Overture March-April 2011

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overture

A MAGAZINE FOR THE PATRONS OF THE BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP, MUSIC DIRECTOR MARCH 4, 2011 - APRIL 29, 2011

When Music Meets the

Movies

Music brings power to films—inspiring and transporting audiences. The first to recognize this was Charlie Chaplin, who composed masterful scores that made his early films anything but silent.

Your technique is impeccable. Your phrasing, sensational. Your talent, undeniable. But when noise-induced hearing loss damages your pitch

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contents

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10 Music brings power to films—inspiring and WHEN MUSIC MEETS THE MOVIES

transporting audiences.The first to recognize this was Charlie Chaplin, who composed masterful scores that made his early films anything but silent.

43

BY MARIA BLACKBURN

13 Pianist Orion Weiss got the call from the BSO ONE ON ONE

that changed his life when he was just 17. INTERVIEW BY MARIA BLACKBURN

5

LETTER FROM THE PRESIDENT AND CEO

6

IN TEMPO

8

BSO LIVE

PROGRAM NOTES 15 MAR 4 & 6

Rachmaninoff’s Rhapsody

18 MAR 11-13

A Celtic Celebration: Music of the Emerald Isle

20 MAR 18-19

Beethoven’s Fifth

23 MAR 24-25

Grieg’s Piano Concerto

26 MAR 26

Sweet Honey in the Rock

27 MAR 31 &

The Pied Piper

News of note Upcoming events you won’t want to miss!

14

ORCHESTRA ROSTER

37

DONORS

43

For violist Karin Brown, scaling mountains is like mastering a piece of hard music. IMPROMPTU

APR 3

30 APR 8-10

A Tribute to Paul McCartney

32 APR 16-17

Charlie Chaplin’s The Gold Rush

34 APR 28-29

Brahms’ Second Symphony

f ro m t h e

president

overture BSOmusic.org • 410.783.8000

Dear Friends, Thank you for joining the Baltimore Symphony Orchestra for another great concert.With the arrival of spring, it seems very appropriate that one of this season’s themes focuses on youth, plus several other celebrations during the remainder of the season. On March 31 and April 3, we present OrchKids Nation, an exciting new work by David Rimelis, written especially for Marin Alsop and the BSO and young musicians from the OrchKids after-school program in West Baltimore.This is an extraordinary subscription debut for these pre-K through third-graders, some of whom will also perform on the same program with Peabody Preparatory students in John Corigliano’s Pied Piper Fantasy, featuring BSO Principal Flute Emily Skala. A week later, on Saturday morning, April 9, a highlight of the Family Concert Series is Benjamin Britten’s infectious AYoung Person’s Guide to the Orchestra, written especially for young listeners as a first tour of the instruments in the orchestra. Spring is definitely in the air! You can also look forward to other unique events in April: Beatles fans will welcome Live and Let Die: A Tribute to Paul McCartney (April 8-10); and if you saw 2008 performances of the Charlie Chaplin movie City Lights with live accompaniment by the BSO and Marin Alsop, you’ll definitely not want to miss another original score and film by Chaplin: the 1925 masterpiece, The Gold Rush, on April 16-17. Finally, make sure you have a front-row seat by subscribing now for the 20112012 season. Music Director Marin Alsop and the BSO have created a wonderful series of programs, including a celebration of women leaders, past and present, and an array of world-class guest artists including Itzhak Perlman, André Watts, Hilary Hahn and Leon Fleisher, along with an all-Gershwin Pops concert, a new holiday Cirque de la Symphonie concert and so much more. I hope you’ll visit BSOmusic.org to learn more about the exciting concerts scheduled for next season. Enjoy tonight’s concert!

Baltimore Symphony Orchestra 2010-2011 Season Marin Alsop Music Director Michael G. Bronfein Chairman Paul Meecham President and CEO Eileen Andrews Vice President of Marketing and Communications Claire Berlin PR & Publications Coordinator Janet E. Bedell Program Annotator

Alter Custom Media Sue De Pasquale Editor Cortney Geare Art Director Maria Blackburn Contributing Writer Michael Marlow Proofreader Kristen Cooper Director of Advertising Maggie Moseley-Farley Senior Sales Consultant Karen R. Bark Marcie Jeffers Sales Consultants Jeni Mann Director of Custom Media Heidi Traband Advertising Designer

Paul Meecham President and CEO, Baltimore Symphony Orchestra Be Green: Recycle Your Program! Please return your gently used program books to the Overture racks in the lobby. Want to keep reading at home? Please do! Just remember to recycle it when you’re through.

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Baltimore Symphony Orchestra

Life is Better with Music

The BSO is committed to serving our community in relevant and meaningful ways, including high quality music education and life enrichment programs for more than 55,000 youths each year. Your support makes this important work possible, helping to secure the BSO as a key contributor to the culture and quality of life in Baltimore and throughout Maryland. For more information about supporting your world-class orchestra, please contact our membership office.

410.783.8124 | BSOmusic.org/musicmatters March 4, 2011 – April 29, 2011

5

in

tempo

News of note

The Baltimore Symphony Orchestra has expanded its OrchKids program to serve students at New Song Academy, made possible in part by a two-year grant of $50,000 from The Rouse Company Foundation to support the program’s launch and continued development at the school. OrchKids is a year-round during- and after-school music program designed to create social change and to nurture promising futures for the youth of Baltimore City. Under Music Director Marin Alsop’s artistic leadership and direction, OrchKids is a cornerstone of the Baltimore Symphony Orchestra’s efforts to expand the Orchestra’s relevance with the city’s broad and diverse community. At New Song, all 37 pre-K through kindergarten students (ages 3–5) will be introduced to the program through music classes incorporated into the school day. Continued progression of these and the addition of more students in successive years will see a modified after-school program implemented at New Song.

BILL DENISON

BSO’s OrchKids Program Expands

To learn more about the OrchKids program, visit OrchKids.com.

CHRISTIAN COLBERG

MARY BISSON CHRISTIAN COLBERG

IVAN STEFANOVIC

6

Overture

Bolt for the BSO Runs Up More Than $15,000 The first annual Bolt for the BSO started with a good idea, a few inspired runners and a goal to raise $10,000 for the BSO. It ended on Saturday, October 16, with 11 runners competing in the Baltimore Running Festival, 300 total contributors and more than $15,000 raised. BSO Governing Member Cynthia Renn was inspired with the concept when she began training for the Baltimore Half-Marathon. “I got the idea to ask people to sponsor me as a small fund-raiser for the BSO,” Renn explains. “I mentioned this to a few friends who thought the idea was a good one and they decided to join in. At the following [BSO] concert, I mentioned it to Alana Morrall, [BSO Director of Individual and Institutional Giving] and a few others, and Bolt for the BSO was born.” BSO patrons may have seen Bolt for the BSO runners in the lobby before the

concert and during intermission on October 14. Dressed in running gear and lime-green T-shirts, runners raised nearly $300 that evening. BSO musicians who participated in the Baltimore Running Festival included horn player Mary Bisson (5K), Assistant Principal Second Violin Ivan Stefanovic (half-marathon) and first violinist Ellen Pendleton Troyer (halfmarathon).Though he had never run in a race before, Stefanovic completed the half-marathon in just under two hours.Troyer clipped Stefanovic’s time by four minutes and finished in the top 20 percent of all half-marathon runners. Bolt for the BSO will return next year and hopes to include 100 runners and raise more than $100,000.

bsolive Songs of the Earth

Upcoming key events

OFF THE CUFF

RICHARD RODGERS AND OSCAR HAMMERSTEIN II

Fri, May 6, 8 p.m. Sun, May 8, 3 p.m.

Schumann’s Beautiful Mind

Marin Alsop, conductor Theodora Hanslowe, mezzo-soprano Simon O’Neill, tenor

Marin Alsop, conductor Richard Kogan, piano

Music Director Marin Alsop emphasizes the profoundly expressive and personal nature of Gustav Mahler’s music in the composer’s symphonic song cycle, The Song of the Earth. Opening the program is Mendelssohn’s well-known and sunlit “Italian” Symphony, infused with the composer’s absolute enchantment with a visit to Italy in 1831.

Robert Schumann— A Romantic Original Thur, May 12, 8 p.m. Sun, May 15, 3 p.m. Marin Alsop, conductor

Marking the 200th anniversary of Robert Schumann’s birth, the BSO and Marin Alsop perform an all-Schumann program that includes two of his pieces retouched by Mahler, and perhaps his most well known orchestral works, the First and Second symphonies. Paired with his Manfred Overture, these two great symphonies reflect Schumann’s sheer genius melody—romantic and colorfully chromatic.

Sat, May 14, 7 p.m.

Music Director Marin Alsop explores Robert Schumann’s beautiful mind— one beset by bipolar disorder yet still able to produce some of classical music’s most original and inspired work. Richard Kogan will discuss and perform excerpts of Schumann’s Op. 9 Carnaval for piano. How does bipolar disorder affect the brain? Are manic episodes responsible for Schumann’s bursts of creative genius that manifested itself in such profound music? Explore these questions and more. BSO SUPERPOPS

Rodgers & Hammerstein at the Movies Fri, May 20, 8 p.m. Sat, May 21, 8 p.m. Sun, May 22, 3 p.m. Jack Everly, conductor

Hear the BSO SuperPops perform the scores with the original vocal tracks from the great movie musicals of Rodgers & Hammerstein.The program features favorites such as Oklahoma!, The King and I, South Pacific, Carousel and The Sound of Music, all performed as stunning remastered clips play on the big screen above the orchestra.

Mahler, Sibelius and Walton Carlos Kalmar, conductor Karen Gomyo, violin At a time when Mahler’s work was less heralded for concert performance, Benjamin Britten created an arrangement to widen the audiences for one of his favorite composers. Young violinist Karen Gomyo performs Sibelius’ concerto with the firecracker finale. Carlos Kalmar conducts the first BSO performances of Sir William Walton’s landmark 1935 Symphony, a passionate musical utterance composed during a tempestuous love affair.

Marin Alsop, conductor Emanuel Ax, piano

The season’s celebration of youth comes to a conclusion with Benjamin Britten’s delightfully infectious tour of the orchestra, in Young Person’s Guide to the Orchestra, as well as the First Piano Concerto by Johannes Brahms (written when he was 25). In the hands of piano great Emanuel Ax, expect a program of thrilling virtuosity and music-making. Marin Alsop also introduces a new work by the Argentine-American composer Osvaldo Golijov.

Verdi’s Requiem Thur, June 9, 8 p.m. Fri, June 10, 8 p.m. Sun, June 12, 3 p.m.

It is a work of such imposing power that no music can dare to match its scope and glory.The concert experience of a lifetime, Marin Alsop and the BSO close the season with Giuseppe Verdi’s awe-inspiring Requiem. KAREN GOMYO

Overture

Fri, June 3, 8 p.m. Sat, June 4, 8 p.m. Sun, June 5, 3 p.m.

Marin Alsop, conductor Angela Meade, soprano Eve Gigliotti, mezzo-soprano Garrett Sorenson, tenor Alfred Walker, bass-baritone The Washington Chorus Julian Wachner, music director

Fri, May 27, 8 p.m

8

Emanuel Ax

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Tom Hall leads the chorus and string orchestra in the Baltimore premieres of Eric Whitacre’s Five Hebrew Love Songs, and Gwyneth Walker’s Dreams and Dances, which draws on the jazz-influenced writings of former Maryland poet-laureate Lucille Clifton. Handel’s exuberant cantata Dixit Dominus is also featured on the program. Tickets: $25 – $38 Sunday, May 1 at 5pm Kraushaar Auditorium at Goucher College Call 410-523-7070 or visit www.BaltimoreChoralArts.org

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March 4, 2011 – April 29, 2011

9

When Music Meets the

Movies

Music brings power to films—inspiring and transporting audiences. The first to recognize this was Charlie Chaplin, who composed masterful scores that made his early films anything but silent. By Maria Blackburn

10

Overture

HERE’S A SCENE in Charlie Chaplin’s 1925 film The Gold Rush that’s hilarious to watch. Starving and stranded with a fellow gold prospector in a rickety cabin in the Alaskan wilderness, Chaplin, playing his iconic Tramp character, becomes so hungry that he cooks and serves his shoe for dinner. The master comedian and star of silent film gracefully twirls his shoelace on his fork like spaghetti and takes dainty bites of black leather, chewing with the utmost delicacy.Watch the scene with the volume turned off, and it’s funny. But view the scene accompanied by the score Chaplin composed for the film in 1942, and it’s even funnier.This is elegant dinner music, gentle and refined. Juxtaposed with the rough setting, the silliness of the boiled boot and the character’s fancy table manners, the music invites the audience to appreciate the ridiculousness of every forkful, swallow and hiccup. Music and movies are a powerful combination. In the theater’s velvety darkness, before the first images of the actors even flicker onscreen, those first few notes help set the tone and inspire an audience to think, and see, and feel a film in a way that transports them.Whether it’s the sound of the giant great white shark’s approach in Jaws, the tinkling Scott Joplin rags in The Sting or the resounding charge that accompanies every gallop of the gang of gunslingers in The Magnificent Seven, music makes great films even greater. Musical scores enhance scenes, develop characters and build anticipation.They bring all of the pieces in a film together and help make it whole. “A movie without music is a little bit like an aeroplane without fuel,” actress Audrey Hepburn wrote to composer Henry Mancini after she saw her 1961 film Breakfast at Tiffany’s for the first time with his score. “However beautifully the job is done, we are still on the ground and in a world of reality.Your music has sent us soaring. Everything we cannot say with words or show with action, you have expressed for us.” And Chaplin, who wrote scores and songs for many of his films including Modern Times, City Lights and The Kid, was a master of pairing music with the moving images he created. “Chaplin was the first person to understand how deeply music

T

could affect an audience’s perception of a film,” says Marin Alsop, Music Director of the Baltimore Symphony Orchestra, who will conduct live orchestral screenings of The Gold Rush on April 16 and 17 at the Meyerhoff. “His scores are operatic in nature and scope. Each character has well-developed and easily identifiable themes or motives, and Chaplin interweaves these various motives into a beautiful musical tapestry, following the action of the characters in the film.” Music has been a part of the movies from the very beginning. “When Auguste and Louis Lumiere gave the first public projection of a film in Paris on Dec. 28, 1895, it was accompanied by live piano

And in the late 1920s, when advances in synchronized sound made it possible for him to accompany his films with music of his choosing, Chaplin composed the entire score for his 1931 film City Lights. While some composers would have created music that was overtly funny to go with a comedic scene, he wanted the opposite. “I tried to compose

“[Chaplin’s] scores are operatic in nature and scope. Each character has well-developed and easily identifiable themes or motives and [he] interweaves these various motives into a beautiful musical tapestry.” — Music Director Marin Alsop

music,” says Jeff Smith, a University of Wisconsin, Madison professor of film and author of The Sounds of Commerce: Marketing Popular Film Music (Columbia University Press, 1998). During the silent film era, music was particularly important. Musicians—from pianists and solo organists to entire orchestras—were featured at most theaters and would accompany films with improvised music or songs from classical and theatrical repertory. Later, studios circulated cue sheets that contained suggestions of what songs to play at different points in a film. “There were a lot of ways that information was floating around, but there were no guarantees that those suggestions would actually be adopted by the people showing the film,” Smith says. The filmmakers’ lack of control over the music bothered Chaplin, who liked to command every aspect of his films. He began composing individual songs for his films starting in 1921 in addition to writing, acting, producing and directing.

elegant and romantic music to frame my comedies in contrast to the Tramp character, for elegant music gave my comedies an emotional dimension,” Chaplin wrote in his 1964 My Autobiography. “Music arrangers rarely understood this.They wanted the music to be funny. But I would explain that I wanted no competition, I wanted the music to be a counterpoint of grave and charm, to express sentiment.” Chaplin long felt a deep connection to music.The child of vaudeville singers, he played violin and cello and for a short while operated his own music publishing company. Because he neither read music nor knew musical notation, he worked closely with arrangers and composers to translate his ideas into a finished score. After starting with City Lights, he composed scores to all of his new films. American composer David Raksin worked with Chaplin on Modern Times, and composer Meredith Willson worked with him on The Great Dictator. March 4, 2011 – April 29, 2011

11

In between new projects, Chaplin scored films that had been previously released, such as The Gold Rush, which was re-released with Chaplin’s score and narration in 1942. Composer and conductor Timothy Brock, who has restored scores to more than a dozen Chaplin films, including The Gold Rush, describes the score to that film as one of Chaplin’s finest. “The music of The Gold Rush was written when Chaplin was at his highest prowess for composition,” he says. “It’s so involved and has such a deep narrative, but it’s also colorful and fun. He quotes more from classical music in this score than in any other he’s ever written. It’s just an amazing work.” Despite the brilliance of Chaplin’s work, his movies faded in popularity. By the 1940s, silent films were considered dead and audiences moved on. But over the last 20 years, Chaplin’s films have enjoyed a revival by new audiences via live orchestral screenings. “Going to a silent film live is like no other experience,” says Brock, who conducts more than 60 live orchestral screenings of Chaplin films annually. “It’s not like going to a film, it’s not like going to an opera, it’s not like going to a ballet. It’s a unique animal. Chaplin speaks everyone’s language and that language is music.” Kate Guyonvarch, director of Roy Export S.A.S., the Paris company that owns the Chaplin films and coordinates some 100 live orchestral screenings annually worldwide, says these screenings fill concert halls even though traditional theatrical screenings of the same films may not. “For us, these live screenings are really wonderful because they are a way of enabling people to rediscover Chaplin’s work in the most perfect way because you get the film on the big screen, which is how it is supposed to be seen. And you 12

Overture

have musicians playing the music live, which is how it might have been in 1925 when the film was released.” The experience of watching a silent film with a live orchestra is so novel that it takes some getting used to, Guyonvarch admits.When the film first starts, audiences are “terribly conscious” of the musicians and the conductor. “But after about 10 minutes you forget they are there, and it remains that way until the end when you realize that they have been working incredibly hard all that time and you have just been watching the film.” If there is one difficulty in presenting silent films with an orchestra, Brock says,

it’s that the image of Chaplin onscreen is so entertaining it captivates everyone in the hall—even the musicians. Recently while conducting Modern Times with a major U.S. orchestra, Brock struggled to keep the orchestra together at times because some musicians were watching the film instead of paying attention to the music. “These are some of the best counters of empty bars in the world, I’m sure, but when you turn around and start watching the film you lose concentration and you don’t always come in at the right place,” he says. “It’s dangerous, but it happens to the best of us.”

Chaplin and Classical Music Charlie Chaplin quotes a variety of classical composers in his score to The Gold Rush. Listen and you’ll hear a number of pieces, including Tchaikovsky’s Sleeping Beauty, Rimsky-Korsakov’s The Flight of the Bumblebee, Brahms’ Opus 118 Klavierstücke, and the Romanze from Brahms’ piano works in F major. During his American career, Chaplin counted among his friends and acquaintances many well-known composers and musicians, among them Rachmaninoff, Horowitz, Stravinsky, Hanns Eisler and Schoenberg. Later, in his autobiography, Chaplin paid them the following compliment: “Writers are nice people but not very giving; whatever they know they seldom impart to others; most of them keep it between the covers of their books. Scientists might be excellent company, but their mere appearance in a drawing room mentally paralyzes the rest of us. Painters are a bore because most of them would have you believe they are philosophers more than painters. Poets are undoubtedly the superior class and as individuals are pleasant, tolerant and excellent companions. But I think musicians in the aggregate are more cooperative than any other class. There is nothing so warm and moving as the sight of a symphony orchestra. The romantic lights of their music stands, the tuning up and the sudden silence as the conductor makes his entrance, affirms the social, cooperative feeling.” SOURCES: Timothy Brock, Roy Export S.A.S.

o n e on o n e

A Meteoric Rise Q. What was it like to make your

LESLIE VAN STELTEN

BSO debut with only one day’s notice?

Actually, stepping in on a cancellation is a great way to make a debut. People automatically support you since you are a hero for saving the concert, and since there’s not much time before the concert, you can’t get too nervous about it.The concerts in Baltimore brought me so many opportunities, including professional management and attention from other orchestras. I also developed a relationship with the BSO, which was huge for me. So much of this profession is luck and timing. If the BSO concert hadn’t jump-started my career, I hope something else would have. I just feel lucky that it did. Q. Did you always want to be

a concert pianist?

PIANIST ORION WEISS WAS JUST 17 when he got the career-making call of a lifetime. The high school senior had dashed home for a quick snack before heading to the Young Artist program at the Cleveland Institute of Music one afternoon in March 1999 when the phone rang. It was Baltimore Symphony Orchestra Artistic Administrator Miryam Yardumian. She told Weiss, whom she learned about through one of his teachers, that André Watts was scheduled to perform Shostakovich’s Piano Concerto No. 2 with the BSO but had just canceled. “Would you be interested in performing with the Baltimore Symphony tomorrow?” she asked the young pianist. The Lyndhurst, Ohio, teen knew the concerto, and he was aware that playing with the BSO would be a major break. Still, for a fleeting moment Weiss considered saying “no.” “To go from a place of relative calm and safety and step into a more high-pressure situation, my first instinct was that I just didn’t want to do it,” he says. But he accepted, and the experience launched a meteoric career in which Weiss has performed with top orchestras and chamber groups around the world and been lauded by critics for his technical mastery and finely crafted performances. A 2004 graduate of The Juilliard School of Music, he was

I never wanted to be a pianist for the glamour or the career; I just wanted to play the piano. I was set on the piano bench at the age of 3 by my parents, and that just got the ball rolling. I always loved performing, learning new pieces, improving, and though I wasn’t necessarily fantasizing about Carnegie Hall, I wasn’t thinking about much else beside the piano. Q. How did your parents come to

name you Orion?

