Overture May-June 2011 by Baltimore Symphony Orchestra

overture Tuned In,

Turned On The growth of OrchKids has brought more than music into the lives of the program’s young participants.

A MAGAZINE FOR THE PATRONS OF THE BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP, MUSIC DIRECTOR MAY 6, 2011 - JUNE 12, 2011

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contents

8 The growth of OrchKids has brought TUNED IN, TURNED ON

PROGRAM NOTES 13 MAY 6 & 8

Songs of the Earth

more than music into the lives of the program’s young participants.

16 MAY 12 & 15 Robert Schumann -

BY MARIA BLACKBURN

19 MAY 14

Schumann’s Beautiful Mind

20 MAY 20-22

Rodgers & Hammerstein at the Movies

22 MAY 27

Mahler, Sibelius and Walton

26 JUN 3-5

Emanuel Ax Plays Brahms

29 JUN 9, 10

Verdi’s Requiem

LETTER FROM THE PRESIDENT AND CEO

IN TEMPO

BSO LIVE

A Romantic Original

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

ORCHESTRA ROSTER

DONORS

IMPROMPTU

French horn player Mary Bisson takes a hands-on approach to building a home from the ground up.

& 12

overture

f ro m t h e

president Dear Friends,

BSOmusic.org • 410.783.8000

Karen R. Bark Maggie Moseley-Farley Marcie Jeffers Andrea Medved Kim Copenspire Zetlmeisl Sales Consultants

Our subscription series for the 2011-2012 season began in March and we are thrilled with the overwhelming response to date.The upcoming season will be a year-long celebration of “Revolutionary Women” and will feature works by female composers and music that honors and depicts women in various roles throughout history. To commemorate the 600th anniversary of the birth of Joan of Arc, the BSO will present special performances of Arthur Honegger’s oratorio Jeanne d’Arc au Bûcher (November) and Richard Einhorn’s score Voices of Light (March), which accompanies a classic silent movie.The season is also filled with notable guest artists such as pianists Leon Fleisher and André Watts, violinists Itzhak Perlman and Nadja Salerno-Sonnenberg, and conductors Vasily Petrenko, Louis Langrée and Yan Pascal Tortelier. If you haven’t renewed your subscription or are still considering becoming a new subscriber for the 2011-2012 season, please don’t delay—seats are selling fast! We are pleased to announce that this summer will mark the second annual BSO Academy hosted here at the Meyerhoff with the support of The Andrew W. Mellon Foundation. In June (12-18), more than 90 amateur adult musicians will have the opportunity to spend a week learning and performing alongside professional musicians from the BSO.The week culminates with an exclusive concert on June 18 at 7:30 p.m. at the Meyerhoff for all BSO donors who give $75 and above. This summer’s programming includes our all-American holiday celebration and Baltimore tradition, Star-Spangled Spectacular (July 2-3) at Oregon Ridge Park with spectacular fireworks. Music from the group Rockapella (July 7) will have you singing along and The Classical Mystery Tour – A Tribute to The Beatles (July 15) will feature hits such as “Penny Lane” and “Yesterday.” Epic film music from Star Wars, Indiana Jones and other iconic movies will be featured in the Music of John Williams (July 22 at the Meyerhoff and July 23 at Oregon Ridge Park). And finally, we conclude our BSO summer concert series with A Gershwin Celebration (July 29) and Distant Worlds: music from FINAL FANTASY (July 30).

Jeni Mann Director of Custom Media

My best wishes for a healthy and happy summer.

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 & 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 Sales & Marketing

Heidi Traband Advertising Designer Cover Photography by Bill Denison Design and Advertising Sales Alter Custom Media 1040 Park Ave., Suite 200 Baltimore, MD 21201 443.451.0736

www.altercustommedia.com

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 them when you’re through.

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 4

Overture

tempo

New 2011-2012 Season Celebrates Revolutionary Women

PETER MILLER

HILARY HAHN

RICHARD EINHORN

News of note

JOAN OF ARC

Hilary Hahn (top) and Richard Einhorn’s Voices of Light, paired with the silent film The Passion of Joan of Arc, are just two highlights of the BSO’s 2011–2012 season.

