dr. Lydia Engelhardt Patricia and John Ernstrom Sheryl Faintich Sherri Falin Frank Farfone Kenneth and Karla Farrar Gail and Evan Firestone Jaimie Flack Suzanne Fleming-Atwood John Fletcher Ms. Sara Jane Foltz Mr. and Mrs. Ford John Fox Mr. and Mrs. George Fraggos Ms. Ruth Freedenberg Paul and Sheila Galvani Rachel Gangwer George A. Gaspar, MD Dr. and Mrs. Armand B. Glassman Barbara Gluzberg Barbara and Stanton Goldberg

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Mr. and Mrs. Barry Goldsmith Ms. Sandra Gordon Kitty Gordy Janet Gorski Amelia Gorsuch Mark Gould Dr. and Mrs. Timothy Gray Mrs. Cynthia Greene Mrs. Leonard Greenebaum Ms. Glenna D. Greenslit Mr. and Mrs. Gregg Michael Gregory Mr. Jeffrey Gross Mr. Michael Haga Julia Haile Ms. Marcella Hair Kristin Hamill Col. and Mrs. Frank Hamilton Lisanne Hamilton Shirley and Keitt Hane Sue Harmon Brenda W. Hart Dr. and Mrs. Edward Hart Mr. and Mrs. William Hart R. Ashley Haynes Larry and Karen Henderson Dr. L. W. Heriot, Jr. Jane Ellen Herron Marcella T. Hickey Brian and Bridget Hill Willem Hillenius Sharon and Whaley Hinnant Mr. and Mrs. Ken Hirsch Bruce and Diane Hoffman David and April Hoffman Jeff Hollaway Edward R. Holt Mr. and Mrs. Robert Hoopman Jack & Beverly Hoover Knox Hopkins Sara N. Huebner Barbel Huesken Mr. and Mrs. William D. Humphrey Hans and Rosemarie Hunsch Allison Hunt Jack Hurd Dr. and Mrs. Julius R. Ivester, Jr. Mr. and Mrs. John B. Jannis Mr. George C. Jeschke Dr. and Mrs. Joseph John Mr. and Mrs. Darryl G. Johnson Mr. and Mrs. Edwin Johnson

Shana Johnson Chap Johnston Mr. and Mrs. Donald P. Jones Mrs. Elizabeth Jones Robert Jones Lesley Jontos Amelia Joseph Thomas Joyce Charles and Judy Kaiser Allen Kaplan Mary Kaplan Kenneth Kelly Edith Kent Anne Keogh Nancy Keyser Ms. Betty B. Kinard Carol King James M. Klein Mr. and Mrs. Orren F. Knauer Nickolai Kobylk Dr. Diane Kochamba Mr. and Mrs. Charles F. Koches Sandra Korn Franklin and Peggy LaBelle Catherine Lackey Lincoln and Gloria Ladd Richard Land Kyle and Amber Lane Tori Langen Nancy Lapanne Toula Latto Ms. Kay B. Lawhon Tate Lawson Richard Lehman James S. Leib Alice Levkoff Mr. Kent Lewandowski Lawrence Libater Mr. and Mrs. Hall B. Liles, Jr. Harriet Little Ms. Marilyn Long Dorothy Lord Mrs. Richard E. Lord Ms. Teresa Luckert Mr. and Mrs. G. Lindsay Luke, Jr. Mr. and Mrs. Carl Lundquist Loredana Lungana Mr. Fred MaDan Ross A. Magoulas Wilma Maiers Mr. John Mammino and Ms. Christine M. Taylor