My mom went to medical school and she was a very focused student so she never got to be the hippie she might have wanted to be. She loved star-gazing and since Orion is her favorite constellation, she took advantage of child-naming to explore her cosmic side. My dad, also a physician, went along with it. Like any out-of-the-ordinary name, or any name at all, really, kids made fun of it when I was in school, but I loved it anyway and still love it.

named the 2010 Young Artist of the Year by the Classical Recording Foundation, and his recital album of Dvorˇák, Prokofiev and Bartók will be released this year. A dozen years after Weiss’ BSO debut, his star is still shining bright. The 29-year-old pianist returns to the BSO on March 24 and 25 to play Grieg’s Piano Concerto. Interview by Maria Blackburn

Q. What keeps you playing?

Being a musician is like being an explorer without having to leave the room. Music takes you all over the world, backward and forward in time. I have a continuous feeling of discovery, even when playing music that I’ve played before. March 4, 2011 – April 29, 2011

13

Baltimore Symphony Orchestra 2010-2011 Season

Marin Alsop,

Marin Alsop Music Director, Harvey M. and Lyn P. Meyerhoff Chair

Music Director

Jack Everly Principal Pops Conductor Yuri Temirkanov Music Director Emeritus

DEAN ALEXANDER

Ilyich Rivas BSO-Peabody Bruno Walter Assistant Conductor

First Violins

Hailed as one of the world’s leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Ms. Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award; in 2008, she was inducted as a fellow into the American Academy of Arts and Sciences; and in 2009, Musical America named her “Conductor of the Year.” A regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra and Los Angeles Philharmonic, Ms. Alsop also appears frequently as a guest conductor with some of the most distinguished orchestras around the world. In addition to her performance activities, she is also an active recording artist with award-winning cycles of Brahms, Barber and Dvorˇák orchestral works. Ms. Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein. 14

Overture

Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair Igor Yuzefovich Assistant Concertmaster Yasuoki Tanaka James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto John Merrill Gregory Mulligan Rebecca Nichols Ellen Orner E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko

Second Violins Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya

Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Christian Colberg* Assistant Principal Peter Minkler Karin Brown

Sharon Pineo Myer Genia Slutsky Delmar Stewart Jeffrey Stewart Mary Woehr

Cellos Chang Woo Lee Associate Principal Dariusz Skoraczewski Assistant Principal Bo Li Susan Evans Seth Low Esther Mellon Kristin Ostling* Paula SkolnickChildress

Basses Robert Barney Principal, Willard and Lillian Hackerman Chair Hampton Childress Associate Principal Owen Cummings Arnold Gregorian Mark Huang Jonathan Jensen David Sheets* Eric Stahl

Flutes Emily Skala Principal, Dr. Clyde Alvin Clapp Chair Marcia Kämper

Piccolo Laurie Sokoloff

Oboes Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Michael Lisicky

English Horn Jane Marvine Kenneth S. Battye and Legg Mason Chair

Clarinets

Bass Trombone

Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken Edward Palanker

Randall S. Campora

Tuba David T. Fedderly Principal

Timpani

Edward Palanker

Dennis Kain Principal Christopher Williams Assistant Principal

E-flat Clarinet

Percussion

Christopher Wolfe

Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl

Bass Clarinet

Bassoons Julie Green Assistant Principal Fei Xie

Contrabassoon David P. Coombs

Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Beth Graham* Assistant Principal Mary C. Bisson Bruce Moore

Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Jonathan Kretschmer

Trombones Christopher Dudley* Principal, Alex. Brown & Sons Chair Mark Davidson Acting Principal James Olin Co-Principal John Vance

The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM.

Piano Sidney M. and Miriam Friedberg Chair Jonathan Jensen Mary Woehr

Director of Orchestra Personnel Marilyn Rife

Assistant Personnel Manager Christopher Monte

Librarians Mary Carroll Plaine Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate

Stage Personnel Ennis Seibert Stage Manager Frank Serruto Stagehand Todd Price Electrician Larry Smith Sound *on leave

p ro g r a m notes NOTES ON THE PROGRAM

Friday, March 4, 2011 8 p.m. Sunday, March 6, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Rachmaninoff’s Rhapsody Marin Alsop Lukáš Vondrácˇek

Sergei Prokofiev

Sergei Rachmaninoff

Conductor Piano

Classical Symphony, Op. 25 (Symphony No. 1) Allegro con brio Larghetto Gavotte: Non troppo allegro Finale: Molto vivace Rhapsody on a Theme of Paganini, Op. 43 LUKÁŠ VONDRÁCˇEK

INTERMISSION

Sergei Prokofiev

Symphony No. 6 in E-Flat Minor, Op. 111 Allegro moderato Largo Vivace

The concert will end at approximately 9:50 p.m. on Friday, and 4:50 p.m. on Sunday.

Media Sponsor: The Baltimore Sun Media Group

Marin Alsop For Marin Alsop’s bio, please see p. 14.

Lukáš Vondrácˇek Lukáš Vondrácˇek gave his first public performance at the age of 4. In the intervening years he gave many recitals and concerto performances throughout his home country of the Czech Republic, as well as abroad. Recent highlights include his debuts with the El Paso, Colorado and Baltimore symphony orchestras, a return visit to

Bournemouth Symphony Orchestra and a concert tour of South Africa.At the 2009 International Van Cliburn Piano Competition, he received the Raymond E. Buck Jury Discretionary Award. Vondrácˇek made his debut with the Czech Philharmonic Orchestra under Vladimir Ashkenazy in May 2002. His first commercial recording, a solo album featuring works by Mendelssohn, Liszt, Janácˇek and Dohnányi for Octavia records, was released in 2004.

Classical Symphony

Sergei Prokofiev Born in Sontsovka, Ukraine, April 23, 1891; died in Moscow, March 5, 1953

Although his earliest works had been aggressively modern, in 1917 Prokofiev decided to try his hand at a symphony in neo-classical style, anticipating a movement his arch-rival Igor Stravinsky would popularize just a few years later. As he explained in his autobiography, his First Symphony was also an experiment in composing away from the piano.“Up to that time, I had usually composed at the piano, but I had noticed that thematic material composed without the piano was often better in quality ... A composition written this way would probably have more transparent orchestral colors. “So this was how the project of writing a symphony in the style of Haydn came about ... it seemed it would be easier to dive into the deep waters of writing without the piano if I worked in a familiar setting. If Haydn had lived in our era, I thought, he would have retained his compositional style but would also have absorbed something from what was new.” The result was a witty, bright-spirited work that combined Classical form and musical material with rhythmic and harmonic twists that were pure 20th Century. Retreating back to an earlier musical era also provided a welcome escape for the composer, for in 1917,Tsar Nicholas II abdicated and Russia gradually slid into the hands of Lenin’s Bolsheviks. Prokofiev managed to ignore it all in various country retreats, where he composed not only the “Classical” Symphony, but also his First Violin Concerto. The fiery upward rush that opens the Allegro con brio first movement was known in Haydn’s day as the “Mannheim skyrocket,” because it was one of the virtuoso effects associated with the celebrated German orchestra of Mannheim.The effervescent principal theme it introduces is initially in the home key of D major, but in a 20th-century maneuver Prokofiev promptly drops it down to C major. More memorable is the second theme: a mincing 18th-century dance made more comical by a sly bassoon accompaniment. Notice the marvelously March 4, 2011 – April 29, 2011

15

p ro g r a m notes bright and sassy writing for woodwinds throughout this movement and the symphony as a whole. Movement two has all the grace and charm of Haydn’s lighter slow movements. Violins, in the very high range Prokofiev loved throughout his career, sing a theme of beguiling sweetness; this melody grows lovelier still when a flute is added to its repetition. In the more animated middle section, the bassoon again moves into the spotlight, accompanied by pizzicato strings. Throughout his career, Prokofiev loved the vigorously rhythmic gavotte dance, and in the third movement he substitutes it for the minuet Haydn would have written.This gavotte opens clumsily with an exaggerated stress on all the strong beats of its angular melody. But after a trio section led by woodwinds over a bagpipe drone in strings, the flute reprises it with enchanting gentleness and grace. The Molto vivace finale is like movement one on amphetamines. More Mannheim skyrockets, a comical repeatednote theme, and a whimsical little melody for flute fly by at breakneck speed.Along with an abundance of comic spirits, this whirlwind movement demands the orchestra’s utmost virtuosity. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Rhapsody on a Theme of Paganini

Sergei Rachmaninoff Born in Oneg, Novgorod, Russia, April 1, 1873; died in Beverly Hills, California, March 28, 1943

One of the proudest moments in Baltimore’s musical history came on November 7, 1934, when Sergei Rachmaninoff played the world premiere of Rhapsody on a Theme of Paganini, with The Philadelphia Orchestra on the stage of the Lyric Opera House. Rachmaninoff was in Baltimore because the Russian Revolution of 1917 had forced him to flee his native land at age 44 and begin his career again in the West. Once primarily a composer and conductor, he now became a touring piano virtuoso in order to support his family.America, with its insatiable demand for his concert appearances, made him richer than he’d ever been in Russia. But he never got over his homesickness. His music, too, remained rooted in Russia.And while audiences loved his lushly 16

Overture

Romantic melodies, many musicians and critics scorned him as out of date. Rachmaninoff wrote:“Perhaps the incessant practice and eternal rush inseparable from life as a concert artist takes too much toll of my strength; perhaps I feel that the kind of music I care to write is not acceptable today. ... For when I left Russia, I left behind me the desire to compose.” But the desire for self-expression did remain, and in 1934 it brought forth the brilliantly imaginative Paganini Rhapsody.The work springs from the 24th Caprice for unaccompanied violin by a virtuoso of another age and instrument, Nicolò Paganini. Rachmaninoff took Paganini’s spry two-part tune and built 24 highly contrasted variations on it. Providing structural shape, Rachmaninoff grouped the variations into three larger units, making a mini-concerto: variations one through 10 forming a fast “movement,” 12 through 18 a slow movement, and 19 through 24 a virtuoso finale. Here are a few highlights to listen for. A theme-and-variations composition usually begins with the unadorned theme itself. But here Rachmaninoff gives a witty “preview”—just the teasing first notes of each measure—before the violins sing the theme for us.At the seventh variation, the tempo slows a bit, and the piano intones in stark chords the melody of the “Dies Irae” chant from the Catholic mass for the dead; this somber tune was a signature theme throughout Rachmaninoff ’s music. It returns again in the tenth variation amid dazzling orchestral music, along with some syncopated brass writing that sounds more New York than Russia. The 12th variation opens the middle section with a dream-like minuet in 3/4 time.The shadows deepen in the 16th and 17th variations as the piano gropes for light at the end of the tunnel.This is gloriously achieved in the sunlight of the 18th variation, the work’s most beloved and surely one of the most gorgeous tunes ever written. From this tranquil oasis the music builds in speed and virtuosic display for the soloist until the charming surprise ending. Instrumentation: solo piano, two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings.

Symphony No. 6 in E-Flat Minor, Op. 111

Sergei Prokofiev Composed between 1945 and 1947, three decades after his First Symphony, Prokofiev’s Sixth Symphony is the product of a different era in the composer’s life. Since 1936, he had been a resident of the U.S.S.R., after two decades of enjoying the freedom and privileges of a career in America and Europe.The choice to return to Russia had been his own, but once there, he found the international career he’d hoped to continue from his Russian base was forbidden, and he would have to trim his musical sails to the winds and whims of the Soviet authorities. For a decade, this worked fairly well for Prokofiev. He had to pay lip service to Soviet propaganda, but generally—especially since he was now writing in a more conservative and accessible style—he was able to compose what he wanted. Despite its challenging language and dark tone, the Sixth Symphony was warmly praised by the official critics at its premiere on October 11, 1947, in Leningrad under Evgeny Mravinsky and the Leningrad Philharmonic. In the U.S.S.R., an artist’s standing was never secure. By January 1948, the Zhdanov Commission was in full swing, issuing edicts about what was acceptable and what was not for Soviet music. Prokofiev joined Shostakovich at the top of the list of composers who were censured for writing politically incorrect music, and the Sixth Symphony was singled out as being too obscure for the ordinary citizen to understand. It disappeared from the repertoire of Russian orchestras and would not be played again for decades. Prokofiev would live his five remaining years as a suspect artist. More personal problems were already harassing the composer at he set to work on the Sixth during the summer of 1945 in the wake of the triumph of his Fifth Symphony. The war was over, but his health had been severely weakened: 1945 brought a heart attack and then a severe fall that caused some permanent brain damage. His doctors ordered him to work no more than one to one-and-a-half hours per day in half-hour increments. Despite severe headaches, nose bleeds and exhaustion, he continued to work on his new symphony, requiring nearly two years to finish it.The rural peace of his new dacha in Nikolina Gora in the countryside outside Moscow probably

p ro g r a m notes key, winds and brass shriek in dissonant conflict; the lower instruments inch painfully upward while a keening lament in the highest woodwinds drifts downward.This fierce battle subsides into a slow rocking and a sweeping romantic theme in violins and solo trumpet reminiscent of the love music in Prokofiev’s Romeo and Juliet and Cinderella ballets.This is succeeded by a serenely beautiful second theme for the cellos, which grows more rapturous in all the strings. Savagely tick-tocking percussive music intrudes, recalling the strokes of midnight that interrupt Cinderella’s bliss. A mellow horn quartet singing a variant of the romantic theme restores calm; in a magical passage, they are joined by bell-like celesta and harp. Both the cello theme (now high in the violins) and the romantic theme (now in full orchestra) return in reverse order.Though the opening music of shrieking conflict also reappears, it cannot destroy this gloriously lyrical mood. The Vivace final movement in E-flat major seems to throw off the introversion and the threatening intrusions of the earlier

movements in favor of extroverted celebration.A lively, sassy theme keeps returning in the midst of a crowd of other merry tunes; brass and drums play oompah accompaniments, and satirical asides are contributed by everyone.After this music subsides, we hear something from the past: the oboes’ winding, rustic theme from movement one, now in a much slower tempo and the dark original key of E-flat minor.This sets off a savage outburst of dissonance—the most violent of the interruptions throughout this symphony. Prokofiev told his second wife that these interruptions represented “questions cast into eternity” and that one of them was “what is the purpose of life?” The hammering motive, which earlier sounded quite playful, now makes a brutal reappearance and carries this once celebratory music to an unexpectedly fierce conclusion. Instrumentation: two flutes, piccolo, two oboes, English horn, two clarinets, piccolo clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celeste and strings. Notes by Janet E. Bedell, copyright 2011 Arm Reliquary of the Apostles, German (Lower Saxony), ca. 1190, The Cleveland Museum of Art. Treasures of Heaven has been organized by the Walters Art Museum, the Cleveland Museum of Art, and The British Museum. This project received lead support from the National Endowment for the Humanities, the Institute of Museum and Library Services, the National Endowment for the Arts, the Samuel H. Kress Foundation, the Sheridan Foundation, Paul Ruddock, and Marilyn and George Pedersen, with additional support from other generous individuals. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

influenced the pastoral coloring in themes and orchestration that many commentators have noticed in this work. The Sixth Symphony is a fascinating enigma of a work. It suggests a great drama is taking place, but its exact nature is hard to identify. It contains music that constantly thwarts our expectations and throws us off balance.And it certainly isn’t the kind of upbeat “victory” symphony the Soviets would have liked to hear at the end of World War II. Perhaps the best clue to its often dark and introspective moods can be found in Prokofiev’s words to his biographer Israel Nestyev:“Now we are rejoicing in our great victory, but each of us has wounds that cannot be healed.” Movement one’s opening sounds— short blasts from snarling muted brass creeping down the scale—were likened by musicologist Yulian Vaynkop to “the scrape of a key in a rusted lock.” The door opens on a rural vista with a meandering theme in muted strings. Its pastoral character is enhanced by rustic-sounding woodwinds but is frequently disturbed by acid, dissonant incursions from brass instruments and a shrill-toned E-flat clarinet.The tempo eventually eases slightly for a new theme marked dolce e sognando (“sweetly and dreaming”) and sung by a pair of oboes. Suddenly, the orchestra explodes in fury, but this subsides very quickly. Rather than a development section, Prokofiev now moves to a very different kind of music: an odd, arthritic march that may be a reference to the wartime just passed. First we hear just its satirical, slightly grotesque accompaniment in tick-tocking bassoons and drums, then a wearily determined melody in English horn and violas layered on top.This music awakens the orchestra at last, and the meandering first theme returns in a faster tempo and with frenzied activity and volume. Menacing horns blast continuously. The violence fades, and a solo horn reprises the dreaming second theme. The arthritic march also returns, causing a brief flare-up.The movement closes softly but ominously; in Michael Steinberg’s well-chosen words,“it is pianissimo, but it certainly is not quiet.” The opening of the great Largo second movement is also startling.Above an A-flat pedal in bass and timpani establishing the

TREASURES OF HEAVEN SAINTS, RELICS & DEVOTION IN MEDIEVAL EUROPE FEB. 13–MAY 15 For a show like this, however far you have to travel won’t be too far. —The New York Times

Become a member & see it free! 410-547-9000 / thewalters.org

March 4, 2011 – April 29, 2011

17

p ro g r a m notes Jack Everly Friday, March 11, 2011 8 p.m. Saturday, March 12, 2011 8 p.m. Sunday, March 13, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR JACK EVERLY PRINCIPAL POPS CONDUCTOR

BSO SUPERPOPS

A Celtic Celebration: Music of the Emerald Isle Presenting Sponsor:

Jack Everly Benjamin Brecher Allison Barber Christopher Layer O’Hare Irish Dancers TJ Linnard

Arr. Everly Harty Arr. Reineke

Horner Arr. Conley Grainger Arr. Reineke

Conductor Tenor Soprano Pipes Actor

A Celtic Celebration Overture “The Fair Day” from An Irish Symphony Steps from the Highlands The Galway Piper The Girl I Left Behind Letters from the Homeland Themes from Braveheart

Molly on the Shore Traditional Songs for Tenor St. Patrick’s Day Parade Believe Me If All Those Endearing Young Charms Molly Malone Mrs. Murphy’s Chowder Too-Ra-Loo-Ra-Loo-Ra (That’s an Irish Lullaby) Galway Bay

continued on next page 18

Overture

Jack Everly is the principal pops conductor of the Baltimore and Indianapolis symphony orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and he is the newly named music director of the “National Memorial Day Concert” and “A Capitol Fourth” on PBS.This season, he returns to The Cleveland Orchestra and appears as guest conductor in Pittsburgh, Milwaukee, Toronto, Cincinnati, Edmonton and Detroit. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. He has teamed with Marvin Hamlisch in Broadway shows that Mr. Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

Benjamin Brecher The American tenor Benjamin Brecher has gained great acclaim with his many performances on the opera and concert stages. He has performed with numerous opera companies, including New York City Opera, Opera de Montreal, Opera Theatre of Saint Louis, the Santa Fe Opera,Anchorage Opera and the Aspen Opera Theatre. He has performed more than 10 roles with The New York City Opera since 1997, appearing in their productions of Il Viaggio a Reims, Il Barbiere di Siviglia, Die Zauberflotë, L’Enfant et les Sortileges, Carmen, Seven Deadly Sins and the premiere of Central Park. In April of 2009 he sang the national anthem at Camden Yards for the Baltimore Orioles opening day, and his recording of “God Bless America” is heard every Sunday during the season.

Allison Barber Hailed by Irish America Magazine as a“new, young and exciting talent that guarantees a great future for traditional and contemporary music,” singer-songwriter Allison Barber provides a fiery glimpse into the burgeoning young American folk scene. She and her band deliver an engaging, stirring and genre-defying performance that combines original and traditional songs with driving instrumentals.

p ro g r a m notes O’Hare Irish Dancers

A Celtic Celebration: Music of the Emerald Isle continued from previous page

Arnold

Arr. Everly

Two Scottish Dances Letters from the Homeland The Dear Irish Boy I’ll Take You Home Again, Kathleen

INTERMISSION

Loewe & Lane Arr. Everly Anderson Traditional

Horner/Moore

Arr. Reineke & Everly

The Emerald Isle on the Great White Way

“The Irish Washerwoman” from Irish Suite She Moved Through the Fair Letters from the Homeland “An Irish Party in the Third Class” from the film Titanic A Piper Celebration

Arr. Barker & Everly

Letters from the Homeland Danny Boy (Londonderry Air)

Hardiman & Moore

Music from Lord of the Dance

Arr. Everly

Finale

The concert will end at approximately 10 p.m on Friday and Saturday, and 5 p.m. on Sunday.

Support for this program is generously provided by the Alvin and Fanny Blaustein Thalheimer Guest Artist Fund. Media Sponsor: The Baltimore Sun Media Group

Ms. Barber released her first album Traveling Home in 2007 (Yonas Media). The album, a tribute to her heritage, is an eclectic collection of traditional Irish and Scottish songs, complemented by a stellar lineup of some of New York’s finest traditional musicians.