Music Director Marin Alsop and the Baltimore Symphony Orchestra announce the Orchestra’s 2011-2012 season, the fifth full season under the direction of Maestra Alsop. The upcoming season is a year-long celebration of “Revolutionary Women,” featuring works by female composers and music that honors or depicts women in important roles throughout history. January 2012 marks the 600th anniversary of the birth of Joan of Arc. The BSO commemorates the event with two well-known works: the 1935 masterpiece Jeanne d’Arc au Bûcher by Swiss composer Arthur Honegger, a project that the BSO will also perform at Carnegie Hall, and Richard Einhorn’s Voices of Light, composed to accompany the landmark 1928 silent film The Passion of Joan of Arc. Next season the musical partnership between Marin Alsop and the BSO will reach audiences on both the East and West coasts. Excluding select Carnegie Hall and Kennedy Center engagements, this will mark the Orchestra’s first tour under Marin Alsop. In addition to performing at Carnegie Hall in November 2011, the BSO will also travel to the West Coast in March 2012 to perform concerts in California and Oregon. The BSO will present two multimedia presentations in the 2011-2012 season, bolstering the Orchestra’s efforts to attract, engage and serve new audiences in the 21st century by creating innovative access points. These include Philip Glass’ LIFE: A Journey Through Time, paired with stunning photographs by National Geographic photographer Frans Lanting, and Richard Einhorn’s Voices of Light, paired with the silent film The Passion of Joan of Arc. And as always, the upcoming concert season boasts a lineup of some of the world’s most in-demand artists, such as André Watts, Itzhak Perlman, Leon Fleisher and Hilary Hahn. To view the entire 2011-2012 lineup, including Classical, BSO SuperPops, Family Concerts and Off the Cuff series, please visit BSOmusic.org.

The 35th Annual Decorators’ Show House to Benefit BSO’s Education Programs Moves Downtown! Need interior design inspiration for your home? Then the Baltimore Symphony Associates (BSA) 35th Annual Decorators’ Show House is the event for you. This year’s event, which runs from May 7 through May 30, will take place in two luxury condos of the Ritz-Carlton Residences in Baltimore’s Inner Harbor. Each room of the condos features brilliant interior designs from more than 50 awardwinning Maryland designers.The BSA’s most popular annual fundraiser will display new trends in fabric and design for home

décor, inspired by the landscape of Baltimore’s harbor. Show House hours are Tuesdays, Wednesdays, Fridays, Saturdays and Sundays from 10 a.m. to 5 p.m.,Thursdays from

10 a.m. to 8 p.m., and Monday, May 30th from 10 a.m. to 5 p.m.Tickets are $25 in advance and are available through the BSO ticket office, BSOmusic.org and at all Graul’s Markets.Tickets are $30 at the door.

PHOTOGRAPH BY EVAN JOSEPH. COURTESY OF THE RITZ-CARLTON RESIDENCES.

May 6, 2011 – June 12, 2011

Emanuel Ax Fri, June 3, 8 p.m. Sat, June 4, 8 p.m. Sun, June 5, 3 p.m. Joseph Meyerhoff Symphony Hall Marin Alsop, conductor Emanuel Ax, piano

The season’s celebration of youth comes to a conclusion with Benjamin Britten’s delightfully infectious tour of instruments of the orchestra in Young Person’s Guide to the Orchestra, as well as the First Piano Concerto by Johannes Brahms. Marin Alsop also introduces a new work, Sidereus, by the ArgentineAmerican composer Osvaldo Golijov.

J HENRY FAIR

EMANUEL AX

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

Upcoming key events

featuring such favorite works as Tchaikovsky’s 1812 Overture and Sousa’s Stars and Stripes Forever, and culminating in a breathtaking fireworks display. A cozy blanket is the perfect seat for the sloping green lawn of Oregon Ridge as the BSO takes to the bandstand and lights up the night. Oregon Ridge Park opens at 5 p.m. Kids 12 and under half price.

Rockapella Thur, July 7, 7:30 p.m. Joseph Meyerhoff Symphony Hall

As evidenced by the hit television series Glee, Rockappella has officially taken the world by storm. Join us for this spectacular concert featuring one of the most accomplished contemporary a cappella groups in the country as they showcase the supreme capability and virtuosity of the human voice. Rockapella is sure to leave you wanting more. Please note: The BSO does not perform on this program.

Classical Mystery Tour – A Tribute to The Beatles Fri, July 15, 7:30 p.m. Joseph Meyerhoff Symphony Hall Elizabeth Schulze, conductor

Marin Alsop and the BSO close the season with Giuseppe Verdi’s awe-inspiring Requiem.

This thrilling Beatles retrospective features chart-topping tunes by the Fab Four complete with original arrangements. From early Beatles favorites through the solo years, “Classical Mystery Tour” is an authentic concert experience enhanced by live orchestral accompaniment to such hits as “Penny Lane” and “Yesterday” with an acoustic guitar and string quartet.

The Star-Spangled Spectacular

Music of John Williams

Sat, July 2, 8 p.m. Sun, July 3, 8 p.m. Oregon Ridge Park

Fri, July 22, 7:30 p.m. Joseph Meyerhoff Symphony Hall

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

Bob Bernhardt, conductor

Be sure to bring your picnic basket for this all-American holiday celebration, 6

Overture

Sat, July 23, 8 p.m. Oregon Ridge Park Andrew Grams, conductor

The world’s most noted film composer,

John Williams created some of the 20th century’s most recognizable popular music. Join us for a celebration of this great contemporary film composer and hear the familiar themes from blockbusters such as Star Wars, E.T. and more. ROCKAPELLA

COURTESY OF THE BSO

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A Gershwin Celebration Fri, July 29, 7:30 p.m. Joseph Meyerhoff Symphony Hall Carl Topilow, conductor Kishna Davis, soprano Terrence Wilson, piano

A jazz-filled program of classic Gershwin, featuring his groundbreaking Rhapsody in Blue and the ever-popular “I Got Rhythm” Variations for solo piano. Relax into summer with this upbeat evening of classic Americana.