Nancy Mann Ray and Linda Manning Judy Manzi Ted Mappus Peter Marcino Linda L. Marshall Richard Marshall Donald V. Marti Mr. and Mrs. Carl N. Masonberg Mr. Morton Matuny Patrick Mauldin Dennis & Ann Maxwell Bob & Naomi McCormick Christe McCoy-Lawrence Mary McKenna Bob and Barbara McKenzie Mark & Caroline McKinney Paul & Doerte McManus Dr. Andrew McMarlin Caroline McMillan Ms. Dorothy H. Meacham John Messal Andrew Messersmith John and Joanne Milkereit Mr. and Mrs. Miller Thomas Miller W. Garrett Mitchener Cheryl Mizrachi Anna Monaghan Monique’s Alterations Anna Montgomery Jeff Monts and Maria Rountree Mr. and Mrs. Benjamin Allston Moore, Jr. Mary Moore Carol P. Morris Elizabeth Morrison Ms. Claudia H. Morton John Mosier Jeff Muller Brian Neely Brad Neville John and Sally Newell Steven Nicoll Carey Nikonchuk Jackie Noble Lynda Nolta Alan and Barbara Nourie Robert Novick Mr. and Mrs. Vincent O’Brien Ms. Elizabeth Ochoa Wilson Ochoa Michelle and Brendan O’Day

Marie Prange Oetting Mr. and Mrs. Oglesby Gary Ogrizek Ed and Charlotte Overton-Moran Players Association of Charleston Symphony Orchestra Dr. Traute Page Mr. and Mrs. William F. Painter Mick and Pip Palmer Margaret Passailaigue Mr. and Mrs. Gardner Patrick Mae Peterseim, M.D. Dwight and Marty Peterson Ms. Patricia Phillips Janet C. Pickens Ms. Claudia Pollack and Mr. Alan J. Martin Ms. Claudia Porter Mr. and Mrs. Richard B. Porter Cathy Powell Helen Powell Dr. and Mrs. Philip Privitera Harold Quinn Robert Rainear Ms. Carol Rashbrook Mr. Arthur Ravenel, Jr. William Reehl Marti Reichman Ms. Barbara Richardson Shirley Richardson Mrs. Carroll W. Rivers Paul and Mary Jane Roberts Charitable Gift Fund Ms. Jeanne Robinson Robert and Freda Rohloff Jeffrey and Stephanie Rosen Betty Rosenberg Ms. Traylor Rucker Marne Rummler Mr. and Mrs. Henry Middleton Rutledge VI John and Aileen Sanders Charles Saylor June Scangarello Gloria Schildcrout Mr. and Mrs. Walter Schlauch Kristof Schneider Ms. Patricia Schneider Mr. and Mrs. Gordon D. Schreck Dale and Joyce Schreiber Horst W. Schroeder Janet Schutz

Christopher Senesac Margaret Seres Mr. and Mrs. Charles Setterlund Anna and Willis Shanks Mrs. Judith Shary Mr. and Mrs. Cliff Shelor Kristin Sigalas John Sikora P.L. Silveston Katherine Skow Tamar Small and Jonathan Greif Dr. and Mrs. C. D. Smith, III The Rev. Colton Smith and Mrs. Angela Smith Donald S. and Donna L. Smith Mr. and Mrs. Stuart Smith Mr. Andrew Sohor Dr. and Mrs. Kerry Solomon Robin Solomon Murray Somerville Heather Spann Thomas and Dorothy Spencer Joyce B. Spiegel Carol A. Spitznas Christopher and Mary Ann Spivey Duane and Lee Spong Mrs. Cecily Stack Mr. and Mrs. Thomas H. Stallings Myrtle Staples Richard D. Steel Cynthia Stetzer Scott and Kristi Stokley Mr. and Mrs. Kenneth W. Strehle Lynn Strickland Cecil and Char Stricklin Ms. Christine Strobel Mark and Marie Stuppy Ms. Barbara Sullivan Robert and Carol Sullivan Stacey Swartzwelter Christine Sydness Mr. and Mrs. Gary A. Tasker Michael Tiblier Alisa Tolliver Mr. and Mrs. Clarence M. Turley, Jr. Mrs. Elizabeth M. Tyler David Ullman Ms. Normandie Updyke Martin and Joan Ustin William H. Valentine, Jr. Frances Van Dolah Mr. John Vax Mrs. Virginia Versteegen