Christopher Layer Christopher Layer (Irish uilleann pipes, wood flutes, whistle, Scottish Highland Bagpipes) is a multi-instrumentalist with interests in both traditional and classical music. His orchestral appearances include:

The National Symphony (Kennedy Center), Indianapolis, Evansville and Richmond symphony orchestras; as well as The Aspen Festival Orchestra, and The Bard Festival Orchestra. Compositions include scoring for the Irish independent film Exile. His solo recordings include “Out of Thin Air” and “Return of the Rivers”—both available through the artist. Since 1996 he has been the principal pipe soloist and flautist for the Trinity Irish Dance Company and currently resides in New York City.

Tim O’Hare started the O’Hare School of Irish Dance in 1979 in Plymouth, Michigan, opened new schools in Cleveland and Akron in 1984, and in 1996 further expanded his school to Chicago. Many of his students have won midwest and national championships in solo, group and dance drama competitions, including Paul Cusick, who was the first American male to win the All-Ireland Championship in 1997. He was joined by Michael Belvitch and Patrick Quinn in February 1998 and Tim Seeman in 2002.Tim O’Hare began his dance career at the age of 5 at the Dineen School of Irish Dance in Detroit. He began dancing competitively at age 10 at the national level and won his first North American national title that year. He went on to be the national champion twice. In 1975, he placed third in the All-World competition, won the junior title in 1976 and won the Senior Men’s World Championship in 1977. Other career highlights include his 1996 tour with the Chieftains and his appearance in the 1998 Disney feature film, Mafia.

TJ Linnard TJ Linnard’s regional theatre credits include Nurse/Tybalt/Balthazar in Shakespeare’s Romeo and Juliet (Hartford Theaterworks). NY Theatre credits: Burt Rabbit in a Wicker Basket (One Man Show), Dennis in This Is Our Youth. Purchase Rep.: Rev. Shannon in Night of the Iguana; Rick in Six Degrees of Seperation; Florizel in A Winters Tale,Tartaglia in The Green Bird. Film/ Television: The Life Before Her Eyes (Feature), Rocksteady (Feature), “Guiding Light” (recurring). BFA from SUNY/Purchase Acting Conservatory. Co-Produced along with Symphonic Pops Consortium The Symphonic Pops Consortium mission is to conceive, create and produce high-quality, innovative, symphonic Pops concerts by uniting a group of symphony orchestras and combining their resources. The Symphonic Pops Consortium is comprised of the Indianapolis (managing partner), Detroit, Milwaukee, National and Seattle symphony orchestras. Music Director:

Jack Everly

Producer:

Ty A. Johnson

Letters Home & Stage Direction:

David Levy

Lighting Design/ Stage Management: Brandy Rodgers Choreography

Tim O’Hare

March 4, 2011 – April 29, 2011

19

p ro g r a m notes

Friday, March 18, 2011 8 p.m. Saturday, March 19, 2011 8 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Beethoven’s Fifth Presenting Sponsor:

Mario Venzago Baiba Skride

Franz Schubert

Alban Berg

Conductor Violin

Symphony No. 5 in B-Flat Major, D. 485 Allegro Andante con moto Menuetto: Allegro molto Allegro vivace Violin Concerto Andante - Allegretto Allegro - Adagio BAIBA SKRIDE

INTERMISSION

Ludwig van Beethoven

Symphony No. 5 in C Minor, Op. 67 Allegro con brio Andante con moto Allegro Allegro

The concert will end at approximately 9:55 p.m.

Support for this appearance of Baiba Skride is provided by the Ruth Blaustein Rosenberg Guest Artist Fund. Media Sponsor: WYPR 88.1 FM

Mario Venzago Former Music Director of the Indianapolis Symphony Orchestra, 20

Overture

Swiss-born conductor Mario Venzago served as Artistic Director of the Summer Music Festival with the Baltimore Symphony Orchestra form 2000 to 2003. In 2004, Mr.Venzago was appointed Principal Conductor of the Gothenburg Symphony Orchestra in Sweden.

He has previously held posts as Music Director of the Basel Symphony Orchestra (1997-2003), Principal Guest Conductor of the Malmö Symphony Orchestra (2001-03) and Music Director of the Basque Euskadi National Orchestra in Spain (1998-2001), the Graz Opera House in Austria (19901995), the Deutsche Kammerphilharmonie in Frankfurt/Bremen (1989-1992) and the Heidelberg Opera (1986-1989). In March 1995, he conducted the Baltimore Symphony on short notice, a success leading to a close relationship with that orchestra, including subscription concerts each year since 1995, the opening of the 2000-2001 season, and his artistic directorship of the summer festival 2000-2003. Mr. Venzago’s American debut took place in 1988, at the invitation of Leonard Bernstein, at the Hollywood Bowl with the Los Angeles Philharmonic Institute Orchestra. Maestro Venzago’s varied discography has earned him several major awards, including the Diapason d’or, two Grand Prix du Disque and the Edison Prize. His latest CD on the Col legno label has recently been released in the United States, dedicated to the symphonic works of Luigi Nono.

Baiba Skride Still in her 20s, Baiba Skride has appeared with several prestigious orchestras such as the Sinfonieorchester des Bayerischen Rundfunk, Munich Philharmonic, Gewandhausorchester Leipzig,Tonhalle Orchester Zürich, Orchestre de Paris, London Philharmonic Orchestra and the U.S. orchestras of Philadelphia, Houston, Cincinnati and Detroit. Conductors with whom Ms. Skride regularly collaborates include Charles Dutoit,Thierry Fischer, Mark Janowski, Paavo Järvi, Neeme Järvi, Mikhail Pletnev and John Storgårds. Ms. Skride has been recording for Sony Classical since 2004. Her highly praised discography was recently highlighted with a Tchaikovsky CD with the City of Birmingham Symphony Orchestra and Andris Nelsons. She released a first duo recording with her sister (Schubert,

p ro g r a m notes Beethoven, Ravel) as well as a solo violin disc (Ysaye, Bartók, Bach) and two concerto discs (Mozart, Schubert and Michael Haydn and Shostakovich and Janácˇek). In 2001, Ms. Skride won first prize at the Queen Elisabeth Competition. She plays the Stradivarius “Wilhelmj” violin (1725), which is generously on loan to her from the Nippon Music Foundation, with whom she will be on tour in Graz, Florence and Paris. NOTES ON THE PROGRAM Symphony No. 5 in B-flat Major

Franz Schubert Born in Vienna, Austria, January 31, 1797; died in Vienna, November 19, 1828

The most popular and probably the finest of Schubert’s first six symphonies, the Fifth Symphony in B-flat major was written in the fall of 1816 when the 19-year-old composer had just received a professional setback.After earning a solid musical education under such masters as Antonio Salieri (of Amadeus fame) at the Stadtkonvikt, Vienna’s highly respected City Seminary in 1815, Schubert found himself back where he’d started: in his father’s grammar school in the family home, teaching young children six days a week. Yet not a trace of the discouragement and fatigue Schubert must have been feeling can be found in this effervescent symphony, which reveals reveling in the sheer joy of music. Perhaps more than any other composer, Schubert lived solely in and for his music.And so despite a grinding teaching schedule, the years 1815 and 1816 were among the richest of his prolific creative life. From them came dozens of his finest songs, a mass setting, chamber music, and four symphonies, Nos. 2 through 5. The Fifth Symphony is a work of chamber music-like intimacy. It looks backward to the classical language and forms of the late-18th century, while its adventurous harmonic twists look ahead to the Romantic era. It is filled with the lovely, spontaneous melodies that were Schubert’s special gift. One of the most engaging of them opens the first movement: a spirited sonata form without the slow introduction Schubert usually favored.The violins sing this saucy little theme, which soon gains an enchanting birdlike echo from the flute.The movement has a wonderfully

impetuous forward momentum, spurred on by brief passages of sharply accented drama. Schubert saves his best dramatic touch for the final measures: a spunky dissonance in the woodwinds that wouldn’t have occurred to Mozart or Haydn. Mozart is the benevolent ghost behind the beautifully drawn-out phrases of the slow movement. In E-flat major, it alternates a serene, pastoral melody with more poignant, harmonically unstable music that exploits the pleasure-pain of dissonant notes. Schubert scores beautifully for his little orchestra with the cool shimmer of the flute and oboes emphasized. Ever experimenting, Schubert moves unconventionally to a minor-mode (G minor) minuet in a major-mode symphony.An aggressive dance above relentlessly chugging strings, it is eased by a charmingly rustic trio section in G major. Back in the home key of B-flat, the finale is romping, mischievous music in the style of Haydn. Schubert includes two passages of fiery melodrama, but in this context, they sound more playful than serious.

Instrumentation: flute, two oboes, two bassoons, two horns and strings. Violin Concerto

Alban Berg Born in Vienna, Austria, February 9, 1885; died in Vienna, December 23, 1935

The 12-tone harmonic system—in which all 12 pitches within the scale are given equal importance—exerted an enormous influence on 20th-century music, yet only a few works created by its founding fathers known as the Second Viennese School (Arnold Schoenberg,Alban Berg, and Anton von Webern) have been adopted into the standard repertoire.As the most expressive and lyrical of the three composers, Berg has been especially favored; his operas Wozzeck and Lulu are still regularly staged, and his deeply moving Violin Concerto has taken its place beside the concertos of Beethoven, Brahms and Mendelssohn. The concerto was commissioned early in 1935 by the young American violinist Louis Krasner. Not entirely convinced that

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p ro g r a m notes he wanted to write a virtuoso vehicle, Berg agreed mainly for the handsome fee. But on April 22, 1935, the beautiful and talented Manon Gropius, 18-year-old daughter of Alma Mahler (Gustav’s widow) and architect Walter Gropius, died of polio. Like many in the Mahler-Gropius circle, Berg had been enchanted by this wonderful girl and saw his budding concerto as a memorial to Manon. Usually a slow worker, Berg composed the work at white-hot speed, completing the last of the scoring on August 12. Besides the grief over Manon’s death, another perhaps subconscious force drove him. Berg had always been tormented by severe allergies. Just days after the score was finished, he suffered a hornet bite, which led to an abscess on the spine.The infection grew progressively worse until, on December 23, Berg died.The Violin Concerto became his last completed work and received a posthumous premiere by Krasner at the International Society for Contemporary Music Festival in Barcelona on April 19, 1936. The sense of the concerto’s being a requiem comes not only from its elegiac tone, but also specifically from the quotation in its final moments of the chorale “Es ist genug” (“It is enough!”) from J.S. Bach’s cantata O Ewigkeit, du Donnerwort (“Oh Eternity,Word of Thunder”).The text bids farewell to life:“It is enough!/ Lord when it pleases Thee,/ Relieve me of my yoke!/ My Jesus comes:/ So goodnight now, O World!/ I’m going to my heavenly home./ I’ll surely journey there in peace,/ My great distress remains below.” The work’s two movements each divide into two parts in different tempos. Very quietly, the Andante of the first movement opens with clarinets and harp tracing arpeggios, alternating with the solo violin. The violin’s first extended phrase outlines the 12-note row on which the work is based; interestingly, Berg constructs it so that it has considerable suggestions of tonality. The waltz-inspired Allegretto section, in Willi Reich’s description authorized by Berg,“captures the vision of the lovely girl in a graceful dance.”A sharp cry of pain from the orchestra opens the second movement’s Allegro: a musical expression of the catastrophe of Manon’s death. Soon a crisp rhythmic motive in the horns, accented by 22

Overture

snare-drum rolls, takes charge; it is passed to the soloist and builds to a huge, pounding climax.This is quieted by the Adagio consolation of the Bach chorale sung by the soloist and with a clarinet ensemble uncannily imitating the sound of a Baroque organ. As Berg varies the chorale, the violin rises in a soulful lament, gradually joined by other violins and violas singing as one mighty instrument.After this climax, the soloist returns to the Carinthian folk song, now slower and more poignant. In an ending of sublime peace, the chorale returns, and above it, the violin soars to its highest G while the first violins gently intone the opening arpeggio. Instrumentation: two flutes, two piccolos, two oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, alto saxophone, four horns, two trumpets, two trombones, tuba, timpani, percussion, harp and strings. Symphony No. 5 in C Minor

Ludwig van Beethoven Born in Bonn, Germany, December 16, 1770; died in Vienna, March 26, 1827

For many generations, Beethoven’s Fifth has defined the symphonic experience in the popular imagination. It established the dramatic scenario of the symphony as a heroic progression from tragedy to triumph—and musically here from the minor mode to the major—that was imitated by countless later composers from Brahms to Shostakovich. Europe was a troubled place when Beethoven wrote this work between 1806 and 1808.We tend to concentrate on Beethoven’s battle against his own deafness, forgetting that he was also caught up in external battles throughout his middle or “heroic” creative period (1802–1812). During this decade, the Napoleonic Wars surged across Europe, and the martial tone of many of the Fifth’s themes and the prominent role for trumpets and timpani reflected a society constantly on military alert.Thus, it is not surprising that the triumphant song of the Fifth’s finale seems as much a military victory as a spiritual one. Beethoven himself gave the description of the four-note motive that pervades the Allegro con brio first movement: “Thus Fate knocks at the door!” he told his amanuensis Anton Schindler.This is the most famous of the pithy rhythmic ideas that animated many of Beethoven’s

middle-period masterpieces; its dynamism as entrance is piled upon entrance drives this movement on its relentless course. The terseness and compression of this music are astonishing—conveying the maximum of expressive power with the minimum of notes. Beethoven only pauses for breath briefly as the violins introduce a gentler, more feminine second theme, and more tellingly later as the solo oboe interrupts the recapitulation of the Fate theme— brought back with pulverizing power by the entire orchestra—with a plaintive protest of a mini-cadenza. The Andante con moto second movement might be called Beethoven’s War and Peace. In an original treatment of the double-variations form devised by Haydn he mixes variants on a peaceful, pastoral melody with episodes of martial might in C major that foretell the victory to come. Ultimately, even the pastoral music is trumpeted forth in military splendor. The movement closes with a haunting, visionary coda. E.M. Forster’s novel Howard’s End contains one of the most eloquent passages ever about classical music as it describes the Fifth’s quirkily ominous Scherzo. “The music started with a goblin walking quietly over the universe, from end to end. Others followed him.They were not aggressive creatures; it was that that made them so terrible to Helen.They merely observed in passing that there was no such thing as splendour or heroism in the world.” Horns respond to the cello goblins with a military fanfare derived from the Fate motive. After the comical trio section in which Beethoven for the first time asked double basses to be agile melodists (a feat beyond players’ capacities in his period though not today), the goblins return, even more eerily in bassoons and pizzicato strings.Then ensues one of Beethoven’s greatest passages: a dark, drumfilled journey groping toward the light. The music finally emerges into C major daylight with the finale’s joyful trumpet theme.This is the grandfather of all symphonic triumphant endings and remains the most exhilarating and convincing. Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani and strings. Notes by Janet E. Bedell, copyright 2011

p ro g r a m notes Orion Weiss Friday, March 25, 2011 8 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Grieg’s Piano Concerto Presenting Sponsor:

Yan Pascal Tortelier Orion Weiss

Maurice Ravel Edvard Grieg

Conductor Piano

Valses nobles et sentimentales Piano Concerto in A Minor, Op. 16 Allegro molto moderato Adagio Allegro moderato molto e marcato ORION WEISS

INTERMISSION

Witold Lutosławski

Concerto for Orchestra Intrada Capriccio, Notturno e Arioso Passacaglia,Toccata e Corale

The concert will end at approximately 9:55 p.m.

Support for the appearance of Orion Weiss is provided by the Willard and Lillian Hackerman Guest Artist Fund.

Yan Pascal Tortelier Born into a musical family, son of the late Paul Tortelier,Yan Pascal Tortelier studied piano and violin from the age of 4 and at 14 won first prize for violin at the Paris Conservatoire. Following general musical studies with

Nadia Boulanger, Mr.Tortelier studied conducting with Franco Ferrara in Siena. His career has included engagements with leading orchestras throughout Europe, North America, Japan and Australia. In recognition of his outstanding work as Chief Conductor of the BBC Philharmonic between 1992 and 2003, Mr.Tortelier has been given the title of Conductor Laureate and continues to work with the orchestra regularly.

LESLIE VAN STELTEN

Thursday, March 24, 2011 8 p.m.

Pianist Orion Weiss is one of the most sought-after soloists and collaborators in his generation. At age 29, he continues to demonstrate his gift for communication across boundaries of style and setting. Mr.Weiss’s impressive list of awards includes The Juilliard William Petschek Award, the Gilmore Young Artist Award, an Avery Fisher Career Grant, the Gina Bachauer Scholarship at The Juilliard School and the Mieczyslaw Munz Scholarship. In March 1999, with less than 24 hours’ notice, Mr.Weiss stepped in to replace André Watts for a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra. He was immediately invited to return to the Orchestra for a performance of the Tchaikovsky Piano Concerto in October 1999. In 2004, he graduated from The Juilliard School, where he studied with Emanuel Ax. NOTES ON THE PROGRAM Valses nobles et sentimentales

Maurice Ravel Born in Ciboure, Basses-Pyrénées,France,March 7, 1875; died in Paris, December 28, 1937

Many of Maurice Ravel’s most beautiful orchestral pieces began as works for the piano. Such is the case with the gracious Valses nobles et sentimentales, which Ravel composed in 1911, taking his inspiration from Schubert’s waltzes for piano of a century earlier (12 Valses nobles and 34 Valses sentimentales). However, when shortly thereafter the Russian-French ballerina Natasha Trouhanova commissioned a new ballet score from Ravel, he thought these piano pieces arranged for orchestra would suit the projected ballet scenario, which he was also creating for Trouhanova. He polished off the exquisite scoring in only 15 days, and the ballet, titled Adélaïde, ou la langage des fleurs (“Adélaïde, or the Language of Flowers”), was premiered in Paris at the Theâtre du Châtelet on April 22, 1912. Later, the score became a concert work, first performed in Paris by Pierre Monteux and the Orchestre de Paris in February 1914. March 4, 2011 – April 29, 2011

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p ro g r a m notes In Ravel’s ballet scenario set in 1820, the courtesan Adélaïde dallies between two suitors: the idealistic Lorédan and a more frivolous but extremely wealthy Duke. The flirtation and courtship are carried out through the exchange of various flowers, each representing a different virtue or vice. Lorédan presents Adélaïde with a buttercup as a symbol of true love, while the Duke offers a sunflower representing extravagance. The Duke is finally rejected, but Lorédan is kept in suspense as the courtesan presents him with a tuberose (pleasure) and then a poppy (forgetfulness).When in the Epilogue, he threatens suicide,Adélaïde relents and gives him a red rose as she falls into his arms. Though Valses nobles calls for a large orchestra, it mostly features subtle playing for the strings and, above all, the woodwinds, whose delicately variegated colors Ravel masterfully exploits.The seven waltzes are contrasted by key, tempo and mood. Only in the last of them, which is the longest and richest of the set, does Ravel let the full orchestra fly in a sweeping, truly Viennese waltz.A final movement, the Epilogue, quotes from most of the preceding dances and brings the piece to a nostalgic, bittersweet close. Instrumentation: two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, two harps, celeste and strings. Piano Concerto in A Minor

Edvard Grieg Born in Bergen, Norway, June 15, 1843; died in Bergen, September 4, 1907

When the adolescent Edvard Grieg showed exceptional musical promise, he was sent off at age 15 to Leipzig, Germany because Norway had no conservatory to train him. Although he chafed at Leipzig’s rigid pedagogy and at German music in general, Grieg did eventually find a sympathetic teacher in Ernst Wenzel, who had been a friend of Robert Schumann. Wenzel passed on his love of Schumann’s music to the young Norwegian, and when in 1858 Edvard heard a performance of Schumann’s Piano Concerto played by Clara Schumann herself, he was enthralled by the work.Ten years later, while composing his own Piano Concerto in the same key of A minor, he would draw 24

Overture

on Schumann’s concerto for inspiration. Although Grieg’s Piano Concerto followed the traditional form of the Romantic, central-European concerto, it was the subtle use of Norwegian folk influences plus his own genius that kept the work from being a clone of Schumann’s.The Concerto was the product of youth and happiness: composed during the summer of 1868, which the 25-year-old composer, his bride, Nina, and their infant daughter spent in rural Denmark. It was a success at its first performance in Copenhagen in April 1869. This is a work that glories in its multitude of appealing themes and its highly successful blending of tender lyricism with virtuoso display. Its first movement dispenses with the customary orchestral exposition; just a dramatic timpani roll galvanizes the soloist into action. His vertiginous three-octave plunge begins with a three-note melodic pattern—a descending half-step, following by a descending third—that is common in Norwegian folk music and became known as the “Grieg motive.” Woodwinds then introduce the folkish principal theme, animated by crisp dotted rhythms. It has a smoothly lyrical second idea, which the piano makes more rhapsodic with swirls of arpeggios. In a slightly slower tempo, cellos sing a romantically melancholic second theme.After a brief development, the opening music is reprised, coming to a sudden halt for a big cadenza for the soloist. The slow movement travels far from the home key of A minor into the very distant D-flat major. Muted strings open with a weary theme, saturated in sorrow; notice the eloquent contributions here from the solo horn and cello.The piano’s wistful response is woven of exquisite fast figurations. In a new phase, the piano passionately declares the pain implied in this melody before the movement dies out in elegiac beauty. A short bridge passage intervenes to return the key of D-flat to A minor before the piano launches the finale’s stomping main theme in the style of the Norwegian halling folk dance. Providing an interlude of repose, the solo flute sings a hauntingly lovely melody in a slower tempo; the piano gives it sensitive treatment with downward slip-sliding chords. Reprising his opening dance music, Grieg builds excitement to a brief solo cadenza of double-handed octaves.Then the soloist transforms the 2/4

halling into a sparkling 3/4 waltz. Grieg brings back the haunting second theme, now in a splendid apotheosis in A major. As annotator Michael Steinberg pointed out,Tchaikovsky and Rachmaninoff would later imitate this crowd-pleasing device, but Grieg did it first. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. Concerto for Orchestra