Distant Worlds: music from FINAL FANTASY Sat, July 30, 7:30 p.m. Joseph Meyerhoff Symphony Hall Arnie Roth, conductor The Handel Choir of Baltimore Melinda O’Neal, chorusmaster

Join the BSO for an exhilarating experience that combines the music of famous Japanese video game composer Nobuo Uematsu with graphics from the wildly popular Final Fantasy series. This concert will feature music from Final Fantasy I through IX. To purchase tickets, please contact the BSO Ticket Office at 410.783.8000, 877.BSO.1444 or BSOmusic.org.

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Tuned In,

Turned On The growth of OrchKids has brought more than music into the lives of the program’s young participants. By Maria Blackburn Asia Palmer, 10, now in her third year with OrchKids, says, “Playing the flute makes me feel like I’m floating on air.”

n a recent afternoon, the West Baltimore neighborhood surrounding

Lockerman-Bundy Elementary School is quiet and still. Cars and trucks

zoom by on their way to North Avenue and Route 40, the lack of shops and restaurants giving drivers little reason to stop. Many of the nearby row houses are boarded up or dark inside. Plastic bags and flattened soda cans skitter across sidewalks or take flight in the whipping wind. But inside Lockerman-Bundy, the air is filled with voices and energy and music. It is just a few minutes before OrchKids will perform, and as 100 young musicians excitedly tune up and prepare for the concert, the audience of parents, toddlers, students and teachers bustle into the gym and take their seats. It’s noisy and lively, and as Glennette Fullwood selects a chair and sits down, she smiles with anticipation. There is no place she would rather be. Fullwood’s 8-year-old son, Kejuan, plays trumpet with OrchKids, and

IN 2008,when the BSO established OrchKids as a year-round music education and outreach program, it was an ambitious idea.Take children from one of the most disadvantaged neighborhoods in Baltimore City and expose them almost daily to music: listening to it, playing it, singing it, talking about it and practicing it. Give them flutes, cellos, baritones, clarinets, trumpets and violins, and let them take the instruments home.Take the students to the Meyerhoff, the Peabody Conservatory, to art museums and Camden Yards, and show them the world outside of their neighborhoods, all the while expanding the BSO’s relevance in the city’s diverse communities. The program—which has a handful of community partners, including the Peabody Institute,T. Rowe Price and Calvert Hall College High School—was inspired by the

the concerts are an opportunity for her to observe all that he and his classmates have learned. She’s been looking forward to this for days. “Every time the kids have a concert, I tell my boss at the nursing home where I work that I have to take off to see them play,” she says.

Glennette Fullwood, with 8-year-old son Kejuan, looks forward to OrchKids concerts.

Overture

KIRSTEN BECKERMAN

“I wouldn’t miss this for anything.”

O’Malley and Baltimore Mayor Stephanie Rawlings-Blake; played dozens of concerts including one at ArtScape; been interviewed on 60 Minutes; debuted a piece by David Rimelis, commissioned for them, in a concert with the BSO; been featured as a question on Jeopardy; and inspired people in cities like Allentown, Pennsylvania, and Fort Worth,Texas, to start music education and community outreach programs of their own. It’s pretty heady stuff for a group of kids still years away from their teens, but the OrchKids take it all in stride.Asked whether she was excited to play her flute on the Meyerhoff ’s expansive stage as part of the BSO’s “Pied Piper Fantasy” concert in March, 10-year-old Asia Palmer, who is in her third year of the program, confides, “You know, I’ve sat on that stage before to watch a concert and I’ve conducted with Miss Marin, too.”Asia wasn’t nervous at the concert. She rarely is when she performs. “Playing the flute makes me feel like I’m floating on air.” Musically, the children in OrchKids have grown by leaps and bounds, becoming more confident in their playing, finding their own voices as artists, and learning how to be part of an ensemble and work as a team. In 2009, the first group of 15 OrchKids selected instruments and began taking lessons and bringing their instruments home to practice.This year another 40 OrchKids took that step in their musical education. Many of these students are starting an instrument as much as six years earlier than the national average.“Many times when I walk into these classrooms and I hear these kids playing, I can’t help but be blown away,” says Nick Skinner, OrchKids site manager.“Every day is a miracle.” The children’s development hasn’t only been musical; the program has impacted