CharlestonSymphony.org -

DONORS Dr. Harshad Vyas Alice Wakefield David Waldron Susan Walker Elise Wallace Joyce A. and Eugene F Wambold, Jr. Foundation of SE Michigan Keeling and Barbara Warburton Mr. and Mrs. David W. Warner Andrea Wassel Lt. Col. and Mrs. C. Wyly Watson Marti and Curt Weeden Doug Weeks and Verna Bunao-Weeks Mr. Steven Weintz Ed and Eileen Weklar Christopher Wiley Dwight and Lindsey Williams

George W. Williams Kent Williams Mr. Richard Willsea Dr. Jerry Winfield Paige Wisotzki Mr. and Mrs. West Woodbridge, Jr. Ann Woodfield Capt. and Mrs. Richard T. Wright, USN Vincent Yax Michelle York Youth Orchestra of the Lowcountry John Zimmer Mr. Dave Zoellner Michael Zwerling Melinda Zwickert

Special thanks to the members of the Society of 1936 whose substantial financial support at a critical time made possible the rebirth and continued success of the CSO. Dr. & Mrs. James C. Allen Mr. & Mrs. John Barter Mr. & Mrs. Van Campbell Mr. & Mrs. Stuart A. Christie Linda & Ralph Davis Mr. & Mrs. Leo Fishman Mr. & Mrs. Edwin Halkyard Mr. & Mrs. Ted Legasey Mrs. Carolyn T. McAfee with Mr. & Mrs. J. Thomas McAfee III Mr. & Mrs. Burton Schools

BRING THE CSO INTO YOUR HOME â&#x20AC;&#x201D; LITERALLY! Join the many members of the CSO family who already provide housing for visiting guest musicians. Get to know some of the wonderful musicians that come to Charleston to bring you great music. Host only when it is convenient for you; all you need to provide is a private room. Looking for hosts in all areas of greater Charleston for more information on this program, please visit www.charlestonsymphony.org/Support-The-Symphony/Bring-the-CSO-to-your-Home or contact: Tom Joyce, Personnel Manager personnel@charlestonsymphony.org 843-469-4274 cell

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(843) 881-3937 DrKerrySolomon.com

ϭϮϬ ƌŽĂĚ ^ƚƌĞĞƚ ͻ ŚĂƌůĞƐƚŽŶ ͻ ĂůůĞŐƌŽĐŚĂƌƚĞƌƐĐŚŽŽů͘ŽƌŐ

Dedicated people. Dedicated energy.

SCE&G is proud to support Charleston Symphony Orchestra’s 2015-2016 season.

sceg.com

CharlestonSymphony.org -

HONOR / MEMORIUM

IN HONOR

IN MEMORY

in honor of Yuriy Bekker Mrs. Leonard Greenebaum Anne and Will Cleveland

in memory of Leslie Lynne Brandle Jean F. Carlton

in honor of Mr. and Mrs. John Cahill Mr. and Mrs. W. Yates Trotter, Jr. Kate B. Adams and Robert Sudderth in honor of Charlie Cumbaa Blackbaud in honor of Bobbie Greenebaum Dr. and Mrs. Michael Maginnis Dr. and Mrs. Frederick J. Goulding Jean F. Carlton Dr. and Mrs. William T. Creasman Ms. Normandie Updyke Mrs. Phyllis Miller Ms. Sandra Gordon Ms. Kate Dolan Mr. and Mrs. Burton R. Schools Charleston Symphony Orchestra League, Inc. in honor of Cindy and George Hartley Kate B. Adams and Robert Sudderth in honor of Sue Ingram Mr. and Mrs. Richard Blake in honor of Maestro Ken Lam Michael Griffith and Donna Reyburn in honor of Norbert Lewandowski Mrs. Leonard Greenebaum in honor of Antonio Marti Jean F. Carlton in honor of Emily Remington Porter Remington and Martha Scharnitzky Ms. Betty B. Kinard in honor of David Savard Dr. and Mrs. Frederick J. Goulding in honor of Eugenia M. Torrey Eugenia and Blair Torrey in honor of Dwight Williams Anne and Will Cleveland