Witold Lutosławski Born in Warsaw, Poland; January 25, 1913; died in Warsaw, February 7, 1994

What is a concerto for orchestra? We usually think of concertos as pieces designed to show off the virtuosity of an instrumental soloist or two against the orchestra. But a concerto for orchestra instead shows off the abilities of the orchestra itself, with particular attention given to virtuosic concerto-style writing for soloists or solo groups within the orchestra.Though somewhat related to the concerto grosso form of the Baroque period, this category has particularly flourished during the 20th century. Probably most listeners are familiar with Bartók’s great Concerto for Orchestra, but at this concert you’ll be introduced to another work: the Concerto for Orchestra by the Polish composer Witold Lutosławski. Born in Warsaw in 1913 when Poland was still a part of the Russian empire, Lutosławski became one of the most influential composers of the past century.After World War II, his country lost its briefly held independence and became part of the Communist East Block, and his own career mirrored the ebbs and flows of Communist restrictions on music and the arts. In the late 1940s, his Symphony No. 1 caused a furor and became the first composition the Communist Party banned in Poland.The Communists preferred straightforward tonal music, preferably based on folksong.Though he certainly didn’t intend it to be a work of appeasement, Lutosławski’s next major symphonic work, the Concerto for Orchestra, written over a four-year period from 1950 to 1954, did please the authorities, as well as the public, because it used folk tunes, in the composer’s words,“as ‘rough stuff ’ for a large Baroquestyle construction.” Winning the State Prize for music in 1955, it remains today the most popular of Lutosławski’s compositions.

p ro g r a m notes As the Communist regime in Poland became progressively more tolerant of modern music, Lutosławski evolved into an avant gardist, leaving traditional tonality behind.The Concerto for Orchestra stands out as his last masterpiece in a more traditional style. Nevertheless, it boasts the characteristics that would mark all his best works. Most obviously, in its use of instruments in new combinations, it displays this composer’s extraordinary ear for instrumental color and sensuous sound. More hidden is Lutosławski’s formal craftsmanship, which makes each movement into an intricately carved jewel. Movement one, “Intrada,” has an arresting beginning. Over a sustained deep pedal on F-sharp, intensified by the steady pounding of timpani, an exotic, undulating melody based on a genuine folk tune rises gradually from cellos up to violins and eventually woodwinds.With each repetition, this melody grows more elaborate.The middle section introduces an intriguing swaying theme in the horns amid shimmering, woodwind music; eventually, the whole orchestra joins in music of great rhythmic and contrapuntal intensity.The opening Fsharp pedal returns, but now it has been transferred from the bottom to the top of the orchestra: a magical sound world of high violins and piccolos, with a fragile, bell-like celesta replacing the drums. Movement two, “Capriccio notturno e Arioso,” is a high-speed nocturnal scherzo with strings and woodwinds whirling through sparkling figurations like fireflies on a summer evening. In its middle section, trumpets loudly proclaim the folkstyle Arioso theme; this eventually draws in the whole orchestra for music of startling energy and drama. Eventually, this sequence fades, and the whirring scherzo returns, this time featuring delicate music for the harps and pizzicato strings, and closing with a mysterious passage for muffled drums. The impressive final movement, “Passacaglia, Toccata e Corale,” triumphantly combines three Baroque forms. It opens with the eight-measure Passacaglia pattern plucked softly by the double basses and harp.As this pattern is repeated, it evolves into a more elaborate melody, and swirling countermelodies, primarily in woodwinds, are layered on top. Gradually, the passacaglia theme rises higher

and higher in the orchestra, finally dissipating in ethereal violin harmonics. The music now segues into the Toccata, a fantasia-like virtuoso form made famous by Bach.This is showier music, driven forward by chugging motor rhythms. It eases to introduce the quieter Corale section, in which a calm chordal theme, initially in oboes and clarinets and later in the brass, is partnered by a lovely countermelody in the flute. Gradually, the

driven music of the Toccata returns and accelerates into an orgy of glittering virtuosity with the brass shouting out the Corale theme. Instrumentation: three flutes, two piccolos, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, timpani, percussion, two harps, piano, celeste and strings. Notes by Janet E. Bedell, copyright 2011

for

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March 4, 2011 – April 29, 2011

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Saturday, March 26, 2011 8 p.m.

Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Sweet Honey in the Rock Performers:

DWIGHTCARTER.COM

Ysaye Maria Barnwell Nitanju Bolade Casel Aisha Kahlil Carol Maillard Louise Robinson Shirley Childress Saxton American Sign Language Interpreter

Sweet Honey in the Rock … I have always believed art is the conscience of the human soul and that artists have the responsibility not only to show life as it is but to show life as it should be. … Sweet Honey in the Rock has withstood the onslaught. She has been unprovoked by the 30 pieces of silver. Her songs lead us to the well of truth that nourishes the will and courage to stand strong. She is the keeper of the flame. —Harry Belafonte Sweet Honey in the Rock has built a distinguished legacy over the past three decades as one of the most celebrated ambassadors of a cappella music, and in some circles they’re revered as national treasures. In the process, they created their own unique style and interpretation of a cappella music by fusing five scintillating 26

Overture

and soulful voices with the texture, harmonic blend, and raw quality that is indigenous and true to authentic a cappella music. In essence, they’ve created their very own sound, with the perfect mix of vocals and a cappella, which is aptly showcased and captured in a wide range of musical genres including, blues, spirituals, traditional gospel hymns, rap, reggae, African chants, hip-hop, ancient lullabies and jazz improvisation. With 23 recordings, two books (We Who Believe in Freedom: Sweet Honey in the Rock…Still On The Journey, and Continuum:The First Songbook of Sweet Honey in the Rock) and numerous awards (they were most recently nominated for a Grammy in 2008 for their children’s release, “Experience … 101”), they were also the subjects of a feature-length documentary film, Sweet Honey in the Rock: Raise Your Voice, produced and directed by Stanley Nelson, originally televised on PBS-TV’s American Masters series and released as a DVD in 2005. In addition to performing in Europe, Asia, Australia, New Zealand and Africa, they have toured extensively throughout the United States, performing at many of

the country’s most prestigious concert halls and performing arts centers. In 2008-2009, they were the only music ensemble to be featured in Alvin Ailey’s American Dance Theater 50th anniversary national theatrical tour.They composed and contributed original music to the dance theater piece, “Go in Grace” and released a soundtrack of the same title. Most recently, Sweet Honey wrote, produced and performed “My Family” for the 2010 HBO documentary A Family Is a Family Is a Family: A Rosie O’Donnell Celebration. In addition to touring, Sweet Honey in the Rock has started working on their next CD—a tribute to the history and evolution of a cappella music, entitled, Sweet Vocappella. In April 2011, they will present a special tribute, “Sweet Honey in the Rock: Remembering Nina, Odetta, and Miriam,” at Jazz at Lincoln Center. They are also developing a new collaborative piece for voices and symphony orchestra entitled “Affirmations” with noted composer William Banfield, slated to premiere in 2012. Founded in 1973 by Bernice Johnson Reagon at the D.C Black Repertory Theatre, original members of Sweet Honey in the Rock included Reagon, Carol Maillard, Louise Robinson and Mie Fredericks. For over three decades, the ensemble has been a vital and

Sweet Honey in the Rock has built a distinguished legacy over the past three decades as one of the most celebrated ambassadors of a cappella music.

innovative presence in the music culture of Washington, D.C. and in communities of conscience and on stages around the world.Today, Sweet Honey in the Rock is Ysaye Maria Barnwell, Nitanju Bolade Casel, Aisha Kahlil, Carol Maillard, Louise Robinson and (American Sign Language Interpreter) Shirley Childress Saxton.

p ro g r a m notes OrchKids Thursday, March 31, 2011 8 p.m. Sunday, April 03, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

The Pied Piper Marin Alsop Emily Skala BSO OrchKids Dan Trahey Nick Skinner

Conductor Flute Director of Artistic Program Development Director

Peabody Preparatory Flute and Drum Ensemble Delandria Mills Director

Dave Rimelis

John Corigliano

OrchKids Nation BSO ORCHKIDS Pied Piper Fantasy Sunrise and the Piper’s Song The Rats Battle with the Rats War Cadenza The Piper's Victory The Burgher's Chorale The Children's March (played without pause) EMILY SKALA PEABODY PREPARATORY FLUTE AND DRUM ENSEMBLE

INTERMISSION continued on next page Please see insert for the April 2, 2011 Off The Cuff Cinderella Suite performance.

Marin Alsop For Marin Alsop’s bio, please see p. 14.

Emily Skala Principal Flutist of the Baltimore Symphony Orchestra since 1988, Emily Skala regularly appears as a soloist and recitalist in the mid-atlantic and mid-west regions, has performed at the National Flute Association’s annual conventions, and has performed at many of the world’s most

prestigious music festivals. Ms. Skala joined the Conservatory faculty of the Peabody Institute of Johns Hopkins University in 1989, and in 1991 she was awarded the Jean Frederic Perenoud Prize at the Second Vienna International Competition. Her debut CD, Voices Through Time, music for flute and piano by Brahms and Schubert, was released in May of 2002 by Summit Records. She can also be heard on many of the BSO’s recordings.

OrchKids is a year-round after-school music program designed to create promising futures for youth in Baltimore City neighborhoods. Under Music Director Marin Alsop’s leadership, OrchKids is a cornerstone of the BSO’s efforts to expand the orchestra’s relevance within the city’s diverse community. OrchKids provides music education, instruments, meals and mentorship at no cost to Baltimore’s neediest youngsters. The program is inspired by Venezuela’s El Sistema, the music program that in 30 years has transformed the lives of hundreds of thousands of children in that country’s most impoverished areas. Like El Sistema, OrchKids is intended to address social challenges affecting underserved youth, using music to cultivate fundamental life skills. With assistance from The Family League of Baltimore City and the University of Maryland Baltimore County, the BSO has implemented several assessment tools to track whether participants are achieving social, academic and musical outcomes. For the 2010-2011 school year, OrchKids serves more than 250 students at Lockerman Bundy Elementary School and at New Song Academy in West Baltimore.

Dan Trahey Dan Trahey is the director of artistic program development for OrchKids. He previously served as director of community and outreach events for the Hartford Symphony Orchestra (HSO) in Hartford, Connecticut. In 2000, he founded the McDougal Center Concert Series in New Haven, Connecticut. He plays tuba with The Archipelago Project, a nonprofit music education ensemble he co-founded. He also serves as a mentor for students at the Peabody Conservatory, where he founded the Tuned In program. He holds teaching residencies with the Innsbruck Musikschule in Tyrole, Austria; the Nuclea Acarigua in Portuguesa, Venezuela; the Traverse City, Michigan, public school system; and serves on the faculty of the Abreu Fellowship program at the New England Conservatory.

Nick Skinner Nick Skinner is the site coordinator for OrchKids. He also maintains a trumpet studio and continues to work as education March 4, 2011 – April 29, 2011

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The Pied Piper continued from previous page

Sergei Prokofiev

Suite from Cinderella Introduction (Suite I) Pas de chat (Suite I) Dancing Lesson (Suite II) Mazurka (Suite I) Cinderella Goes to the Ball (Suite I) Cinderella’s Waltz (Suite I) The Prince and Cinderella (Suite III) Midnight (Suite I) Cinderella at the Palace (Suite II) The Prince Finds Cinderella (Suite III) Amoroso (Suite III)

The concert will end at approximately 10:05 p.m. on Thursday, and 5:05 p.m. on Sunday.

The commissioning of OrchKids Nation is generously made possible by a grant from Classical Movements, Inc. through the Eric Daniel Helms New Music Program. Support for this program is generously provided by the Francis Goelet Charitable Lead Trusts. Media Sponsor: WBAL Radio

coordinator for the Archipelago Project. He began teaching in the Howard County Public School System in Maryland as an elementary instrumental instructor. He then moved on to teach in the Baltimore County Public School System at Catonsville High School, where he was the music director for more than 300 students. He also served as a chamber music instructor at the Waldorf School in Baltimore. He graduated from the Peabody Conservatory with a bachelor’s degree in trumpet performance and music education.

Association of Jazz Educators’ Sisters in Jazz Collegiate Competition in 2005. She is the founder and leader of the Delandria Mills Jazz Collective; has served in Soundcheck, the critically acclaimed band behind gospel pioneer Tye Tribbett and Greater Anointing; and has collaborated with some of the industry’s finest jazz and gospel artists. Fall 2010 marked the release of Kingdom Goes Classical, Ephphatha, and Be Happy.

Delandria Mills

David Rimelis

Flutist, singer and songwriter Delandria Mills is carving a place in the music industry with her unique combination of jazz, classical and gospel.As a classical flutist, she has served as principal of the Baytown Symphony and assistant/associate principal while at the Peabody Institute. Her impeccable skills earned her the top prize at the National Flute Association’s Jazz Flute Competition in 2003 and led to her being selected as one of six international young women to win the International

Tonight’s program opens with a new work for members of the OrchKids program, specially commissioned for them by the BSO with generous support from the Eric Daniel Helms New Music Program.The composer is David Rimelis, an extraordinarily versatile musician who plays guitar, violin, and other instruments and is the founder and leader of the world-jazz band “Life.” He is also director of musical education for the AIDS

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Research Foundation for Children in Newark, New Jersey. Rimelis has provided the following introduction to his brief nine-minute piece: “OrchKids Nation features the vocal and instrumental talents of the OrchKids students along with the Baltimore Symphony musicians.The song lyrics were taken from testimonials written by the OrchKids students themselves. “The music of the first section is centered around the dance rhythms of the OrchKids Bucket Band and Drums, coupled with the orchestra’s percussion section. On top of the rhythms, the students and professional musicians engage in lively musical conversations.The musical interplay is punctuated by the OrchKids Rap and a vocal call-and-response section.The middle section features the student string and Orff mallet instruments playing ostinatos with soft vocal songs weaving in and out.These elements combined with the orchestral background create a musical tapestry and build to the first climax featuring the OrchKids drummers and both orchestras. In the last section, the music recedes, and the pre-K and kindergarten students enter singing the OrchKids theme. They are joined by the entire OrchKids ensemble, and the audience is also invited to join in.The BSO enters and takes the piece to its final climax.” Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, percussion and strings.The children play a variety of instruments and sing, as well. Pied Piper Fantasy

NOTES ON THE PROGRAM

John Corigliano Born in New York City, February 16, 1938

OrchKids Nation Born in Irvington, New Jersey, August 28, 1954; now living in West Orange, New Jersey

One of eight concertos John Corigliano has created, the Pied Piper Fantasy was previously heard here more than 20 years ago when James Galway, its commissioner, performed it under David Zinman’s baton. Corigliano has provided an eloquent note explaining how this most unusual concerto took shape. “The performance was scheduled for the opening night of the 1980 Hollywood Bowl season.The orchestra would be the Los Angeles Philharmonic ... and the soloist Galway, with his unique and charismatic personality.The combination of these elements strongly suggested a large-scale buoyant

p ro g r a m notes vehicle, but that wasn’t enough for me yet. “So I looked further—particularly into the specialized techniques of the soloist, who also plays the tin whistle.This primitive form of the recorder ... is one of the many varieties of ‘pipes’ that are found around the world, and I decided to investigate some of the legends surrounding them.Almost instantly, the tale of the Pied Piper of Hamelin came to mind. “The idea of a programmatic fantasyconcerto based on the Pied Piper legend became a fascinating structural challenge. ... The biggest problem was that the legend per se had no elements of virtuosity in it. So I had to modify the story a bit ... “In restructuring the legend, I had to provide a logical continuity for this story, but I also had to produce a satisfying purely musical structure. ... Inherent in my concept was the idea that the soloist would switch from flute to tin whistle for ‘The Children’s March.’ I also wanted the march to include other flutes and drums played by children and led by the soloist. I used the jaunty march against an independent orchestral background that evoked the sense of loss generated by the departure of the Piper and children. ...” “Sunrise and the Piper’s Song”: “Sunrise is represented by an orchestral tutti beginning with pointillistic night sounds. A single note emerges, initiated by an oboe and culminating in trumpets. ...A huge crescendo suddenly breaks off and is succeeded by a soft, warm string chord signifying the risen sun. ...The Piper-soloist begins in an improvisational manner and then plays ‘The Piper’s Song.’ Eventually, the day ends as the night-sounds return.” “The Rats”:“The rats come out at night.This section is totally orchestral, with the rodents represented by two ‘rats motives.’ ...” “Battle with the Rats”:“The Piper enters the fray. Clusters of rodents dart about the lower register; she rushes down the scale after them, but they disappear, only to immediately resurface in another spot at a higher pitch. ... She tries to scatter the stragglers with sudden sforzandos, but more and more appear until a sort of Totentanz ensues ... as the soloist imitates and challenges the rodents ...” “War Cadenza”:“The battle culminates with a gigantic orchestral

glissando [slide]and then silence.The soloist explores this sudden quiet, testing the air. ... She becomes confident, then joyous, then exultant. ... Just, however, as the Piper is about to relax completely and begin her song again, a soft scraping arises from the orchestra. She realizes there are many more rats than she could ever have imagined— millions.They run berserk. ...” “The Piper’s Victory”:“In despair, the Piper improvises a lament. It continues over the scurrying and unconsciously incorporates a fragment of ‘The Piper’s Song.’The racing sounds below cease as the rats become aware of this hypnotizing melody, but resume as the lament continues with other material. ... By the second time, the Piper begins to realize that her special song has a strange effect on the rats. So, she begins to play the entire ‘Piper’s Song,’ and ... the rats freeze and begin a hypnotic slow dance. ...” “The Burgher’s Chorale”:“The last strains of ‘The Piper’s Song’ are interrupted by a distant-sounding, pompous chorale, accompanied by a banging bass drum. This is ‘The Burgher’s Chorale,’ the march of the townspeople: smug-sounding, selfsatisfied, self-important.As the burghers approach the Piper, she begins to play ... but is constantly interrupted by the blaring brass. ... Gradually, the Piper becomes more and more irritated. ...” “The Children’s March”:“The Piper has had enough. She puts her flute aside and pulls a tiny tin whistle out of her pocket and plays ‘The Children’s March.’ ... After the March’s first peak, the Piper begins to trill. Suddenly, a group of young flutists ... answer her call. ...Another group responds and yet another.The flutists join with young drummers ... all moving toward the stage. ... The Piper proceeds to lead them in ‘The Children’s March.’As a final bid for attention, the burghers try an outburst of their chorale, but it is easily swamped by the piping children who, led by the Piper, begin to march off stage ...The lonely sounds return in the orchestra, as the jaunty, distant marching melody fades away.”

Selections from Cinderella

Instrumentation: solo flute, three flutes, piccolo, three oboes, two clarinets, piccolo clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celeste and strings. The children play flutes and drums.

Instrumentation: two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celeste and strings.

Sergei Prokofiev Born in Sontsovka, Ukraine, April 23, 1891; died in Moscow, U.S.S.R., March 5, 1953

Throughout his life, Sergei Prokofiev combined worldly sophistication with a winsome ability to tap into the world of childhood fantasy. The most famous example are Peter and the Wolf and Cinderella. The Cinderella ballet score was a product of World War II, composed between 1941 and 1944 as Prokofiev shuttled around the U.S.S.R. trying to escape German armies. The ballet had been commissioned by Leningrad’s Kirov Ballet to capitalize on the success of his Romeo and Juliet. But by 1941, Leningrad was surrounded by Germans, and its terrible three-year siege made any new productions impossible. Since the first production of Romeo and Juliet had been delayed by controversy over whether that innovative ballet was “danceable,” Prokofiev modeled Cinderella directly on Tchaikovsky’s story-ballets. So this is by far the most traditional of Prokofiev’s nine ballet scores, and it was warmly embraced at its Moscow premiere in 1945. As to his approach Prokofiev wrote: “The main thing I wanted to convey … was the poetic love of Cinderella and the Prince—the inception and flowering of the emotion, the obstacles in its way, the realization of the dream.” We will hear selections drawn from all three of the orchestral suites. In the ballet’s “Introduction,” achingly beautiful music captures a world of romance. Here we meet two signature themes: a poignant, yearning that paints Cinderella’s sorry state as a household drudge, and the soaring violin melody that describes her dreams of happiness. “Mazurka” establishes the feverish atmosphere at the palace ball before the Prince’s appearance. Meanwhile back at home, “Cinderella Goes to the Ball” describes Cinderella’s frenzied preparations. The glorious music of “Cinderella’s Waltz” is one of the ballet’s two most famous sequences. “Midnight” is the ballet’s other most celebrated number.