BILL DENISON

KIRSTEN BECKERMAN

successful El Sistema initiative in Venezuela. But nothing like OrchKids had ever been attempted in Baltimore.“We didn’t know what to expect in terms of how many kids would want to be involved, how many parents would want their children to participate,” says BSO Music Director Marin Alsop, who founded OrchKids with a $100,000 donation. As it turns out, OrchKids hasn’t just grown, it’s blossomed.“We’ve just been running to keep up with the interest level and the demand,” says Alsop. From the original group of 30 first-graders at the Harriet Tubman Elementary School, OrchKids now has 240 students ranging in age from 3 to 12 years old at two West Baltimore schools: Lockerman-Bundy and New Song Academy. All OrchKids, pre-K through third grade, take a musicianship class during the school day, while older children stay after school for a host of activities, including tutoring, choir, instrument lessons, bucket band and ensemble. Drop into Lockerman-Bundy one afternoon and you’ll find OrchKids in every nook and cranny of the building.You might encounter Jada Lassiter, 10, and three of her siblings,Ashanti, Jonah and La Terra, rehearsing “All You Need is Love” with the choir in a multipurpose room upstairs. Perhaps you will find exploratory music instructor Karen Seward briskly quizzing first-year OrchKids on the parts of the trumpet. Or maybe you’ll see 6-year-old Nickea Johnson in violin class plucking the notes A-A-D-D-G on a 1/10-size violin. She’s only been playing a few weeks, but she’s already smitten.“I love everything about OrchKids,” she declares.“Everything.” If you want to gauge the success of OrchKids, you could look at some of their accomplishments. Since 2008 the children have: met Maryland Governor Martin

Left to right: Nickea Johnson, 6, performs at a recent OrchKids concert; Sherie Jeffreys, OrchKids tutor, enrichment instructor and snack coordinator, helps a young participant; the program begins introduction to the percussion family as early as pre-K with the use of sticks and Orff instruments.

their grades, attendance and conduct as well. By the end of the first year of OrchKids, half of the participants improved in reading and math by one grade, says Dan Trahey, director of artistic program development for OrchKids.“Their self-efficacy has improved, too,” he adds.“When we started this program, the kids would say,‘I am going to graduate from the third grade.’ Now they say,‘I am going to graduate from college.’” In the two years since OrchKids moved to Lockerman-Bundy from Harriet Tubman Elementary School, Shirley Dessesow, the school’s parent/student liaison, has seen a transformation in the students.“This is the best thing that could happen here,” she says. “It’s a positive program that involves not only music, but reading, math, following directions, being a good listener, being responsible—all things that they will need to be successful in life.” OrchKids is also a powerful incentive to come to school regularly, keep up with their studies and behave, she says.“For these kids it hurts for them to have to stay in the office to finish their classwork and miss even a minute of OrchKids.” For students like Malik Conway, a thirdgrader with seemingly boundless energy, OrchKids has been a godsend, according to his mother Chante Kiley.“With me being a single mother, having all these male role models has been great for Malik,” she says. In addition, Malik, who is prone to angry outbursts, has been behaving better at school since he started in the program.“Malik knows he has to control his behavior so he

May 6, 2011 – June 12, 2011

KIRSTEN BECKERMAN KIRSTEN BECKERMAN

Left: Brian Prechtl, percussionist with the BSO, leads the OrchKids bucket band in collaboration with the Archipelago Project musicians. Above: OrchKids second-grader Joshua Grandy, 8, and his mother Fredericka beam after a recent concert at Lockerman-Bundy.

can go to OrchKids. He wants to be here so badly that he does it.” Next year, OrchKids programs at Lockerman-Bundy and New Song Academy will add more grades, and Trahey says he hopes to add a third site at another West Baltimore elementary school.There’s also talk of adding more for parents, such as parent/child music classes for babies and a choir.There is still so much more to do. “I would like to see OrchKids available to every single Baltimore public school child—that’s 83,000 kids,” says Alsop. “Ultimately, I hope these kids are the leaders in their communities.” The BSO can do all that it can to communicate the impact OrchKids is having, but in the end it is better to hear it for yourself. An OrchKids concert is a spirited affair, replete with singing, drumming, ensemble performances and a wide variety of music. At a recent concert, which capped off a

weeklong workshop with the Archipelago Project, the non-profit music education ensemble that Trahey founded in 2002, a standing-room-only crowd packed the Lockerman-Bundy gym.They listened to the chorus belt out “The Lion Sleeps Tonight” and heard a group of trumpeters play “C-Jam Blues,” a song they had only recently mastered.The audience sang along when the ensemble played a Swahili call-and-response song and lit up when the bucket band jam erupted into a raucous impromptu dance party—which inspired Malik Conaway to skip through the crowd playing his flute.The energy in the room was electric.And Glennette Fullwood was beaming with pride, not just for Kejuan, but for all of the OrchKids.“They sound so different than they did when they started,” she says.“They’re growing.” At the end of the afternoon concert, the children packed up their instruments and returned to class to prepare for school

First there were 30. Now there are 240. And with each year, the number of OrchKids will continue to grow. Every year OrchKids touches the lives of more and more Baltimore City school children through an innovative program that blends music education with social and learning opportunities designed to empower students and their communities. This isn’t just about music. It’s about social change. But transforming the lives of children affected by poverty, crime and faltering schools takes commitment and funding. It costs $1,650 per year to grow an OrchKid. And the BSO can’t do it alone. To donate to OrchKids, sponsor a student or volunteer, please go to www.OrchKids.org and click on “Support.”