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in memory of James Daugherty Jean F. Carlton Charleston Symphony Orchestra League, Inc. Ms. Eloise Pingry in memory of Calvin H. East James S. Leib Brian Neely Mrs. Phyllis Miller Ted and Joan Halkyard Mary Moore Mr. and Mrs. Peter B. Moss Jan Dulle Donald V. Marti J. Sidney Boone Ms. Eloise Pingry Mr. and Mrs. Clarence M. Turley, Jr. Mrs. Richard E. Lord Marti Reichman Sheryl Faintich William H. Danforth Marie Prange Oetting Patricia Ann Drew Joyce B. Spiegel John and Patricia McCadden Catherine Ross in memory of Ruth Fitzhenry Oscar Fitzhenry in memory of Gwen Gilmore’s mother Charleston Symphony Orchestra League, Inc. in memory of Leonard Greenebaum Jean F. Carlton in memory of Cindy Greenebaum Ms. Eloise Pingry in memory of Daniel E. Heiger John and Joanne Milkereit in memory of Laura Hewitt Dr. and Mrs. Joseph M. Jenrette, III in memory of JoAnne Hicks Nelson C. Hicks

in memory of John F. Maybank The Sullivan Crawford Group of Morgan Stanley Edward R. Holt Mr. John M. Rivers, Jr. Mrs. John F. Maybank Mr. and Mrs. Ford John and Diane Avlon Capt. and Mrs. Richard T. Wright, USN Mr. and Mrs. David H. Maybank, Jr. Mr. and Mrs. Benjamin A. Hagood in memory of Michael Joseph Mrlik Mr. and Mrs. John T. Benton Michelle and Brendan O’Day in memory of Annabel Raymond Mr. and Mrs. Oglesby in memory of Dorothy Rhett Jean F. Carlton in memory of Margaret Seward Ms. Teresa Luckert in memory of William Zehfuss Jean F. Carlton Herzman-Fishman Foundation/ Leo and Carol H Fishman Robert and Catherine Hill Duane and Lee Spong Ms. Eloise Pingry

DO YOU HAVE A PL AN? We want you in the Crescendo Club! What is the Crescendo Club?

TESTIMONIAL:

The Crescendo Club is a special group of people who will leave a lasting impact on the Charleston Symphony Orchestra while satisfying their future financial needs.

Who can belong to the Crescendo Club? Anyone who has included the CSO in their legacy plans. All gift sizes are welcome.

How can you create a win-win solution for the CSO and yourself? • • • •

Make a large gift at little or no cost to yourself Reduction of income, estate, and capital gains taxes Ability to provide for a cause that is important to you Receive recognition for yourself or honor a loved one through a naming opportunity

Act now to take the steps you need to be a good steward of the resources you intend to leave behind. The CSO is now able to look toward the future, and you can be a key component! Consult your financial planner or tax advisor to see which method works best for you. Help the music live on by composing your legacy to include the Charleston Symphony Orchestra!

“Estate gifts and bequests are rather easy to establish. They have no impact on current cash flow and it is a simple process to add a codicil to a will or trust. Vivian and I have done exactly this to benefit the CSO. I encourage all who have a strong passion for the CSO to establish a giving legacy.” - Roger Steel

CharlestonSymphony.org -

IN-KIND GIFTS/GUEST MUSICIAN HOSTS

IN-KIND GIFTS

GUEST MUSICIAN HOSTS

Belvaâ&#x20AC;&#x2122;s Flower Shop Catherdral of St. John the Baptist Charleston Library Society Charleston Southern University The Citadel Music Department College of Charleston Music Department Dilworth Paxson, LLP Fox Music House GlaserDuncan Harbour Club iHeart Media Holy City Hospitality The Instrument Doc James Island Cleaners James Island Presbyterian Church Jean Carlton John Wesley United Methodist Church Lutheran Church of the Redeemer McNair Law Firm PianoCraft St. Andrewâ&#x20AC;&#x2122;s Church St. Theresa the Little Flower Catholic Church Stomvi Musical Instruments, USA