Notes by Janet E. Bedell, copyright 2011 March 4, 2011 – April 29, 2011

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Friday, April 8, 2011 8 p.m. Saturday, April 9, 2011 8 p.m. Sunday, April 10, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR JACK EVERLY PRINCIPAL POPS CONDUCTOR

BSO SUPERPOPS

A Tribute to Paul McCartney Presenting Sponsor:

Michael Krajewski Tony Kishman Jim Owen John Merjave Chris Camilleri

Conductor Bass guitar, keyboard, vocals Rhythm guitar, piano, vocals Lead guitar, vocals Drums, vocals

The program will be selected from the following: All My Loving Band on the Run Bluebird Get Back Golden Slumbers Hello Goodbye Hey Jude I Saw Her Standing There Jet Lady Madonna Let It Be Long and Winding Road Live and Let Die

Medley: Maybe I’m Amazed My Love - Let ‘Em In Mull of Kentyre Ob La Di Penny Lane She Came in through the Bathroom Window Silly Love Songs When I’m Sixty-Four What the Man Said Uncle Albert/Admiral Halsey Yesterday

All songs written by Paul McCartney or by Lennon and McCartney. Program is performed with a 20-minute intermission.

The concert will end at approximately 10 p.m. on Friday and Saturday and 5 p.m. on Sunday.

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Michael Krajewski Known for his entertaining programs and wry sense of humor, Michael Krajewski is a much sought-after conductor of symphonic pops concerts. He is the Principal pops Conductor of the Houston Symphony, Jacksonville Symphony and the New Hampshire Music Festival Orchestra. He also enjoys a special relationship with the Atlanta Symphony, where he makes frequent appearances as a guest conductor. For 11 years, Mr. Krajewski was Principal Pops Conductor of the Long Beach Symphony, and for eight years he held the same position with the New Mexico Symphony. Much in demand as a guest conductor with orchestras across the country, he has performed with the Boston Pops and the Hollywood Bowl orchestras as well as the orchestras of San Francisco, Dallas, Detroit, Minneapolis, St. Louis, Baltimore, Phoenix, San Antonio,Tampa, Portland, Rochester, Buffalo, Nashville, Memphis, Birmingham, Charlotte, Raleigh, among many others. In Canada he has appeared with Ottawa’s National Arts Centre Orchestra and the Edmonton and Winnipeg symphonies. He has performed with the Hong Kong Philharmonic and has led the Ulster Orchestra in concerts in Belfast and Dublin. Mr. Krajewski has collaborated with an eclectic group of artists including flutist James Galway, mezzo-soprano Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists Roberta Flack, Judy Collins, Art Garfunkel, Doc Severinsen, Al Hirt, Cab Calloway, the Kingston Trio, Ben E. King, Mary Wilson, Patti Austin, the Preservation Hall Jazz Band, the Canadian Brass, Pink Martini and Big Bad Voodoo Daddy. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, he furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of

p ro g r a m notes Today, Mr. Kishman still plays the original Hoffner Bass that was provided to him by the producers of Beatlemania in 1978.With only a few string changes over the years, the bass has maintained its authenticity. Kishhman is regarded by “Beatlemaniacs” as the world’s best McCartney lookalike/sound-alike. Even after 30 years, Mr. Kishman is proud to bring the most brilliant pop music in history to a new generation of Beatles fans. He has recorded for RCA Records and Mercury Records.

the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra. Mr. Krajewskil lives in Orlando, Florida, with his wife Darcy.When not conducting he enjoys travel, photography, jogging, bicycling and solving the New York Times Sunday crossword puzzle.

Actor, singer, and recording artist Tony Kishman doubles as featured performer and producer of Live and Let Die, in which he performs the music of Paul McCartney, backed by a symphony orchestra.Tony also developed and stars in the Beatles tribute show, Twist and Shout. Mr. Kishmann starred for six years in both the national and international tours of Broadway’s smash hit, Beatlemania. From the start, he has been regarded as the quintessential Paul McCartney because of the gifted young musician’s uncanny resemblance both visually and vocally to the beloved Beatle. Mr. Kishman was just a young kid from Tucson when he first auditioned for Beatlemania in 1977. He worked up “Can’t Buy Me Love,” “Yesterday,” and “Hey Jude” to the point where he learned just enough piano to get him through the audition. He was so compelling that they hired him immediately and he soon started touring the world. While performing in London, the group received high acclaim from Sir George Henry Martin, who admitted their look and sound was as close to the real thing as it could possibly be. “At times I drifted,” he told Mr. Kishman, and added that each song reminded him of his time with the Beatles in the studio. During the 1990s, Mr. Kishman joined the classic recording group Wishbone Ash as bassist and vocalist. He recorded lead vocals for Illuminations, the band’s first studio album in nearly a decade. He also performs in the well known and highly successful Beatles symphony show, Classical Mystery Tour, which has toured to great acclaim, filling concert halls throughout the U.S. and Europe.

Jim Owen MICHAEL SAHAIDA

MICHAEL SAHAIDA

Tony Kishman

Singer, arranger and musician Jim Owen was just 16 when he made his first professional appearance in a Beatles tribute band. By the time he was 18, he was touring internationally with various productions of Beatlemania, visiting Japan, Korea, China, Canada, Mexico and South America, and performing his Beatles tribute in concert halls, theatres, and stadiums around the world. In addition to his featured role in Twist & Shout, he currently stars in the symphonic Beatles show, Classical Mystery Tour, which he developed and produced, and in Tony Kishman’s symphonic McCartney review, Live and Let Die.The success of these projects has given Owen notoriety in his own right as a producer and band leader, and represents the fulfilment of his dream to share with the public live performances of some of the greatest music ever written and recorded. Mr. Owen was born and raised in Huntington Beach, California. He began studying piano at 6 and won honors in various piano performance competitions through his teenage years. He was 8 years old when he first heard the Beatles and promptly decided to take up the study of the guitar.

a drummer until a high school garage band led him to the guitar, which he has been playing ever since. He continues to write and play music with his band 27 West and collaborator Kevin Thomas. John Merjave began playing in the Beatles’ tribute band Liverpool in 2001 and has been playing the George Harrison lead guitar role ever since. Liverpool is the official house band of The Fest for Beatle Fans, a convention that occurs annually in New York City and Chicago, among other cities. Liverpool has also played backup for Donovan, Billy Preston, Ronnie Spector, Alan Parsons, Billy J. Kramer, Earl Slick, Joey Molland of Badfinger, Mark Hudson and Neil Innes and others. John Merjave also plays cover and original songs with other bands including Stump the Band, Big Girls Blouse, Fatt Elizabeth (NYC’s premier Thin Lizzy Tribute), Eileen Fogarty & the Very Best, Delilah,The Bob Burger Band,The Cara DiNorcia Band, Glen Burtnik & friends, Beatlestock, Modulo Tre and Bubble. In 2010 he joined a new project,Three of a Kind, a power trio with bassist/vocalist Mick Redmond (The Lookalikes & Big Girls Blouse) and drummer John Mullane (The Raw Poets).

Chris Camilleri Born and raised on Long Island, New York, Chris Camilleri started listening to Beatles records at a young age and, inspired by Ringo, took up the drums, the instrument to which he has devoted his professional career. Mr. Camilleri has played drums for major classic rock touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz of The Monkees, Joe Walsh and other Beatles-era bands.

John Merjave John Merjave has been singing and playing instruments since he was very young. He started as March 4, 2011 – April 29, 2011

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Saturday, April 16, 2011 8 p.m. Sunday, April 17, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Charlie Chaplin’s The Gold Rush Marin Alsop

Charlie Chaplin Arr. Brock

Conductor

The Gold Rush*

*The Gold Rush by Charles Chaplin 1942 by Roy Export Company Establishment (Copyright Renewed) This Arrangement ©Copyright 2007 by Roy Export Company Establishment Published by Bourne Co., New York, NY All Rights Reserved International Copyright Secured

©Copyright

There will be no intermission at this performance. The concert will end at approximately 9:40 p.m. on Saturday, and 4:40 p.m. on Sunday.

Media Sponsor: The Baltimore Sun Media Group

Marin Alsop For Marin Alsop’s bio, please see p. 14. NOTES ON THE PROGRAM The Gold Rush

Charles Spencer Chaplin, Jr. Born in London, April 16, 1889; died in Vevey, Switzerland, December 25, 1977

When Charles Spencer Chaplin, Jr. was born in a working-class South London neighborhood in 1889, his situation hardly suggested a glorious future. His father, Charles Sr., was a modestly successful singer/actor in the London music halls of the day, but he was also an alcoholic who abandoned Charlie and his mother soon after the boy was born. Charles Sr. died at 37. His mother, Hannah, was also a variety 32

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performer, but her singing voice gave out early and she was barely able to support Charlie and his older half-brother Sydney. The family spent several periods living in workhouses, and the mentally unstable Hannah was committed more than once to an asylum. Young Charlie’s budding performing talent provided the way out of these miserable circumstances. At age 9, he became a singing member of The Eight Lancashire Lads, which appeared in London and on tours around England. Soon he was in demand as a child actor, specializing in the cheeky role of Billy the Messenger in several Sherlock Holmes plays. Chaplin’s big break came early in 1908, when the 18-year-old became a featured performer with the very popular Fred Karno Company, soon becoming one

of its stars. In 1910, the Karno Company toured America, and Chaplin got his first glimpse of New York City and California. After another Karno American tour, Chaplin decided to try his luck in silent film. Late in 1913, he signed a contract with Mack Sennett’s Keystone Film Company and moved to Hollywood. Renowned for their hyperkinetic Keystone Cops, Sennett’s films were hastily shot one-reelers sometimes lasting as little as five minutes; Chaplin appeared in 35 of them before moving on to the Essanay studios in 1915. Now directing his films as well as acting in them, he introduced the world to his signature character in The Tramp, released in 1915. Chaplin recalled that his beloved gentleman tramp with the inimitable rolling walk, originally invented for Sennett in 1914, was a sudden inspiration, undoubtedly based on characters he had observed growing up on London’s meaner streets.“I had no idea of the character,” he wrote in My Autobiography, “but the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked onto the stage, he was fully born.When I confronted Sennett, I assumed the character and strutted about, swinging my cane and parading before him.” Audiences loved the Little Tramp, and by 1917, Chaplin had signed an annual million-dollar contract with First National Exhibitors Circuit and was able to build his own Los Angeles studios, designed to look like a little English Cotwolds village. From then on, he would run his own show: writing his scenarios, casting his actors, directing and editing his films, as well as starring in them.A series of brilliant comedies featuring the Little Tramp followed: A Dog’s Life, The Idle Class,The Kid,The Circus, and his 1924 masterpiece, The Gold Rush. The Gold Rush

In 1919, Chaplin joined with Douglas Fairbanks and Mary Pickford to form the United Artists production company. His second film for United Artists, The Gold Rush, was the most daring film he’d ever attempted: a full-length film with an epic setting in which the Little Tramp engages in a battle of survival against the forces of nature and his fellow men.The genius of the film is that it transforms the grimmest circumstances into timeless comedy.

p ro g r a m notes In My Autobiography, Chaplin recalled the film’s genesis.“I kept saying to myself: ‘This next film must be an epic! The greatest!’ But nothing would come.Then one Sunday morning ... I sat with Douglas [Fairbanks] after breakfast, looking at stereoscopic views. Some were of Alaska and the Klondike; one a view of the Chilkoot Pass, with a long line of prospectors climbing up over its frozen mountain, with a caption printed on the back describing the trials and hardships endured in surmounting it. ... and, although I had no story, the image of one began to grow. “In the creation of comedy, it is paradoxical that tragedy stimulates the spirit of ridicule, because ridicule, I suppose, is an attitude of defiance:We must laugh in the face of our helplessness against the forces of nature—or go insane. I read a book about the Donner party who, on the way to California, missed the route and were snowbound in the mountains of Sierra Nevada. ... Some resorted to cannibalism ... others roasted their moccasins to relieve their hunger. Out of this harrowing tragedy, I conceived one of our funniest scenes. In dire hunger I boil my shoe and eat it, picking the nails as though they were bones of a delicious capon, and eating the shoe-laces as though they were spaghetti.” The Chilkoot Pass was the formidable obstacle would-be prospectors had to surmount on their way to the Klondike gold fields in the Canadian Yukon during the late 1890s. For The Gold Rush’s opening scene, Chaplin recreated that period photo by transporting 600 extras—many of them inmates of California prisons—to Truckee, California, high in the snowy Sierra Nevada; two weeks were required to shoot that sequence lasting only a few seconds. The remainder of the film was shot at Chaplin’s Hollywood studios. Leavening the life-and-death battles between the Little Tramp and the elements is his gentle but tenacious pursuit of the enchanting Georgia (played by Chaplin’s latest discovery, 19-year-old Georgia Hale), whom he meets at the mining town’s dance hall.This part of the story produces one of the greatest of all Chaplin scenes: a dream sequence in which he performs the celebrated “Dance of the Rolls” for Georgia and her dance-hall friends.

The Gold Rush was premiered in June 1925 and became one of Chaplin’s greatest hits. In 1942, he extensively revised the film and re-released it with a spoken narrative that he delivered himself and a musical score he had created with the assistance of Max Terr; it is this version we will be viewing. The Music for The Gold Rush

The arrival of sound gave Chaplin a delightful new possibility: He could now not only write, direct and act, but also create the music for his films. City Lights in 1931 was his first film score, and from then on, he composed the music for all his films. Though not a trained musician, all his life Chaplin adored music and even taught himself to play violin left-handed, a pipe organ and a Steinway grand. Composer David Raksin, who worked with him on the score for Modern Times, remembered him as a musical magpie who pulled ideas from everything he’d heard. Because he lacked the musical training to note down his ideas, Chaplin relied on arrangers to elaborate and orchestrate the

themes that he sang or played on the piano. For the orchestrations, he preferred the strings, and his musical collaborator Eric James wrote that he had to be restrained from using his favorite instrument, the cello, for all his serious or romantic themes. With his instinctive dramatic and musical sensibility, Chaplin knew exactly what sort of music his films needed.“I tried to compose elegant and romantic music to frame my comedies in contrast to the tramp character, for elegant music gave my comedies an emotional dimension. Musical arrangers rarely understood this.They wanted the music to be funny. But I would explain that I wanted no competition, I wanted the music to be a counterpoint of grace and charm, to express sentiment, without which, as Hazlitt says, a work of art is incomplete.” Instrumentation: two flutes, piccolo, oboe, English horn, three clarinets, bass clarinet, bassoon, two horns, two trumpets, two trombones, tuba, timpani, percussion, harp, piano, celeste, accordion and strings. Notes by Janet E. Bedell, copyright 2011

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March 4, 2011 – April 29, 2011

33

p ro g r a m notes Radio Symphony Orchestra Berlin as well as the Bavarian Radio Symphony Orchestra and the Dresden Philharmonic. He made his United Kingdom debut with the BBC Philharmonic and has also conducted the Bournemouth Symphony Orchestra. Much in demand as an opera conductor, he is a regular guest at many great opera houses. Highlights have included the German premiere of Peter Eötvös’s Angels in America at the Hamburg State Opera, and a revival of Wagner’s Der fliegende Holländer at the Bavarian State Opera Munich. Born in Hannover, Germany in 1980, Mr. Meister studied piano and conducting at the Music Academy in Hannover with Konrad Meister, Zvi Meniker, Martin Brauß and Eiji Oue, and in Salzburg with Dennis Russell Davies and Karl Kamper. For the 2004 Bayreuth Festival, he assisted Pierre Boulez for the production of Parsifal.

Thursday, April 28, 2011 8 p.m. Friday, April 29, 2011 8 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Brahms’ Second Symphony

Bedrˇich Smetana Arr. by Gustav Mahler Max Bruch

Conductor Violin

Overture to The Bartered Bride

Violin Concerto No. 2 in D Minor, Op. 44 Adagio ma non troppo Recitative: Allegro moderato Finale: Allegro molto JONATHAN CARNEY

INTERMISSION

Johannes Brahms

Symphony No. 2 in D Major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) Allegro con spirito

The concert will end at approximately 9:50 p.m.

Media Sponsor: WYPR 88.1 FM

ROSA FRANK

Cornelius Meister In 2009, Cornelius Meister was named Chief Conductor and Artistic Director of the Vienna Radio Symphony Orchestra. His post began with the 2010-2011 season. He remains Chief Conductor of the Philharmonic Orchestra of the City of Heidelberg, a post he has held as head of both the Symphony and Opera since the 2005-2006 season. 34

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In recent years, Mr. Meister has made some important international debuts: In Japan he conducted Fidelio at the New National Theatre Tokyo. In autumn 2007, Mr. Meister made his Paris debut conducting Strauss’s Also sprach Zarathustra with the orchestra of L’Opéra de Paris. He made his U.S. debut with the Indianapolis Symphony with Truls Mørk as soloist. In Germany, Mr. Meister has been a guest conductor with renowned orchestras such as the NDR Symphony Orchestra Hamburg, the Bavarian State Orchestra, the

Jonathan Carney GRANT LEIGHTON

Cornelius Meister Jonathan Carney

BSO Concertmaster Jonathan Carney begins his ninth season with the Baltimore Symphony Orchestra after 12 seasons with London’s Royal Philharmonic Orchestra. Born in New Jersey, Mr. Carney hails from a musical family with all six members having graduated from The Juilliard School. After completing his studies with Ivan Galamian and Christine Dethier, he was awarded a Leverhulme Fellowship to continue his studies at the Royal College of Music in London. After enjoying critically acclaimed international tours as both concertmaster and soloist with numerous ensembles, he was invited by Vladimir Ashkenazy to become concertmaster of the Royal Philharmonic Orchestra in 1991. He was also appointed concertmaster of the Bournemouth Symphony Orchestra in 1994 and the Basque National Orchestra in 1996. Recent solo performances have included concertos by Bruch, Korngold, Khatchaturian, Sibelius, Nielsen, the Brahms Double Concerto and Vaughan Williams’ The Lark Ascending. He has made a number of recordings, including concertos by Mozart,Vivaldi and Nielsen; sonatas by Brahms, Beethoven and Franck; and a disc

What IS A Mini-lift? of virtuoso works by Sarasate and Kreisler with his mother Gloria Carney as pianist. New releases include Beethoven’s Archduke and Ghost trios, the cello quintet of Schubert and a Dvorˇák disc with the Terzetto and four Romantic pieces for violin. NOTES ON THE PROGRAM Overture to The Bartered Bride

Bedrˇich Smetana Born in Litomysl, Bohemia, March 2, 1824; died in Prague, May 12, 1884

Antonín Dvorˇák may be the most famous of Czech composers, but Bedrˇ ich Smetana was the man who first brought Czech folk idiom into the concert hall and opera house.The son of a brewer, Smetana found little opportunity for his musical ambitions in Bohemia and moved abroad to pursue his career. But when a competition for an opera in Czech was announced in 1861 the time was ripe to return from Sweden. In 1863, he won the competition with his first opera, The Brandenburgers in Bohemia, and swiftly moved on to a second, The Bartered Bride.The story is a comic slice of life in a rural Czech village. Marenka and Jeník are in love, but Marenka’s parents favor a match with the witless and unattractive Vasek, son of the wealthy farmer Mícha. The village marriage broker induces Jeník to renounce his sweetheart for the sum of 300 gulden; Jeník agrees, with the proviso that Marenka shall marry no one but a son of Mícha.The girl is broken-hearted but Jeník reveals that he is the long-lost son of Mícha and is recognized by his father.True love triumphs after all. Premiered on May 30, 1866, The Bartered Bride initially displeased the wealthy Prague audiences, who found its rural tale too down-market for their tastes. But after a number of revisions, Smetana’s score won favor not only in Prague. Its vivacious overture is one of the most popular of all curtain-raisers. From its opening gesture of a jubilant crowd on carnival day to its bustling string fugues suggesting the village gossips at work, it perfectly establishes the mood of the comedy to follow. Instrumentation: three flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

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35

p ro g r a m notes Violin Concerto No. 2 in D Minor

Max Bruch Born in Cologne, Germany, January 6, 1838; died in Friedenau, near Berlin, October 20, 1920

Though he didn’t play the instrument himself, Max Bruch was in love with the violin. He said this instrument “can sing a melody better than the piano, and melody is the soul of music.” Bruch wrote nine works for violin and orchestra, but one stood out: the First Violin Concerto in G Minor. Jonathan Carney will introduce us to the relatively unknown Second Violin Concerto in D Minor, an unconventional work worth discovering. It was born in 1877 because of Bruch’s admiration of the playing of the Spanish virtuoso Pablo Sarasate, with whom the composer had recently performed that ubiquitous First Concerto. According to Wilhelm Altmann, Sarasate influenced the unusual form of this concerto by suggesting a dramatic program for the work based on the Carlist War in Spain. Christopher Fifield in his biography of Bruch gives this description:“In the first movement (Adagio), the battlefield is littered with the dead and the dying, among whom a young woman searches for the man she loves, and a funeral march accompanies a burial procession.” Normally concertos open with a movement of relatively fast tempo: an Allegro that presents the soloist in an active, technically virtuosic manner.The melancholy drama and relatively understated role for the soloist of the Second’s slow first movement attracted much criticism at the time. Nevertheless, Bruch believed it to be a finer movement than anything in his First Concerto. This first-movement battlefield scene opens with a dark-toned orchestral chord of D minor, which swells and then fades.The violin sings twice a lament stressing beauty of tone and poignant expression, before the orchestra vigorously suggests a more martial idea.Adopted briefly by the violin, this bridges to the heart-on-sleeve second theme, which initially droops gracefully downward, but then soars to the instrument’s highest range, climaxing in a series of ascending trills.The development section focuses on the orchestra’s fanfare idea interspersed with fragments of the violin’s lamenting theme before the orchestra takes over the melody. The Allegro moderato second movement is also unusual in form and style. 36