Overture

dismissal. Friday is the one day of the week with no after-school OrchKids activities. Most afternoons, when the bell rings to end the school day, it’s time for OrchKids choir rehearsal, instrument lessons and homework help. By the time family members and friends start arriving to take the kids home, it is 6:15 p.m., and parents like Tracie Johnson are eager to get home to prepare for another busy day. Yet on a recent weekday evening, her daughter Nickea is dragging her feet after spending 10-plus hours at school. Parka zipped, hood pulled up, the kindergartner slowly walks to the front door of Lockerman-Bundy. She grabs the door frame and clings to it for several seconds after her mother has already headed out into the night. Tonight she will dream of the violin, she says shyly. Tomorrow she will play it. Right now she doesn’t want to leave.

Or purchase a copy of Baltimore Counts!, a children’s picture book with original artwork donated by award-winning Baltimore visual artists at www.hollandbrownbooks.com/Baltimore_Counts!.html. All proceeds from your purchases will be donated to OrchKids. Questions? Contact Cheryl T. Goodman (cgoodman@bsomusic.org) at 410-783-8025 or Dan Trahey (dtrahey@bsomusic.org). Early Education Sponsor:

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May 6, 2011 – June 12, 2011

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. 12

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 Gregorian Acting 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 Marin Alsop Friday, May 6, 2011 8 p.m.

For Marin Alsop’s bio, please see p. 12.

Sunday, May 8, 2011 3 p.m.

Theodora Hanslowe In the 2010-2011 season,Theodora Hanslowe returns to the Metropolitan Opera as Alisa in Lucia di Lammermoor. Last season she joined the company to sing the role of Countess in Shostakovich’s The Nose, sang as soloist in Messiah with the Nashville Symphony, Israelitish Man in Judas Maccabeus with the Berkshire Choral Festival and in Mahler’s Das Lied von der Erde with Sinfonietta of Riverdale. She has sung in concert as soloist with the Boston Symphony Orchestra (André Previn), San Francisco Symphony (Michael Tilson Thomas), St. Paul Chamber Orchestra, Indianapolis Symphony (Raymond Leppard), Huntsville and Dallas symphony orchestras and Cathedral Choral Society at National Cathedral. She made her Carnegie Hall debut singing Berlioz’ Les nuits d’été with St. Louis Symphony.

Joseph Meyerhoff Symphony Hall

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

Songs of the Earth Presenting Sponsor:

Marin Alsop Theodora Hanslowe Simon O’Neill

Conductor Mezzo-Soprano Tenor

Felix Mendelssohn

Symphony No. 4 in A Major, opus 90, “Italian” Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

Simon O’Neill

Gustav Mahler

Das Lied von der Erde Das Trinklied vom Jammer der Erde [The Drinking Song of Earth’s Misery] Der Einsame im Herbst [The Lonely One in Autumn] Von der Jugend [Of Youth] Von der Schönheit [Of Beauty] Der Trunkene im Frühling [The Drunk in Spring] Der Abschied [The Parting] THEODORA HANSLOWE SIMON O’NEILL

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

Media Sponsor: WBAL Radio Support for this program is generously provided by

LISA KOHLER

INTERMISSION

Simon O’Neill has rapidly established himself as one of the finest helden-tenors on the international stage.A native of New Zealand, he is a principal artist with the Metropolitan Opera, the Royal Opera House, Covent Garden, La Scala and both the Bayreuth and Salzburg festivals, appearing with a number of illustrious conductors including James Levine, Riccardo Muti,Valery Gergiev, Antonio Pappano, Daniel Barenboim, Pierre Boulez, Sir Charles Mackerras, Daniele Gatti, Edo de Waart, Bertrand de Billy, Donald Runnicles and Pietari Inkinen. On extremely short notice, Mr. O’Neill made his debut in the title role of Verdi’s Otello in concert at the Barbican with the London Symphony Orchestra conducted by Sir Colin Davis. His performance was widely acclaimed by critics. His discography includes Father and Son,Wagner Scenes and Arias (Lohengrin, Parsifal, Siegmund and May 6, 2011 – June 12, 2011

p ro g r a m notes Siegfried) with Pietari Inkinen and the NZSO for EMI; the title role in Otello with Sir Colin Davis with the LSO; Die Zauberflöte for the Salzburg Festival Mozart 25 DVD with Riccardo Muti; Der Freischütz with Bertrand de Billy; Mahler’s Eighth Symphony with Vladimir Ashkenanzy and the Sydney Symphony; and Chausson’s Le Roi Arthus with Leon Botstein and the BBC Symphony Orchestra. Mr. O’Neill is an alumnus of the University of Otago,Victoria University of Wellington, the Manhattan School of Music and The Juilliard Opera Center. He was a Fulbright Scholar, was awarded the 2005 Arts Laureate of New Zealand and was a grand finalist in the 2002 Metropolitan Opera National Auditions, returning as guest artist in 2007. He also appears on the 1998 New Zealand onedollar performing arts postage stamp. NOTES ON THE PROGRAM Symphony No. 4 in A Major, “Italian”