Mary Ellen and Bill Badger Mr. and Mrs. John Rhett Baldwin Jenny and Yuriy Bekker Sharon and Nigel Bowers Bettie and Steve Buck Doug and Verna Bunao-Weeks Dr. and Mrs. Phil Buscemi Jean Carlton Judy and Bill Casey Henry and Linda Cerceo Stuart and Susan Chagrin Joan and Richard Chardkoff Ann and Paul Comer Maureen and John Corless Bill and Erble Creasman Nancy and Steven Cunningham Dr. Jeffery and Mrs. Tammy Dorociak Ms. Karen Durand Tacy and Darrell Edwards Helena and Joshua Feury Joe and Silvia Gamboa Rachel and Micah Gangwer Jackie and Sam Gawthrop Kerry and Rick Goldmeyer Maureen Graham Edith Haman Celia and Chuck Hansult Eric and Margaret Herzlich Becky and Paul Hilstad Tomas and Marietta Jakubek Garvin and Lucie Jones Christina Jones and Sam Lynah Catherine Jones Jan-Marie and Tom Joyce

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Gloria Kelso Sally and Tim Key Kari Kistler Marlene and Bruce Koedding Asako and Damian Kremer June and Mariano La Via Susan and Bob Leggett Norbert Lewandowski Rachel Ruth Lindsay Dr. and Mrs. Michael Maginnis Janice and Jay Messeroff Susan and Charles Messersmith Wayne and Anna Mickiewicz Dr. Robert and Jane Miller Janie Miller Cissy and Robert Moise Ned and Louisa Montgomery Terry Muir and DeAnna Adkins Gary and Liese Nichols Anne Nietert Scotty and Penny Owen Roberts Dr. Vincent and Rev. Nancy Pellegrini Lorraine Perry and Ford Reese Claudia Porter and Stuart Hotchkiss Marilynne Roche Frances J. and Jeffrey C. Sills Stephanie and Ryan Silvestri Katherine and Michael St. John Dianna Stern Char and Cece Stricklin Albert and Caroline Thibault Marlies G. Tindall Richard Ulmer Meta Van Sickle Linda Vinson Jeannie Yzquierdo

The Schlau Peterson Group 843.720.9425 Merrill Lynch 17 Lockwood Drive Suite 200 Charleston, SC 29401

Life’s better when we’re connected®

Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered broker-dealer and Member SIPC, and other subsidiaries of Bank of America Corporation. Investment products: Are Not FDIC Insured Are Not Bank Guaranteed May Lose Value © 2015 Bank of America Corporation. All rights reserved. ARWRJM6N | AD-04-15-0886 | 470944PM-0315 | 04/2015

329 East Bay Street Charleston, SC 29401 www.gadsdenhouse.com | 843.737.4281 WEDDINGS | PARTIES | CORPORATE EVENTS

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Introducing

A Unique Opportunity to Define Your Extraordinary Life. Live a life that both anchors and inspires. Introducing The Quay at Bishop Gadsden ď&#x203A;&#x17E;a picturesque lake surrounded by three buildings with 15 stunning flats each. Open floor plans, ranging from 1,773 to 2,150 square feet, have been designed with every detail in mind for gracious living and entertaining. Lake views from your balcony over coffee. Gathering with friends in your gourmet kitchen. Peaceful evenings made perfect by the fireplace. The Quay promises both the refuge to be as secluded as you desire and the revelry of being a member of an active and vibrant community. Live an Extraordinary Life ď&#x203A;&#x17E; in a Most Extraordinary Community.

Opening September 2015

A Life Care Retirement Community

Charleston, SC | 800.373.2384 | bishopgadsden.org