Overture

Labeled “Recitativo,” it contrasts solemn music for the orchestra with dramatic utterances for the violin that resemble the cries of a tragic operatic heroine.This strikingly theatrical music links directly to the finale. The Allegro molto finale takes the upward-leaping figures of the violin’s recitative and transforms them into a theme, which begins buzzing in the violin’s alto register but ultimately rises to its nose-bleed top. Reportedly, this music was intended to depict the gallant activities of a cavalry regiment, but in fact, it represents the kind of technical display piece that most effective concerto last movements strive to be. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings Symphony No. 2 in D Major

Johannes Brahms Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897

Johannes Brahms’ composing retreat during the summer of 1877 played an important role in the character of his richly melodious Second Symphony. By the time he reached middle age, Brahms did most of his composing during the summer. Finding a place conducive to creativity became all-important to him; in the mountain resort of Pörtschach on the Wörtersee lake in southern Austria he discovered an oasis so ideal he spent three summers there, the next summer (1878) composing theViolin Concerto. Many commentators, comparing Brahms’ pairing of a heroic symphony in C minor and a lighter successor symphony with Beethoven’s similarly contrasting Fifth (also in C minor) and Sixth symphonies, have called the Second Brahms “Pastoral”: a nature symphony full of “sunshine.” But such comparisons can be misleading. Although it has Brahms’ most joyous finale, the Second Symphony is still a densely constructed, with a undercurrent of melancholy. First movement: The symphony grows like a mighty oak from the seeds of its first three notes—D dropping a half step to C-sharp and returning to D—heard in the cellos and basses. From this seed motive, and its inverted form with the middle note rising a step, heard a few measures later in the horn melody, will sprout many of the themes in all four movements.The warm, Romantic timbre of the horns lends the

opening theme an autumnal glow. More ardent is an soaring melody for the violins built from the three-note seed. But this movement’s most famous tune is the “second subject” theme: a stately waltz sung by the cellos and violas, the cellos on top for maximum richness. Brahms shows off his formidable contrapuntal skills in the development section with a powerful, fugal treatment of the horns’ opening theme.The violins’ arching theme also is worked out while the three-note seed motive is tossed continually from instrument to instrument.After the recapitulation, Brahms lightens the mood briefly for a rhythmically playful coda. But immediately the music darkens again for the brooding B-major second movement with its magnificent long melody for the cellos, full of yearning for some unattainable happiness.The meter then switches to 12/8 for a rhythmically halting, frustrated theme for the woodwinds.A turbulent developmental section subsides into reveries of the main cello theme, then a full return of the melody, which the violins take over in a smoothed-out triplet version. While the first two movements wander in the shadows, the third and fourth movements dwell in sunshine.The third movement is a charming Brahmsian intermezzo. The oboes present the principal theme, derived from the three-note seed motive; its freshness at last gives us a glimpse of summertime by a mountain lake. It returns twice more, with two exuberant dance episodes led by strings in between; despite their different meters and fast tempos, they are actually variations of the oboes’ melody. The finale’s mysterious, vague opening hardly prepares us for the true mood of this movement, but it soon explodes in a fortissimo blaze of sound.The second theme is another mellow Brahmsian melody, full of mature contentment, offered by the strings in their deepest, richest register. Rhythmic verve and games of “where’s the beat” add to this movement’s excitement.The coda is an outburst of utterly uninhibited joy with the mellow theme ultimately sped up and blazing forth in triumph from the trumpets. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings. Notes by Janet E. Bedell, copyright 2011

SYMPHONY FUND HONOR ROLL T

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November 1, 2009 – January 1, 2011 WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generous gifts to the Annual Fund between November 1, 2009 – January 1, 2011 helped the Baltimore Symphony Orchestra further its mission: “To make music of the highest quality, to enhance Baltimore and Maryland as a cultural center of interest, vitality and importance and to become a model of institutional strength.”

In loving memory of Charles A. Wunder, long-time supporter, Governing Member and true BSO enthusiast.

The Century Club Mayor and City Council of Baltimore City Baltimore County Executive & County Council Joseph and Jean Carando* Adalman-Goodwin Foundation Hilda Perl and Douglas* Goodwin, Trustees Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Maryland Department of Business and Economic Development Maryland State Arts Council

The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker Mr. and Mrs. Arthur B. Modell Montgomery County Arts and Humanities Council PNC Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* Howard A. and Rena S. Sugar* The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman

$50,000 or more

$25,000 or more

The Charles T. Bauer Foundation Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Dr. and Mrs. Thomas Pozefsky Rifkin, Livingston, Levitan and Silver, LLC Mr. and Mrs. Alan M. Rifkin Esther and Ben Rosenbloom Foundation Michelle G. and Howard Rosenbloom Dr. and Mrs. Solomon H. Snyder

Herbert Bearman Foundation, Inc. Dr. Sheldon and Arlene Bearman Caswell J. Caplan Charitable Income Trusts Constance R. Caplan Dr. Perry A. Eagle,* Ryan M. Eagle, and Bradley S. Eagle Frances Goelet Charitable Trust Dr. and Mrs. Philip Goelet Mr. and Mrs. Kingdon Gould Mr. and Mrs. Benjamin H. Griswold, IV Mr. and Mrs. H. Thomas Howell

The Huether-McClelland Foundation George and Catherine McClelland Margaret Powell Payne* Bruce and Lori Laitman Rosenblum Mr. and Mrs. Richard Rudman The Honorable Steven R. Schuh Dorothy McIlvain Scott Ida & Joseph Shapiro Foundation Diane and Albert* Shapiro Jane and David Smith Ellen W.P. Wasserman

The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whose cumulative annual giving of $100,000 or more plays a vital role in sustaining the Orchestra’s magnificent tradition of musical excellence.

Marin Alsop The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates Winnie Flattery, President

Individuals Founder’s Circle

Maestra’s Circle $15,000 or more Anonymous (1) Donna and Paul Amico Richard Burns Mr. and Mrs. Robert Coutts The Dopkin-Singer-Dannenberg Foundation, Inc. Mrs. Margery Dannenberg Mr. Kenneth W. DeFontes, Jr. George and Katherine Drastal Carol and Alan Edelman Ms. Susan Esserman and Mr. Andrew Marks Anne B. and Robert M. Evans Judi and Steven B. Fader Family Foundation Mr. and Mrs. Douglas Hamilton

Mr. and Mrs. Richard E. Hug Beth J. Kaplan and Bruce P. Sholk Sarellen and Marshall Levine Jon and Susan Levinson Susan and Jeffrey* Liss Ruth R. Marder* Mr. and Mrs. Michael P. Pinto Gar and Migsie Richlin Dr. Scott and Frances Rifkin Mr. George A. Roche Rona and Arthur Rosenbaum Lainy LeBow-Sachs and Leonard R. Sachs Mr. and Mrs. Stephen D. Shawe Shepard Family Foundation Donald J. and Rose Shepard Joanne Gold and Andrew A. Stern David and Chris Wallace

$10,000 or more Anonymous (1) Mr. and Mrs. Edward J. Adkins Jean and John Bartlett Mr. and Mrs. Douglas Becker Eric and Jill Becker Mr. and Mrs. Ed Bernard Mr. and Mrs. A.G.W. Biddle, III Robert L. Bogomolny and Janice Toran Mr. Robert H. Boublitz Ellyn Brown and Carl J. Schramm Ms. Kathleen A. Chagnon and Mr. Larry Nathans Chesapeake Partners Judith and Mark Coplin The Cordish Family Fund Suzi and David Cordish

March 4, 2011 – April 29, 2011

37

The Baltimore Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Music Director Marin Alsop joins Mayor Stephanie Rawlings-Blake at the Gala Celebration

The Gala Celebration kicked off the 2010-2011 season with a concert and reception.

Individuals Maestra’s Circle (continued) $10,000 or more Mr. and Mrs. H. Chase Davis, Jr. Chapin Davis Investments Rosalee C. and Richard Davison Foundation Mr. L. Patrick Deering, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. Mr. Steve Dollase and Ms. Shari Wakiyama Deborah and Philip English Mr. Mark Fetting Sara and Nelson Fishman

Individuals (continued) Governing Members Platinum $7,500 or more Deborah and Howard M. Berman Mr. Andrew Buerger Drs. Sonia and Myrna Estruch Mr. and Mrs. Bill Nerenberg Dr. and Mrs. Anthony Perlman Alison and Arnold Richman Mr. and Mrs. W. Danforth Walker

Governing Members Gold $5,000 or more Mr. and Mrs. John W. Beckley Barry D. and Linda F. Berman John and Bonnie Boland The Bozzuto Family Charitable Fund Ms. Mary Catherine Bunting Mr. and Mrs. Robert Butler Nathan and Suzanne Cohen Foundation Dr. and Mrs. Stephen P. Cohen Mr. and Mrs. William H. Cowie, Jr. Faith and Marvin Dean Ronald E. Dencker Mr. and Mrs. James L. Dunbar Ms. Margaret Ann Fallon Andrea and Samuel Fine John Gidwitz Sandra and Barry Glass Betty E. and Leonard H. Golombek Mr. and Mrs. Stewart Greenebaum Venable Foundation Mr. and Mrs. Jan Guben Mrs. Anne Hahn Mrs. Catharine S. Hecht* Susan and Steven Immelt Miss Frances A. Kleeman* Kohn Foundation Dr. and Mrs. Yuan C. Lee Diane and Jerome Markman Eileen A. and Joseph H. Mason Dan and Agnes Mazur Norfolk Southern Foundation McCarthy Family Foundation Mrs. Kenneth A. McCord Mr. and Mrs. Gerald V. McDonald Drs. William and Deborah McGuire Paul Meecham and Laura Leach Dr. and Mrs. John O. Meyerhoff Mr. and Mrs. Neil Meyerhoff Mr. Hilary B. Miller Margot and Cleaveland Miller

38

Overture

The Sandra and Fred Hittman Philanthropic Fund John P. Hollerbach Riva and Marc Kahn Dr. and Mrs. Murray Kappelman Mrs. Barbara Kines Therese* and Richard Lansburgh Mr. and Mrs. Samuel G. Macfarlane Mr. and Mrs. Howard R. Majev Sally S. and Decatur H. Miller Mr. and Mrs. David Modell Mr. and Mrs. Charles O. Monk, II Mrs. Violet G. Raum Terry M. and James Rubenstein

Jolie and John Mitchell Drs. Virginia and Mark Myerson Dr. A. Harry Oleynick David and Marla Oros Dr. and Mrs. David Paige Linda and Stanley Panitz Mrs. Margaret Penhallegon Dr. Todd Phillips and Ms. Denise Hargrove The Ross & Grace Pierpont Charitable Trust Helene and Bill Pittler Jane S. Baum Rodbell and James R. Shapiro Mr. and Mrs. William Rogers Mike and Janet Rowan Ms. Tara Santmire and Mr. Ben Turner Mr. and Mrs. J. Mark Schapiro Mr. Greg Scudder Ronald and Cathi Shapiro Francesca Siciliano and Mark Green Mr. and Mrs. Harris J. Silverstone Ms. Patricia Stephens Ms. Loretta Taymans* Dr. and Mrs. Carvel Tiekert Mr. and Mrs. Peter Van Dyke Mr. and Mrs. Richard Vogt Mr. and Mrs. Loren Western Mr. and Mrs. LeRoy A. Wilbur, Jr. Wolman Family Foundation Laurie S. Zabin

Governing Members Silver $2,500 or more “In memory of Reverend Howard G. Norton and Charles O. Norton” Anonymous (5) Diane and Martin* Abeloff Dr. and Mrs. Robert J. Adams Julianne and George Alderman Dr. and Mrs. Thomas E. Allen Mr.* and Mrs. Alexander Armstrong Jackie and Eugene Azzam Mr. and Mrs. Thomas H.G. Bailliere, Jr. Dr. and Mrs. Wilmot C. Ball, Jr. Donald L. Bartling Kenneth S. Battye* The Legg & Co. Foundation Hank Bauer Dr. and Mrs. Theodore M. Bayless

Dr. Neil W. Beach and Mr. Michael Spillane Lynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit Ms. Arlene S. Berkis Max Berndorff and Annette Merz Alan and Bunny Bernstein Dr. and Mrs. Mordecai P. Blaustein Randy and Rochelle Blaustein Mr. Gilbert Bloom Dr. and Mrs. Paul Z. Bodnar Carolyn and John Boitnott Mr. and Mrs. John M. Bond, Jr. Mr. and Mrs. Charles R. Booth Dr. and Mrs. Stuart H. Brager Dr. Rudiger and Robin Breitenecker Mr. and Mrs. Leland Brendsel Mrs. Elizabeth A. Bryan Dr. Robert P. Burchard Loretta Cain Mr. and Mrs. S. Winfield Cain James N. Campbell M.D. and Regina Anderson M.D. Michael and Kathy Carducci Mr. and Mrs. Arthur Chomas Ms. Susan Chouinard Corckran Family Charitable Foundation Mr. and Mrs. John C. Corckran, Jr. Mr. and Mrs. David S. Cohen Mr. Harvey L. Cohen and Ms. Martha Krach Mrs. Miriam M. Cohen Joan Piven-Cohen and Samuel T. Cohen Mr. and Mrs. Elbert Cole Mr. and Mrs. Kerby Confer Mr. and Mrs. John W. Conrad, Jr. Dr. and Mrs. David Cooper Jane C. Corrigan Mr. and Mrs. Charles C. Counselman, Jr. Mrs. Rebecca M. Cowen-Hirsch Alan and Pamela Cressman Dr. and Mrs. George Curlin Mr. and Mrs. Edward A. Dahlka, Jr. Mr. and Mrs. William F. Dausch Richard A. Davis and Edith Wolpoff-Davis James H. DeGraffenreidt and Mychelle Y. Farmer Kari Peterson, Benito R. and Ben DeLeon

Dr. and Mrs. John H. Sadler M. Sigmund and Barbara K. Shapiro Philanthropic Fund Dr. and Mrs. Charles I. Shubin Mr. and Mrs. Gideon N. Stieff, Jr. The Louis B. Thalheimer and Juliet A. Eurich Philanthropic Fund Mark and Mary Vail Walsh Mr. and Mrs. William Yeakel The Zamoiski-Barber-Segal Family Foundation * Deceased

Arthur F. and Isadora Dellheim Foundation, Inc. Drs. Susan G. Dorsey and Cynthia L. Renn in honor of Doris A. and Paul J. Renn, III Mr. and Mrs. A. Eric Dott Dr. and Mrs. Daniel Drachman Mr. and Mrs. Larry D. Droppa Bill and Louise Duncan Dr. and Mrs. Donald O. Fedder Dr. and Mrs. Arnold S. Feldman Mr. and Mrs. Maurice R. Feldman Sherry and Bruce Feldman Mr. Stephen W. Fisher Winnie and Bill Flattery Ms. Lois Flowers Dr. and Mrs. Giraud Foster Mr. and Mrs. John C. Frederick Mr. and Mrs. Kenneth Freed Ms. Lois Fussell Mr. and Mrs. Frank Gallagher John Galleazzi and Elizabeth Hennessey Ms. Ethel W. Galvin Dr. Joel and Rhoda Ganz Michael Gasch Mr. Ralph A. Gaston Mr. and Mrs. Ramon* F. Getzov Mrs. Ellen Bruce Gibbs Mr. and Mrs. Joseph S. Gillespie, Jr. Mr. Robert Gillison and Ms. Laura L. Gamble Ms. Jean Goldsmith Mr. Mark Goldstein, Paley Rothman Brian and Gina Gracie Mr. and Mrs. Leonard L. Greif, Jr. Mrs. LaVerne Grove Ms. Mary Therese Gyi Ms. Louise A. Hager Carole Hamlin and C. Fraser Smith Melanie and Donald Heacock Dale C. Hedding Mr. and Mrs. Edward Heine Sandra and Thomas Hess Mr. Thomas Hicks Betty Jean and Martin S. Himeles, Sr. Mr. and Mrs. Samuel Himmelrich Ms. Marilyn J. Hoffman Betsy and Len Homer Mr. and Mrs. Jack* Hook Mr. and Mrs. J. Woodford Howard, Jr. Mr. and Mrs. A.C. Hubbard, Jr.

Mr. and Mrs. William Hughes Elayne and Benno Hurwitz Susan and David Hutton Dr. Richard Johns Richard and Brenda Johnson Nelson and Brigitte Kandel Mr. and Mrs. Harry Kaplan Mary Ellen and Leon Kaplan Barbara and Jay Katz Susan B. Katzenberg Louise and Richard Kemper Mr. and Mrs. E. Robert Kent, Jr. Suzan Russell Kiepper Mr. and Mrs. Young Kim Dr. and Mrs. Richard A. Kline Mr. and Mrs. Steven S. Koren Barbara and David Kornblatt Ms. Patricia Krenzke and Mr. Michael Hall Miss Dorothy B. Krug Mr. William La Cholter Marc E. Lackritz and Mary B. DeOreo Sandy and Mark Laken Dr. and Mrs. Donald Langenberg Mr. and Mrs. Luigi Lavagnino Dr. George T. Lazar Dr. David Leckrone and Marlene Berlin Mr. and Mrs. Howard Lehrer Claus Leitherer and Irina Fedorova Ruth and Jay Lenrow Dr. and Mrs. Harry Letaw, Jr. C. Tilghman Levering Mr. and Mrs. Vernon L. Lidtke Dr. Frances and Mr. Edward Lieberman Darielle and Earl Linehan Mrs. June Linowitz and Dr. Howard Eisner Dr. James and Jill Lipton Dr. Diana Locke and Mr. Robert E. Toense John A. MacColl Louise D. and Morton J. Macks Family Foundation, Inc./ Genine Macks Fidler and Josh Fidler Steven and Susan Manekin Dr. Frank C. Marino Foundation Mr. and Mrs. Abbott Martin Donald and Lenore Martin Maryland Charity Campaign Mr. Thomas Mayer Dr. Marilyn Maze and Dr. Holland Ford

Baltimore Symphony Orchestra Membership Benefits 2010-2011 Season To learn more about becoming a member, please email membership@BSOmusic.org or call 443.783.8124. A contribution to the Baltimore Symphony Orchestra entitles you to special events and exclusive opportunities to enhance your BSO experience throughout the season.

$75 BACH LEVEL MEMBERS Stephanie Greenberg and Myrna and Senator Ben Cardin enjoy the Gala Celebration Mrs. Marie McCormack Ellen and Tom Mendelsohn Sandra L. Michocki Mrs. Mildred S. Miller Judy and Martin Mintz Northern Pharmacy and Medical Equipment Jacqueline and Sidney W. Mintz Mr. and Mrs. Humayun Mirza Ms. Patricia J. Mitchell Drs. Dalia and Alan Mitnick Dr. and Mrs. C.L. Moravec Mr. and Mrs. Peter Muncie Mrs. Joy Munster Mr. John and Dr. Lyn Murphy Louise* and Alvin Myerberg Mr. and Mrs. H. Hudson Myers, Jr. Mr. and Mrs. Rex E. Myers Drs. Roy A. and Gillian Myers Howard Needleman Phyllis Neuman, Ricka Neuman and Ted Niederman David Nickels and Gerri Hall Number Ten Foundation Mr. and Mrs. Kevin O’Connor Mrs. Bodil Ottesen Olive L. Page Charitable Trust Dr. and Mrs. Lawrence C. Pakula Ellen and Stephen* Pattin Beverly and Sam Penn Jan S. Peterson and Alison E. Cole Peter E. Quint Reverend and Mrs. Johnny Ramsey Nancy E. Randa and Michael G. Hansen Mr. and Mrs. Frederick Rheinhardt Nathan and Michelle Robertson Mr. and Mrs. Richard Roca Stephen L. Root and Nancy A. Greene Mr. and Mrs. Charles Rowins Robert and Leila Russell T. Edgie Russell Mr. and Mrs. Neil J. Ruther Dr. John Rybock and Ms. Lee Kappelman Dr. and Mrs. Marvin M. Sager Dr. Henry Sanborn Ms. Doris Sanders Dr. Jeannine L. Saunders Mr. and Mrs. David Scheffenacker Lois Schenck and Tod Myers Marilyn and Herb* Scher Dr. and Mrs. Horst K.A. Schirmer Mrs. Roy O. Scholz Alena and David M. Schwaber Mr. Jack Schwebel Carol and James Scott Cynthia Scott Ida & Joseph Shapiro Foundation and Diane and Albert* Shapiro Mr. Stephen Shepard Dr. and Mrs. Ronald F. Sher Mrs. Suzanne R. Sherwood Francine and Richard Shure Dr. and Mrs. Frederick Sieber The Sidney Silber Family Foundation Mr. and Mrs. Daniel Silver Drs. Ruth and John Singer Mr. and Mrs. David Punshon-Smith Ms. Leslie J. Smith Ms. Nancy E. Smith Ms. Patricia Smith Mr. Turner B. Smith Mr. and Mrs. Lee M. Snyder Dr. and Mrs. Charles S. Specht Joan and Thomas Spence Melissa and Philip Spevak Anita and Mickey Steinberg Mr. Edward Steinhouse Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge Susan and Brian Sullam Mrs. Janis Swan

Governing Members Executive Committee Chair Susan Dorsey and Alana Morrall, Director of Individual & Institutional Giving at a Governing Members event.