Felix Mendelssohn Born in Hamburg, Germany, February 3, 1809; died in Leipzig, Germany, November 4, 1847

“This is Italy! And now has begun what I have always thought … to be the supreme joy in life.And I am loving it.Today was so rich that now, in the evening, I must collect myself a little, and so I am writing to you to thank you, dear parents, for having given me all this happiness …” The 21-year-old Felix Mendelssohn wrote these words to his family on October 10, 1830 upon arriving in Venice. His parents deserved thanks, for it was their wealth that had made possible this second installment of his Grand Tour of Europe. The previous year had taken him to the British Isles and sown the seeds for his “Scottish” Symphony; his journeys in and around Venice, Florence, Rome, and Naples from October 1830 to July 1831 would inspire his other most popular symphony, the sunlit “Italian.” Though he found much in the Italian culture that offended his fastidious German soul, the young composer threw himself into his Italian experience with gusto not only making pilgrimages to all the great museums and churches, but also reveling in Rome’s pre-Lenten carnival season and 14

Overture

taking long hikes in the countryside. Soon he began work on a new symphony inspired by this captivating land. But possessed with good looks and a charming personality, he made little progress; as he confessed in another letter home, he had so many calling cards stuck in his mirror that he need never spend an evening alone. After returning to Germany, however, the “Italian” Symphony began to take shape during the winter of 1832, spurred on by a commission from the London Philharmonic Society. Despite its air of spontaneity and effortlessness, the symphony cost Mendelssohn a great deal of sweat. Even after its highly successful premiere by the London Philharmonic on May 13, 1833 under his own baton, he continued to anguish over it. Ultimately, it was not published until after his death. Mendelssohn left behind instructions for its improvement, but fortunately—since many consider the “Italian” to be among the most perfectly crafted of all symphonies—nobody has ever implemented them. First movement: With its upwardleaping theme for violins above throbbing woodwinds, the “Italian” has one of the easiest to remember openings in the symphonic canon: an irresistible musical expression of youthful high spirits and sheer joy. Clarity and lightness mark the orchestration of one of Mendelssohn’s finest scores in which exactly the right color mixture is found for each mood.A rhythmically vigorous new tune delays its appearance until the development section, where it becomes the subject of a lively string fugue—Mendelssohn certainly had not worshipped at Bach’s shrine in vain! The slower second movement in D minor is a masterpiece of atmosphere and scene painting. It was apparently inspired by a religious procession Mendelssohn witnessed in Naples, and the constant “walking bass” line carries the processional feeling.Above it, the haunting timbres of oboes, bassoons and violas introduce a grave and lovely melody.When the violins succeed them, they are partnered by two flutes weaving a cool obbligato above.At midpoint, clarinets offer a flowing, heartfelt new theme.Throughout, a wailing motive, rising and falling a half step, suggests the cries of the pilgrims.The procession gradually fades into the distance.

Instead of following Beethoven’s pattern of an earthy scherzo third movement, Mendelssohn reached back to an earlier age for a very Classical minuet and trio. But the string writing is more lush and the sentiment stronger than in Mozart’s minuets, and the trio has a warm nobility with its Germanic-sounding horn and bassoon parts. Italy and the spirit of the Roman carnival return in the vivacious finale, based on the Italian leaping dance, the saltarello. In an unusual choice, this is a minor-mode (A minor) conclusion to a work that began in major. But Mendelssohn had the gift for writing very lighthearted music in minor keys—remember his Violin Concerto in E Minor.And indeed high spirits and nonstop energy propel this dance to its whirling conclusion. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Das Lied von der Erde (“The Song of the Earth”)

Gustav Mahler Born in Kalischt, Bohemia, July 7, 1860; died in Vienna, May 18, 1911

The summer of 1907 was the most terrible of Gustav Mahler’s life. In June, his adored eldest daughter Maria, age 4 ½, contracted scarlet fever followed by diphtheria; despite the doctor’s best efforts, she died on July 5. Worn out by her sickbed vigil, Alma Mahler collapsed. But it was her husband’s health that worried the doctor more. He was sent to a specialist in Vienna and there learned he had a serious heart condition that was virtually a death sentence. Mahler wrote no music that summer. The news came as a shock to a man who passionately loved the outdoor life. “My mental activity must be complemented by physical activity,” he said. In an effort to prolong life, Mahler’s doctor severely restricted that activity.The composer wrote to his protege Bruno Walter about this “change of my whole way of life.You can imagine how hard [this] comes to me. For many years I have been used to constant and vigorous exercise—roaming about in the mountains and woods, and then, like a kind of jaunty bandit, bearing home my drafts. ... Now I am told to avoid any exertion, keep a constant eye on myself, and not walk much.”

p ro g r a m notes Anyone who has listened to other Mahler works and their omnipresent funeral marches knows the composer was always death-obsessed. Many of his siblings had died in childhood; one of his brothers committed suicide. But it is one thing to think about death abstractly and quite another to face one’s own imminent extinction. During this crisis, a friend gave Mahler Hans Bethge’s The Chinese Flute, a volume of poems translated from ancient Chinese texts. Mahler was already interested in Eastern philosophy, and these poems reflected the tensions struggling inside him: in Deryck Cooke’s words,“the poignant dual awareness of the bitterness of mortality and the sweet sensuous ecstasy of being alive.” During the summer of 1908, seven of the poems became the genesis of his next creation, the song-symphony Das Lied von der Erde:“The Song of the Earth.” He called it his most “personal” work; many have called it his greatest. Das Lied fuses the two forms of musical expression at which Mahler excelled: song and symphony.The composer himself called it a symphony, and his earlier symphonies including sung texts—the Second,Third, Fourth, and Eighth—gave him precedent. Commentators have tried to fit this work into the standard four-movement symphonic pattern with the first song as first movement, song two as slow movement, songs three through five as a multipart scherzo, and the huge last song as finale. But it is not necessary to squeeze the work into such a Procrustean bed. Mahler does indeed build the work symphonically from core motifs and themes that are varied and developed through each song and have correspondences in succeeding ones. And Das Lied displays Mahler’s most refined and original orchestral writing. Seldom used en masse, the orchestra becomes a series of exquisite chamber ensembles, each uniquely expressing the outer and inner meanings of the poems. With the texts Mahler played an equally creative role.The poems had already been translated by other German and French writers before Bethge got to them, and their tone had acquired a distinctly European fin-de-siècle coloration.When Mahler’s musical imagination soared beyond Bethge’s verse, he felt free to change the words to match. It is Mahler who wrote the

exultant “O Beauty! O world drunk with eternal love and life!” in the last song, as well as the entire conclusion from “My heart is still and awaits its hour.” And it is Mahler who reinterpreted the poems in terms of his own crisis and made “The Farewell” a farewell to life. “The Drinking Song of the Earth’s Misery.” Once heard, the electrifying opening is never forgotten: a horn call followed by a fortissimo cry of pain and despair, with bitter cackling laughter from the trumpet. Against this, the tenor launches his song, a mixture of cynicism and hedonism, in heroic rising phrases.Three of the four stanzas end with the drooping refrain:“Dunkel ist das Leben, ist der Tod” (“Dark is life, and so is death”). Here the poet considers man’s brief span and proposes the “eat-drink-and-be-merry” response. Midway, the violins propose something more consolatory: an ecstatic vision of springtime and the eternal blooming earth; this image will reappear in later movements until it dominates the close of the last. But the grinning face of death erases Spring, and orchestra and tenor in shrieking dissonances evoke the ape howling in the graveyard.The orchestra’s final low grunt declares nihilism the victor. But this will not ultimately be Mahler’s choice. “The Lonely One in Autumn.” The contralto’s first song is a chilly portrait of the loneliness of the dying autumn season—and of the human soul. Stark orchestration—predominantly solo oboe over violins—describes the mist on the lake and the mood of weariness and depression. The sad-toned oboe is the singer’s instrumental alter ego, as it will be again in “The Parting.” At first, the singer presents the text in soft, reticent scales. She becomes more expressive at the words “sleep” and “rest,” which here stand for the final sleep of death. A greater emotional peak is reached at “Sun of love, will you shine no longer” (words added by Mahler).The song ends as bleakly as it began. The next two songs, “Of Youth” and “Of Beauty,” are celebrations of earth’s pleasures, presented in music of glittering orientalism, with pentatonic (five-note) scales and exotic instrumental colors. For Mahler, the fading world of youth and vitality had greater allure than ever; in this