Mr. and Mrs. Robert Taubman Dr. Bruce T. Taylor and Dr. Ellen Taylor Dr. Ronald J. Taylor Mr. and Mrs. Terence Taylor Sonia Tendler Ms. Susan B. Thomas Paul and Karen Tolzman Dr. Jean Townsend and Mr. Larry Townsend Donna Triptow and Michael Salsbury In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel John and Susan Warshawsky Martha and Stanley Weiman Peter Weinberg Mr. and Mrs. Christopher West Mr. Edward Wiese Dr. and Mrs. Donald E. Wilson Mrs. Phyllis Brill Wingrat and Dr. Seymour Wingrat* Mr. and Mrs. T. Winstead, Jr. Laura and Thomas Witt Mr. and Mrs. Richard Wolven Charles* and Shirley Wunder Ms. Ellen Yankellow Drs. Yaster and Zeitlin Chris and Carol Yoder Mr. and Mrs. Michael Young Paul A. and Peggy L. Young NOVA Research Company Dr. and Mrs. Robert E. Zadek

Symphony Society Gold $1,500 or more Anonymous (1) The Becker Family Fund Mr. and Mrs. Albert Biondo Mr. Joseph G. Block Venable Foundation, Inc. Steven Brooks and Ann Loar Brooks Dr. and Mrs. Donald D. Brown Mr. Charles Cahn, II Donna and Joseph Camp Mr. Robert M. Cheston Mr. and Mrs. Howard Cohen Dr. and Mrs. Cornelius Darcy Dr. and Mrs. Thomas DeKornfeld Donna Z. Eden and Henry Goldberg Dr. and Mrs. Jerome L. Fleg Mr. Ken French Jo Ann and Jack Fruchtman, Jr. Mr. and Mrs. Stanford Gann, Sr. Mr. Jonathan Gottlieb Mr. Ronald Griffin and Mr. Shaun Carrick Mrs. Ellen Halle Ms. Gloria Hamilton Dr. Mary Harbeitner Mr. Gary C. Harn Mr.* and Mrs. E. Phillips Hathaway Mr. and Mrs. George B. Hess, Jr. Donald W. and Yvonne M. Hughes Betty W. Jensen Gail and Lenny Kaplan Gloria B. and Herbert M. Katzenberg Fund Harriet* and Philip Klein Andrew Lapayowker and Sarah McCafferty Colonel William R. Lee Mr. and Mrs. Jeffrey Legum Ms. Susan Levine Dr. and Mrs. Michael O. Magan Mr. and Mrs. Luke Marbury Howard and Linda Martin Mr. and Mrs. Jordan Max Carol and George McGowan Bebe McMeekin Alvin Meltzer Ms. Patricia Normile Mrs. J. Stevenson Peck The Pennyghael Foundation, Inc. Mr. and Mrs. John Brentnall Powell Mr. Larry Prall Mr. Joseph L. Press Dr. and Mrs. Richard Radmer

Dr. Tedine Ranich and Dr. Christian Pavlovich Mr. and Mrs. Michael Renbaum Margaret and Lee Rome Martha and Saul Roseman Mr. Norm St. Landau Mr. and Mrs. William Saxon, Jr. The Honorable William Donald Schaefer Ms. Phyllis Seidelson Mr. Jeffrey Sharkey Mr. Thom Shipley and Mr. Christopher Taylor Marshall and Deborah Sluyter Mr. and Mrs. Edgar Smith Mr. and Mrs. Richard D. Spero Mrs. Ann Stein Mr. James Storey Harriet Stulman Mr. and Mrs. Albert Sun Ms. Sandra Sundeen Dr. Martin Taubenfeld Dr. Robert E. Trattner Dr. John K. Troyer and Ms. Ellen Pendleton-Troyer Ms. Elyse Vinitsky Ms. Joan Wah and Ms. Katherine Wah Ms. Beverly Wendland and Mr. Michael McCaffery Ms. Janna P. Wehrle Dr. Edward Whitman Dr. Richard Worsham and Ms. Deborah Geisenkotter Ms. Anne Worthington Ms. Jean Wyman Dr. Mildred Zinder

Symphony Society Silver $1,000 or more Dr. John Boronow and Ms. Adrienne Kols “In memory of John R.H. and Charlotte Boronow” Mrs. Frank A. Bosworth Jr. “In honor of Marin Alsop” Mr. Kevin F. Reed “In honor of Steven R. Schuh” Anonymous (14) Mrs. Rachael Abraham Mr. and Mrs. Ronald Abrams Virginia K. Adams and Neal M. Friedlander, M.D. Mr. and Mrs. Carter Adkinson Charles T. and Louise B. Albert Dr. Marilyn Albert George and Frances Alderson Mr. Owen Applequist Mr. Paul Araujo Dr. Juan I. Arvelo Leonard and Phyllis Attman Mr. William Baer and Ms. Nancy Hendry Mr. and Mrs. Robert R. Bair Mrs. Jean Baker Mr. George Ball Mr. and Mrs. L. John Barnes Dr. and Mrs. Bruce Barnett Mr. and Mrs. Edward Barta Monsignor Arthur W. Bastress Eric* and Claire Beissinger Mr. and Mrs. Charles Berry, Jr. Mr. Edward Bersbach David and Sherry Berz Mr. and Mrs. Edwin and Catherine Blacka Nancy Patz Blaustein Mr. James D. Blum Nina and Tony Borwick Mr. and Mrs. David E. Brainerd M. Susan Brand and John Brand Drs. Joanna and Harry Brandt Dr. Helene Breazeale Dr. and Mrs. Mark J. Brenner The Broadus Family Ivy E. Broder and John F. Morrall, III Barbara and Ed Brody Dr. Galen Brooks Mr. Gordon Brown Ms. Jean B. Brown Ms. Elizabeth J. Bruen Ms. Jeanne Brush Mr. Walter Budko Ms. Ronnie Buerger

• Two complimentary tickets to a Donor Appreciation Concert or event (R) • BSO Membership Card • Opportunity to purchase tickets prior to public sale* • 10% discount on music, books and gifts at the Symphony Store and An Die Musik • Invitation to one Open Rehearsal (R)

$150 BEETHOVEN LEVEL MEMBERS All benefits listed above, plus … • Invitation to an additional Open Rehearsal (R) • Two complimentary drink vouchers

$250 BRAHMS LEVEL MEMBERS All benefits listed above, plus … • 10% discount on tickets to BSO performances* • Two additional complimentary tickets to a Donor Appreciation Concert or event (R)

$500 BRITTEN LEVEL MEMBERS All benefits listed above, plus … • Invitation to the Premium Evening Open Rehearsal (R) • Donor recognition in one issue of Overture magazine • Two additional complimentary drink vouchers • Four complimentary dessert vouchers • Invitation to the Opening Night Celebration Cast Party

$1,000 SYMPHONY SOCIETY All benefits listed above, plus … • Invitations to additional Cast Parties, featuring BSO musicians and guest artists (R) • Year-long donor recognition in Overture magazine • Two complimentary passes to the Baltimore Symphony Associates’ Decorators’ Show House • Two one-time passes to the Georgia and Peter G. Angelos Governing Members Lounge • Invitation to Season Opening Gala (R/$) • Invitation for two to a Musicians’ Appreciation event • Opportunity to attend one Governing Members Candlelight Conversation per year • Reduced rates for select BSO events

$2,500 GOVERNING MEMBERS All benefits listed above, plus … • Invitation to exclusive On-Stage Rehearsals (R) • Governing Member Allegretto Dinners (R/$) • Complimentary parking upon request through the Ticket Office • Season-long access to the Georgia and Peter G. Angelos Governing Members Lounge • Invitation to the BSO’s Annual Electoral Meeting • VIP Ticket Concierge service including complimentary ticket exchange • Opportunity to participate in exclusive Governing Member trips and upcoming domestic tours (R/$) • Invitation to all Candlelight Conversations (R/$) • Priority Box Seating at the Annual Donor Appreciation Concert

$5,000 GOVERNING MEMBERS GOLD All benefits listed above, plus … • Complimentary copy of upcoming BSO recording signed by Music Director Marin Alsop (one per season) • Exclusive events including meet-and-greet opportunities with BSO musicians and guest artists

$10,000 MAESTRA’S CIRCLE All benefits listed above, plus … • Exclusive and intimate events catered to this special group including post-concert receptions with some of the top artists in the world who are performing with the BSO • One complimentary use of the Georgia and Peter G. Angelos Governing Members Lounge facilities for hosting personal or business hospitality events ($) (R) Reservation required and limited to a first-come basis. ($) Admission fee *Some seating and concerts excluded.

LEGATO CIRCLE Legato Circle recognizes those patrons who have included the BSO in their Estate Plans. If you have questions or wish to explore these arrangements, please call 410.783.8010.

Support your BSO and make a donation today!

March 4, 2011 – April 29, 2011

39

Corporations $100,000 or more

Bonnie and John Boland dine with Sara Fishman at a pre-concert Allegretto Dinner. Individuals (continued)

$50,000 or more

$25,000 or more

40

Overture

Bohdan and Constance Bulawka Mrs. Edward D. Burger Ms. Jennifer Burgy Laura Burrows-Jackson Mrs. Mary Jo Campbell Russ and Beverly Carlson Jonathan and Ruthie Carney Mr. and Mrs. Claiborn Carr Mr. Richard Cerpa Mr. David P. Chadwick Mr. Mark Chambers Bradley Christmas and Tara Flynn Dr. Mark Cinnamon and Ms. Doreen Kelly Ms. Dawna Cobb and Mr. Paul Hulleberg Jane E. Cohen Mr. and Mrs. Jonas M.L. Cohen Mrs. Wandaleen Cole Mr. and Mrs. Alan Colegrove Ms. Patricia Collins Ms. Kathleen Costlow Mr. Michael R. Crider Mr. and Mrs. Jeffrey Crooks Mr. and Mrs. R. Gregory Cukor John and Kate D’Amore Mr. and Mrs. Thomas Darr Joan de Pontet Mr. and Mrs. Anthony Deering Mr. and Mrs. Mathias J. DeVito Ms. Priscilla Diacont Mr. Duane Calvin DeVance Jackson and Jean H. Diehl Ms. Maribeth Diemer Nicholas F. Diliello Mrs. Marcia K. Dorst Mr. and Mrs. Robert Duchesne Ms. Lynne Durbin Mr. Laurence Dusold Mr. Terence Ellen and Ms. Amy Boscov Mr. and Mrs. Stuart Elsberg and the Elsberg Family Foundation Mrs. Nancy S. Elson Sharon and Jerry Farber Dr. and Mrs. Marvin J. Feldman Mr. and Mrs. Edward Feltham, Jr. Mrs. Sandra Ferriter Joe and Laura Fitzgibbon Dr. Charles W. Flexner and Dr. Carol Trapnell Dr. and Mrs. Nicholas J. Fortuin Dr. and Mrs. William Fox Dr. Neal M. Friedlander Mr. and Mrs. R. Friedlander Mr. and Mrs. Roberto B. Friedman William and Carol Fuentevilla Dr. and Mrs. Donald S. Gann Mr. Ron Gerstley and Ms. Amy Blank Mr. and Mrs. Frank A. Giargiana, Jr. Mr. Peter Gil Mr. Louis Gitomer Dr. and Mrs. Sanford Glazer Mr. Jonathan Goldblith William R. and Alice Goodman Barry E. and Barbara Gordon Drs. Ronald and Barbara Gots Dr. and Mrs. Sheldon Gottlieb Mr. Alexander Graboski Larry D. Grant and Mary S. Grant Erwin and Stephanie Greenberg Mr. Robert Greenfield Dr. and Mrs. Geoffrey Greif Mr. Charles H. Griesacker Dr. Diana Griffiths Mark and Lynne Groban Mary and Joel Grossman Mr. and Mrs. Stuart Grossman Mr. and Mrs. Donald Gundlach Mr. and Mrs. Norman M. Gurevich Mr. and Mrs. J.M. Dryden Hall, Jr. Dr. Jane Halpern and Mr. James B. Pettit Ms. Lana Halpern Ms. Carole Finn Halverstadt Mr. Joseph P. Hamper, Jr. Mr. and Mrs. John Hanson Mr. and Mrs. James A. Harris Dr. and Mrs. S. Elliott Harris Mr. and Mrs. Robert Helm Ms. Doris T. Hendricks Mrs. Ellen Herscowitz

Betty and Leonard Golombek enjoy a Governing Member’s event with Marilyn Scher.

David A. and Barbara L. Heywood Dr. Stephen L. Hibert Nancy H. Hirsche Edward Hoffman Mr. and Mrs. John Hornady, III Mr. Herbert H. Hubbard Mrs. Madeleine Jacobs Carol Jantsch and David Murray Mrs. Janet Jeffein Dr. Helmut Jenkner and Ms. Rhea I. Arnot Mrs. Kathy Johnson Mr. R. Tenney Johnson Dr. Richard T. Johnson Mr. and Mrs. Gilbert Jones Mr. J. Lee Jones Mrs. Helen Jordahl Mr. Max Jordan Dr. Robert Lee Justice and Marie Fujimura-Justice Ann and Sam Kahan Dr. Henry Kahwaty Mrs. Harry E. Karr Richard M. Kastendieck and Sally J. Miles Mr. and Mrs. William E. Kavanaugh Dr. and Mrs. Haiq Kazazian, Jr. Mr. Frank Keegan Mr. John P. Keyser Mr. Andrew Klein George and Catherine Klein Paul and Susan Konka Mr. and Mrs. Lawrence Koppelman Dr. and Mrs. Jeffrey Kremen Mr. Charles Kuning Richard and Eileen Kwolek Mr. and Mrs. Charles Lamb Susan and Stephen Langley John and Diane Laughlin Melvyn and Fluryanne Leach Mrs. Elaine Lebar Mr. and Mrs. Charles F. Legters Mr. and Mrs. Jeffrey Lemieux Mr. Ronald P. Lesser Mr. and Mrs. Leonard M. Levering, III Sara and Elliot* Levi Dr. and Mrs. Bernard Levy Mr. Leon B. Levy Mr. Richard Ley Mrs. E.J. Libertini Ms. Joanne Linder Mr. Dennis Linnell George and Julie Littrell Carol Brody Luchs and Kenneth Luchs Dr. and Mrs. Peter C. Luchsinger Ms. Louise E. Lynch Michael and Judy Mael Ms. Joan Martin Jane Marvine Mr. Joseph S. Massey Dr. and Mrs. Robert D. Mathieson Dr. and Mrs. Donald E. McBrien Mrs. Linda M. McCabe Mr. Thomas B. McGee Mr. and Mrs. James McGill Ms. Kathleen McGuire Mr. Richard C. McShane Mr. and Mrs. Scott A. McWilliams Mr. and Mrs. David Meese Mr. Timothy Meredith Mr. and Mrs. Abel Merrill Daniel and Anne Messina Ms. Shelia Meyers Drs. Alan and Marilyn Miller Mrs. Anne Miller Mr. Charles Miller Mr. and Mrs. Charles R. Miller Mr. and Mrs. Gary Miller Mr. and Mrs. J. Jefferson Miller, II Mr. and Mrs. James D. Miller Mr. Lee Miller Mr. Louis Mills Dr. and Mrs. Stanley R. Milstein Ms. Adrianne Mitchell Lloyd E. Mitchell Foundation Mr. Nathan Mook Mr. Edwyn Moot Dr. and Mrs. Hugo W. Moser Mr. and Mrs. M. Peter Moser

Mr. Howard Moy Ms. Marguerite Mugge Dr. and Mrs. Donald Mullikin Mr. and Mrs. Gregory Murray Ms. Marita Murray Mr. Harish Neelakandan and Ms. Sunita Govind Mr. and Mrs. Robert C. Neiman Mr. Irving Neuman Mr. and Mrs. Roger F. Nordquist Ms. Irene E. Norton and Dr. Heather T. Miller Carol C. O’Connell Anne M. O’Hare Drs. Erol and Julianne Oktay Mr. Garrick Ohlsson Ms. Margaret O’Rourke and Mr. Rudy Apodaca Mrs. S. Kaufman Ottenheimer Mr. and Ms. Ralph Ottey Ms. Judith Pachino Mr. and Mrs. Thomas Parr Mr. and Mrs. Richard Parsons Mr. and Mrs. William Pence Jerry and Marie Perlet Mr. and Mrs. Stephen Petrucci Dr. and Mrs. Karl Pick Mr. and Mrs. James Piper Ms. Mary Carroll Plaine Mr. and Mrs. Morton B. Plant Robert E. and Anne L. Prince Captain and Mrs. Carl Quanstrom Ted and Stephanie Ranft Dr. and Mrs. Jonas R. Rappeport Mr. and Mrs. William E. Ray Mr. Charles B. Reeves, Jr. Mr. Arend Ried Mr. Thomas Rhodes Mr. and Mrs. Thomas P. Rice Mr. and Mrs. Carl Richards David and Mary Jane Roberts Drs. Helena and David Rodbard Dr. and Mrs. Gerald Rogell Joellen and Mark Roseman Ann and Frank Rosenberg Mr. and Mrs. Robert Rosenberg Joanne and Abraham Rosenthal Mr. and Mrs. Randolph* S. Rothschild Mr.* and Mrs. Nathan G. Rubin Mr. and Mrs. John Sacci Beryl and Philip Sachs Ms. Andi Sacks Peggy and David Salazar Ilene and Michael Salcman Ms. Carolyn Samuels Ms. Vera Sanacore Mr. and Mrs. Gilbert Sandler Mr. and Mrs. Nathaniel Sandler Mr. and Mrs. Ace J. Sarich Mr. Thomas Scalea Mrs. Barbara K. Scherlis Mr. and Mrs. Eugene H. Schreiber Estelle D. Schwalb Ken and Nancy Schwartz Mr. Bernard Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford Shapiro Mr. and Mrs. Brian T. Sheffer Reverend Richard Wise Shreffler Mr. Richard Silbert Mr. Donald M. Simonds Ellwood and Thelma Sinsky Mr. Richard Sipes Mr. and Mrs. Robert Smelkinson Richard and Gayle Smith Mr. and Mrs. Scott Smith Mr. and Mrs. William J. Sneeringer, Jr. Laurie M. Sokoloff Diane L. Sondheimer and Peter E. Novick Dr. and Mrs. John Sorkin Jennifer Kosh Stern Dr. and Mrs. F. Dylan Stewart Dr. John F. Strahan Ms. Jean M. Suda and Mr. Kim Z. Golden Ms. Dianne Summers Mr. Phil Sunshine Mr. and Mrs. Richard Swerdlow Ms. Margaret Taliaferro Mr. Tim Teeter

BSO Board of Directors 2010-2011 Season OFFICERS Michael G. Bronfein* Chairman Kathleen A. Chagnon, Esq.* Secretary Lainy LeBow-Sachs* Vice Chair

Brenda and Bill Jews listen to a live musical performance at a Maestra’s Circle party.

Mr. Harry Telegadas Mr. Marc J. Teller Patricia Thompson and Edward Sledge Mr. Peter Threadgill Mr. and Mrs. David Traub Mr. and Mrs. Israel S. Ungar Ms. Mary Frances Wagley Mr. and Mrs. Guy T. Warfield Mr. and Mrs. Jay Weinstein Dr. and Mrs. Matthew Weir Mr. and Mrs. David Weisenfreund Drs. Susan and James Weiss Ms. Lisa Welchman David Wellman and Marjorie Coombs Wellman Mr. and Mrs. Sean Wharry Ms. Camille B. Wheeler and Mr. William B. Marshall Dr. Barbara White Mr. and Mrs. Stephen Wilcoxson Mr. Barry Williams Mrs. Gerald H. Williams Mr. and Mrs. Peter Winik Mr. and Mrs. David K. Wise Mr. Orin Wise Marc and Amy Wish Dr. and Mrs. Frank R. Witter Mr. John W. Wood Mr. Alexander Yaffe Ms. Norma Yess H. Alan Young and Sharon Bob Young, Ph.D. Andrew Zaruba

Corporations $10,000 or more American Trading & Production Corporation Beltway Fine Wines IWIF RBC Wealth Management Ritz-Carlton Residences, Inner Harbor, Baltimore Saul Ewing LLP Stanley Black & Decker

$5,000 or more Arts Consulting Group, Inc. Classical Movements, Inc. Corporate Office Properties Trust D.F. Dent & Company Georgetown Paper Stock of Rochville Kramon & Graham, P.A. Lockheed Martin MS2 Valley Motors Zuckerman Spaeder LLP

$2,500 or more Cavanaugh Financial Group Charitable Foundation Downtown Piano Works Eagle Coffee Company, Inc. Federal Parking, Inc. S. Kann Sons Company Foundation Macy’s P&G Fund of the Greater Cincinnati Foundation

$1,000 or more Ellin & Tucker, Chartered Eyre Bus, Tour & Travel The Harford Mutual Insurance Company Independent Can Company J.G. Martin Company, Inc. Mercer Nina McLemore, Inc. Rosenberg Martin Greenberg, LLP Semmes, Bowen & Semmes Target Von Paris Moving & Storage Wachovia Wells Fargo Foundation

Foundations $50,000 or more William G. Baker, Jr. Memorial Fund The Hearst Foundation, Inc. Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung

Board Member Lainy Lebow-Sachs and Leonard Sachs welcome Music Director Marin Alsop to their home for a Maestra’s Circle dinner.

The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* The Rouse Company Foundation

$25,000 or more Jacob and Hilda Blaustein Foundation The Buck Family Foundation Ann and Gordon Getty Foundation The Goldsmith Family Foundation, Inc. Peggy & Yale Gordon Trust Young Artist Sponsor Ensign C. Markland Kelly, Jr. Memorial Foundation Middendorf Foundation Zanvyl & Isabelle Krieger Fund

$10,000 or more Anonymous (1) Clayton Baker Trust Bunting Family Foundation The Morris and Gwendolyn Cafritz Foundation Degenstein Foundation Hoffberger Foundation Harley W. Howell Charitable Foundation Betty Huse MD Charitable Trust Foundation The Abraham and Ruth Krieger Family Foundation League of American Orchestras John J. Leidy Foundation, Inc. The Letaw Family Foundation Macht Philanthropic Fund of the AJC The Salmon Foundation Bruno Walter Memorial Foundation

$5,000 or more The Arts Federation Margaret O. Cromwell Family Fund The Charles Delmar Foundation Edith and Herbert Lehman Foundation, Inc. Ronald McDonald House The John Ben Snow Memorial Trust Cecilia Young Willard Helping Fund Wright Family Foundation

$2,500 or more ALH Foundation, Inc. The Campbell Foundation, Inc. The Harry L. Gladding Foundation Israel and Mollie Myers Foundation Judith and Herschel Langenthal Jonathan and Beverly Myers The Jim and Patty Rouse Charitable Foundation, Inc. Sigma Alpha Iota

$1,000 or more Anonymous (1) Cameron and Jane Baird Foundation Balder Foundation Baltimore Community Foundation Robert Wood Johnson Foundation Ethel M. Looram Foundation, Inc. Mercer Human Resource Consulting Rathmann Family Foundation

Government Grants Mayor and City Council of Baltimore and the Baltimore Office of Promotion and the Arts Baltimore County Executive, County Council, and the Commission for the Arts and Sciences Carroll County Government & the Carroll County Arts Council The Family League of Baltimore City, Inc. Howard County Government & the Howard County Arts Council The Maryland Emergency Management Agency Maryland State Arts Council Maryland State Department of Education

Paul Meecham* President & CEO

Ann L. Rosenberg Bruce E. Rosenblum* The Honorable Steven R. Schuh Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr. Solomon H. Snyder, M.D.*

Richard E. Rudman* Vice Chair

Arts and Humanities Council of Montgomery County National Endowment for the Arts

LIFE DIRECTORS Peter G. Angelos, Esq.

Andrew A. Stern* Vice Chair & Treasurer

Willard Hackerman

Endowment

BOARD MEMBERS A.G.W. Biddle III

The BSO gratefully acknowledges the generosity of the following donors who have given Endowment Gifts to the Sustaining Greatness and/or the Heart of the Community campaigns. * Deceased Anonymous (6) Diane and Martin* Abeloff AEGON USA Alex. Brown & Sons Charitable Foundation Dr. and Mrs. Thomas E. Allen Eva and Andy Anderson Anne Arundel County Recreation and Parks Department William G. Baker, Jr. Memorial Fund Mr. H. Furlong Baldwin Baltimore Community Foundation Baltimore County Executive, County Council and the Commission on Arts and Baltimore Office of Promotion and the Arts The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates, Winnie Flattery, President Patricia and Michael J. Batza, Jr. Henry and Ruth Blaustein Rosenberg Foundation The Jacob and Hilda Blaustein Foundation Mr. and Mrs. Bruce I. Blum Dr. and Mrs. John E. Bordley* Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Dr. and Mrs. Oscar B. Camp Carefirst BlueCross BlueShield CitiFinancial Constellation Energy Mr. and Mrs. William H. Cowie, Jr. Richard A. Davis and Edith Wolpoff-Davis Rosalee C. and Richard Davison Foundation Mr. L. Patrick Deering, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. DLA Piper Rudnick Gray Cary US LLP Carol and Alan Edelman Dr. and Mrs. Robert Elkins Deborah and Philip English Esther and Ben Rosenbloom Foundation France-Merrick Foundation Sandra Levi Gerstung Ramon F.* and Constance A. Getzov John Gidwitz The Goldsmith Family Foundation, Inc. Joanne Gold and Andrew A. Stern Jody and Martin Grass Louise and Bert Grunwald H&S Bakery Mr. John Paterakis Harford County Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Betty Jean and Martin S. Himeles, Sr. Hoffberger Foundation Howard County Arts Council Harley W. Howell Charitable Foundation The Huether-McClelland Foundation Mr. and Mrs. Richard E. Hug Independent Can Company Laura Burrows-Jackson Beth J. Kaplan and Bruce P. Sholk Dr. and Mrs. Murray M. Kappelman Susan B. Katzenberg Marion I. and Henry J. Knott Scholarship Fund The Zanvyl and Isabelle Krieger Fund Anne and Paul Lambdin Therese* and Richard Lansburgh

H. Thomas Howell, Esq. Yo-Yo Ma Harvey M. Meyerhoff

Robert L. Bogomolny Andrew A. Buerger Richard T. Burns

Decatur H. Miller, Esq. Patricia B. Modell Linda Hambleton Panitz

Constance R. Caplan Robert B. Coutts

The Honorable William Donald Schaefer

Kenneth W. DeFontes, Jr*.

Dorothy McIlvain Scott

Susan Dorsey, Ph.D., Governing Members Chair

DIRECTORS EMERITI Barry D. Berman, Esq.

George A. Drastal*

L. Patrick Deering

Alan S. Edelman

Richard E. Hug

Ambassador Susan G. Esserman*

M. Sigmund Shapiro

Winnie Flattery ^ President, Baltimore Symphony Associates

CHAIRMAN LAUREATE Calman J. Zamoiski, Jr.

John P. Hollerbach Beth J. Kaplan Murray M. Kappelman, M.D. Sandra Levi-Gerstung Richard Levine, Esq. Jon H. Levinson

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST Benjamin H. Griswold IV Chairman Terry Meyerhoff Rubenstein Secretary Michael G. Bronfein

Ava Lias-Booker, Esq. Susan M. Liss, Esq.* Howard Majev, Esq. Liddy Manson

Mark R. Fetting Paul Meecham W. Gar Richlin Andrew A. Stern

Davis Oros

Calman J. Zamoiski, Jr.

Michael P. Pinto *Board Executive Committee ^ex-officio

Margery Pozefsky Scott Rifkin, M.D.

Upcoming Member-Only Event! > On-Stage Rehearsal with Jon Carney A Governing Member favorite! Join BSO supporters for this exclusive opportunity to sit beside members of the Orchestra and watch them rehearse Brahms and Bruch. Featuring BSO Concertmaster, Joanthan Carney. 1:15 p.m. - Light refreshments in the Meyerhoff Lobby and Rehearsal at 2 p.m. April 27, 2011, Governing Members, ($2,500+) Maximum on-stage capacity is limited to 40.

> Open Rehearsal An insider’s look at Maestra Marin Alsop and the Orchestra as they rehearse for an all-Schumann program, featuring: Overture to Manfred, Symphony No.1, Symphony No.2 9:15 a.m. - Light refreshments and Rehearsal at 10 a.m. May 12, 2011. For all BSO donors and Members $75+

> Cast Party Don’t miss the chance to meet a Baltimore favorite! Join us to celebrate after the concert with members of the Orchestra and Maestra Marin Alsop for a meet-and-greet with world-renowned pianist, Emanuel Ax! June 4, 2011, For Symphony Society Level Members ($1000+) All Events subject to change. To enjoy these events or to receive more information, please call the BSO’s Events hotline for Members at 410.783.8074 or email MemberEvents@BSOmusic.org.

March 4, 2011 – April 29, 2011

41

Baltimore Symphony Staff Paul Meecham President and CEO Barbara Kirk Executive Assistant Terry A. Armacost Vice President and CFO Deborah Broder Vice President of BSO at Strathmore Dale Hedding Vice President of Development

FACILITIES OPERATIONS Shirley Caudle Housekeeper Bertha Jones Senior Housekeeper Curtis Jones Building Services Manager Ivory Miller Maintenance Facilities

Eileen Andrews Vice President of Marketing and Communications

FINANCE AND INFORMATION TECHNOLOGY Jim Herberson Manager of Information Systems

Matthew Spivey Vice President of Artistic Operations

Sophia Jacobs Senior Accountant

ARTISTIC OPERATIONS Toby Blumenthal Manager of Facility Sales

Evinz Leigh Administration Associate

Tiffany Bryan Manager of Front of House Erik Finley Assistant to the Music Director Alicia Lin Director of Operations and Facilities Chris Monte Assistant Personnel Manager Steven Parker Food and Beverage Operations Manager Marilyn Rife Director of Orchestra Personnel and Human Resources Meg Sippey Artistic Coordinator EDUCATION Lindsay Gomes Academy Coordinator Cheryl Goodman OrchKids Director of Fundraising and Administration

Janice Johnson Senior Accountant

Sandra Michocki Controller and Senior Director of Business Analytics Carol Rhodes Payroll and Benefits Administrator MARKETING AND PUBLIC RELATIONS Claire Berlin PR and Publications Coordinator Rika Dixon Marketing Manager Laura Farmer Public Relations Manager Derek A. Johnson Marketing Coordinator, Advertising and Media Theresa Kopasek Marketing and PR Associate Samanatha Manganaro Direct Marketing Coordinator Kristen Pohl Group Sales Manager

Maestra’s Circle members Sheldon and Arlene Bearman join fellow major-gift donors at a dinner party. Endowment (continued) Sara and Elliot* Levi Levi-Gerstung Family Bernice and Donald S. Levinson Darielle and Earl Linehan Susan and Jeffrey* Liss Lockheed Martin E. J. Logan Foundation M&T Bank Macht Philanthropic Fund of the AJC Mrs. Clyde T. Marshall Maryland Department of Business and Economic Development The Maryland State Arts Council MD State Department of Education McCarthy Family Foundation McCormick & Company, Inc. Mr. Wilbur McGill, Jr. MIE Properties, Inc. Mr. Edward St. John Mercantile-Safe Deposit & Trust Joseph & Harvey Meyerhoff Family Charitable Funds Sally and Decatur Miller Ms. Michelle Moga Louise* and Alvin Myerberg / Wendy and Howard Jachman National Endowment for the Arts Mr. and Mrs. Bill Nerenberg Mrs. Daniel M. O’Connell Mr. and Mrs. James P. O’Conor Stanley and Linda Hambleton Panitz Cecile Pickford and John MacColl Dr. Thomas and Mrs. Margery Pozefsky Mr. and Mrs. T. Michael Preston

Donors relax in the Peter G. Angelos Governing Members Lounge before a concert.

Alison and Arnold Richman The James G. Robinson Family Mr. and Mrs. Theo C. Rodgers Mr. and Mrs. Randolph* S. Rothschild The Rouse Company Foundation Nathan G.* and Edna J. Rubin The Rymland Foundation S. Kann Sons Company Foundation, Inc. B. Bernei Burgunder, Jr. Dr. Henry Sanborn Saul Ewing LLP Mrs. Alexander J. Schaffer Mr. and Mrs. J. Mark Schapiro Eugene Scheffres and Richard E. Hartt* Mrs. Muriel Schiller Dorothy McIlvain Scott Mrs. Clair Zamoiski Segal and Mr. Thomas Segal Ida & Joseph Shapiro Foundation and Diane and Albert Shapiro Mr. and Mrs. Earle K. Shawe The Sheridan Foundation Richard H. Shindell and Family Dr. and Mrs. Solomon H. Snyder The St. Paul Companies Barbara and Julian Stanley T. Rowe Price Associates Foundation, Inc. The Alvin and Fanny Blaustein Thalheimer Guest Artist Fund Alvin and Fanny B. Thalheimer Foundation, Inc. TravelersGroup The Aber and Louise Unger Fund

Jamie Schneider Marketing Manager, E-Commerce and Digital

Nick Skinner OrchKids Site Manager

Elisa Watson Graphic Designer

In 1986, the Board of Directors of the Baltimore Symphony Orchestra established The Legato Circle in recognition of those individuals who have notified the BSO of a planned gift, including gifts through estate plans or life-income arrangements.

TICKET SERVICES Amy Bruce Manager of Special Events and VIP Ticketing

Bequests and planned gifts are the greatest source of security for the BSO’s future! The Symphony depends on lasting gifts such as these to help fund our diverse musical programs and activities. Members of The Legato Circle play a vital and permanent role in the Symphony’s future.

Dan Trahey OrchKids Director of Artistic Program Development DEVELOPMENT Jennifer Barton Development Program Assistant Margaret Blake Development Office Manager Allison Burr-Livingstone Grants Program Manager Alana Morrall Director of Individual and Institutional Giving Rebecca Potter Corporate Relations Coordinator Joanne M. Rosenthal Director of Major Gifts, Planned Giving and Government Relations Elspeth Shaw Annual Fund Manager Richard Spero Community Liaison for BSO at Strathmore Emily Wise Donor Relations Manager, BSO at Strathmore

42

Overture

Gabriel Garcia Ticket Services Agent Adrian Hilliard Senior Ticket Services Agent, Strathmore

If you have named the BSO in your estate plans, please contact Joanne Rosenthal at 410-783-8010 or jrosenthal@bsomusic.org to join the Legato Circle. We gratefully acknowledge the following Donors who have included the Baltimore Symphony Orchestra in their Estate Plans.

Timothy Lidard Assistant Ticket Services Manager

(F) Founding Member (N) New Member

Kathy Marciano Director of Ticket Services

* Deceased

Peter Murphy Ticket Services Manager Michael Suit Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht Symphony Store Volunteer Manager Louise Reiner Office Manager

Baltimore Symphony Associates Executive Committee Winnie Flattery, President Marge Penhallegon, President-Elect Linda Kacur, Recording Secretary Vivian Kastendike, Corresponding Secretary Barbara Kelly, Treasurer Jim Doran, Vice President, Communications Larry Townsend, Vice President, Education Estelle Harris, Vice President, Meetings and Programs Sandy Feldman, Vice President, Recruitment and Membership Deborah Stetson, Vice President, Special Services and Events Larry Albrecht, Vice President, Symphony Store LaVerne M. Grove, Parliamentarian Barbara C. Booth, Past President

The Legato Circle

Lisa A. Sheppley Associate Director of Education

Larry Townsend Education Assistant

Venable LLP Wachovia Robert A. Waidner Foundation The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman Mr. and Mrs. Jay M. Wilson / Mr. and Mrs. Bruce P. Wilson The Zamoiski-Barber-Segal Family Foundation

Anonymous (5) Donna B. and Paul J. Amico Hellmut D.W. “Hank” Bauer Deborah R. Berman Mrs. Alma T. Martien Bond* Mrs. Phyllis B. Brotman (F) W. George Bowles* Dr. Robert P. Burchard Mrs. Frances H. Burman* Joseph and Jean Carando* Mrs. Selma Carton Harvey A. Cohen, Ph.D. (N) Clarence B. Coleman* Mr. and Mrs. William H. Cowie, Jr. James Davis Roberta L.* and Richard A. Davis L. Patrick Deering (F) Ronald E. Dencker Freda (Gordon) Dunn

Dr. Perry A. Eagle* (F) H. Lawrence Eiring, CRM Carol and Alan Edelman Anne “Shiny” and Robert M. Evans Mr. and Mrs. Maurice R. Feldman Winnie and Bill Flattery Haswell M. and Madeline S. Franklin Mr. Kenneth J. Freed Douglas Goodwin* Samuel G*. and Margaret A. Gorn (F) Robert E. Greenfield Sue and Jan K. Guben Carole B. Hamlin Miss M. Eulalia Harbaugh Ms. Denise Hargrove Gwynne and Leonard Horwits Mr. and Mrs. H. Thomas Howell Mr. and Mrs. Richard E. Hug Judith C. Johnson* Dr. and Mrs. Murray M. Kappelman

Suzan Russell Kiepper Miss Dorothy B. Krug Ruth and Jay Lenrow Joyce and Dr. Harry Letaw, Jr. Robert and Ryda H. Levi* Bernice S. Levinson Estate of Ruby Loflin-Flaccoe* Mrs. Jean M. Malkmus Ruth R. Marder* Mrs. George R. McClelland Mr. Roy E.* and Mrs. M. Moon Robert and Marion Neiman Mrs. Daniel M. O’Connell Stanley and Linda Hambleton Panitz Margaret Powell Payne* Beverly and Sam Penn (F) Mrs. Margery Pozefsky G. Edward Reahl, Jr. M.D. Nancy Rice (N) Mr. William G. Robertson, Jr.* Randolph S.* and Amalie R.* Rothschild Dr. Henry Sanborn Eugene Scheffres* and Richard E. Hartt* Mrs. Muriel Schiller (F) Dr. Albert Shapiro* Dr. and Mrs. Harry S. Stevens Howard A. and Rena S. Sugar* Mr. Michael R. Tardif (N) Roy and Carol Thomas Fund for the Arts Dr. and Mrs. Carvel Tiekert Leonard Topper Ingeborg B. Weinberger W. Owen and Nancy J. Williams Charles* and Shirley Wunder Mr. and Mrs. Calman J. Zamoiski, Jr.

PHOTO PROVIDED

impromptu LOOKING AT KARIN BROWN, the words “daredevil” and “adventuress” don’t immediately spring to mind. The petite BSO violist is a self-admitted “fashionista,” who is more likely to be sporting a pair of Italian boots from her extensive shoe collection than she is to be dressed in the performance footwear befitting a modern-day outdoorswoman. But Brown has a secret: She likes to climb mountains. Big mountains. Last summer over the course of a single week in June the novice climber scaled Colorado’s Twin Sisters Mountain (11,428 ft.) and Flattop Mountain (12,361 ft.) before taking on her first “fourteener,” the 14,043-foot peak, Mount Sherman. “I call myself the obscure adventuress because nobody has any idea that I do this,” she says. In August, Brown climbed the challenging Half Dome in Yosemite National Park, the last 400 feet of which requires climbers to hoist their way up to the rocky peak while holding onto two steel cables. When she encountered a traffic jam of climbers on her descent she swung out onto a single cable and went hand over hand. The climb was a major adrenaline rush. “It’s a crazy life being a musician, so for me climbing is this great sort of stress relief,” Brown says. “I like a good challenge and climbing is like learning a piece of hard music. You just want to prove to yourself that you can do it.” This summer the musician hopes to scale Tanzania’s Mount Kilimanjaro, the world’s highest freestanding mountain. And one day Brown wants to climb Mount Everest, although she’s not sure ascending to the top of the 29,029-foot mountain would be wise, given the effect the freezing temperatures could have on her musical career. “I probably shouldn’t go higher than one of the base camps because being a violist, I’m going to need all of my fingers.” And given her love for shoes, “I wouldn’t mind having all of my toes, too.” — Maria Blackburn

CARE NETWORK SINCE 1957

The musician sets a picture to music.

Hear Robert Schumann’s Symphony No. 1 in B-flat major, “Spring,” on Wednesday, April 27, at 8:00 pm in Miriam A. Friedberg Concert Hall 17 East Mount Vernon Place Peabody Concert Orchestra Peabody Singers Peabody-Hopkins Chorus Edward Polochick, Associate Conductor and Choral Director For tickets, call 410-234-4800 Visit www.peabody.jhu.edu/events for Audio Program Notes and the complete 2010-2011 Peabody Concert Calendar AUDIO PROGRAM

CALL US WHEN EXPERIENCED, COMPASSIONATE CARE MATTERS MOST

410-323-1700 • 1-888-353-1700 WWW.ELIZABETHCOONEYAGENCY.COM

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R.N.S L.P.N.S CERTIFIED NURSING AIDES HOME NURSING CARE COMPANIONS ESCORT TRANSPORTATION PERSONAL ASSISTANCE HOURLY LIVE-IN EMERGENCY RESPITE

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SHORT LONG-TERM PRIVATE DUTY FLEXIBLE CARE OPTIONS CUSTOMIZED CARE CARING FOR FIVE GENERATIONS OF FAMILIES

LICENSED & BONDED | MOST INSURANCE AND CREDIT CARDS ACCEPTED | 24-HOUR SERVICE

TRUST, INTEGRITY & EXCELLENCE SINCE 1957 March 4, 2011 – April 29, 2011

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