same year, he wrote to Walter:“I am thirstier than ever for life.” “The Drunk in Spring” returns us to the first song’s philosophy, more comically expressed.The inebriated tenor clashes unconcernedly with the orchestra, and Mahler further illustrates his derangement with a cruelly high tessitura, shooting to a high A at the end of each stanza. To twittering birdsong and the joyous melody of a violin, a bird tells the drunkard that Spring, the renewer of life, has come. But the singer rejects this life-giving opportunity and returns to his drink. “The Parting.” In none of the previous movements has Mahler found an answer to his anguish. Now the last song, the longest and the greatest of this work, must find resolution. It combines two poems by two different authors, the second beginning at the words “He alighted from his horse.” Between them comes a magnificent orchestral interlude, the greatest of Mahler’s funeral marches, in which death is at last faced squarely.The poems describe a man waiting in the lengthening shadows of evening for a friend to arrive; Mahler interprets this as being the final parting before death. Over an eerie tolling of gong, low winds and strings, the solo oboe, again the singer’s shadow, sings a fast swirling ornament; this will become a persistent motif. A gentle rocking motion and a march motif for the clarinets will also repeat in subtle transformations.The singer’s opening phrases are cool and emotionless, but with each reference to the blooming earth, spring and beauty, she and the orchestra burst into ever more ecstatic song. In earth’s eternal renewal, Mahler has found solace for his mortality. In the song’s closing moments and to his own words, Mahler rhapsodizes over his final dissolution into this cosmic beauty. As the singer repeats “ewig”—”forever”—the music fades into one of the most sublime expressions of eternity ever conceived by a mortal. Instrumentation: three flutes, two piccolos, three oboes, English horn, three clarinets, piccolo clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, celeste, mandolin and strings. Notes by Janet E. Bedell, copyright 2011

May 6, 2011 – June 12, 2011

p ro g r a m notes

Thursday, May 12, 2011 8 p.m. Sunday, May 15, 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

Robert Schumann – A Romantic Original Marin Alsop

Conductor

Robert Schumann Arranged by Gustav Mahler

Overture to Manfred, opus 115

Robert Schumann Arranged by Gustav Mahler

Symphony No. 1 in B-Flat Major, opus 38, “Spring” Andante un poco maestoso Allegro molto vivace Larghetto Scherzo: Molto vivace Allegro animato e grazioso

INTERMISSION

Robert Schumann

Symphony No. 2 in C Major, opus 61 Sostenuto assai Allegro ma non troppo Scherzo: Allegro vivace Adagio espressivo Allegro molto vivace

The concert will end at approximately 9:50 p.m. on Thursday, and 4:50 p.m. on Sunday. Media Sponsor: The Baltimore Sun Media Group

Marin Alsop For Marin Alsop’s bio, please see p. 12. NOTES ON THE PROGRAM Overture to Manfred, opus 115

Robert Schumann Born in Zwickau, Germany, June 8, 1810; died in Endenich, near Bonn, Germany, July 29, 1856

With its tormented hero vainly seeking peace among the high peaks of the Alps, Lord Byron’s dramatic poem Manfred (1817) epitomized the spirit of Romanticism. 16

Overture

Many sensitive artists fell under its spell, and it inspired two fevered musical masterpieces: Tchaikovsky’s Manfred Symphony (1885) and Schumann’s remarkable Manfred Overture and incidental music (1848-49). Schumann probably first read the poem as an adolescent. A quintessential Byronic antihero, Manfred, tortured by some mysterious crime (in Byron’s own case it was an incestuous love affair with his half sister), seeks solitary refuge in the Alps. He summons the spirits of the universe for assistance, but they refuse to give him the

peace he yearns for. He is tempted by evil spirits but resists them; his life force also prevents his leaping from a lofty peak. Finally, he experiences a vision of the woman he has wronged, who foretells his death.The next day, demons appear for him, but he denies their power.At last, he finds peace in the oblivion of death. Tormented himself by fears of madness and death—which unfortunately claimed him only a few years later—Schumann found much with which he could identify in this poem.The years of 1848 and 1849 belonged to one of his periods of manic creativity. In August 1848, just one day after he had completed his only opera, Genoveva, he began the score for a staged performance of Manfred; by November, it was largely finished. He wrote that he had never devoted himself “with such love and outlay of force to any composition as to that of Manfred.” On June 13, 1852, his friend Franz Liszt staged Manfred at Weimar with Schumann’s music, but by then the composer was too overwhelmed by depression to attend. The overture is one of Schumann’s finest and most impassioned creations. Three fast, agitated chords snap us to attention.Then ensues a melancholy slow introduction that prophecies tragedy. The first violins introduce Manfred’s theme: a yearning, upward-arching melody with an uneasy syncopated rhythm.The tempo gradually accelerates to Allegro, and Manfred’s theme now takes on a virile, heroic character. Eventually, the violins present the other major theme: a three-note wailing motive followed by a twisting melody that suggests Manfred’s frustrated quest for peace. Restless harmonies propel this feverish sonata form, which ultimately dies out in darkest E-flat minor. We will hear the Manfred Overture in Gustav Mahler’s arrangement; for more information on Mahler’s approach to Schumann’s symphonic works, see the note on Schumann’s Symphony No. 1. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, suspended cymbal and strings. Symphony No. 1 in B-flat Major, “Spring”

Robert Schumann In the fall of 1840, Robert Schumann finally won the prize he had sought for some five years: he married the lovely and gifted Clara

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Informational Luncheon Wieck, about to celebrate her 21st birthday and already a renowned piano virtuoso. The honeymoon period of 1841 was one of Schumannâ&#x20AC;&#x2122;s most prolific, as he turned for the first time in his career to works for orchestra andâ&#x20AC;&#x201D;in the wake of Beethovenâ&#x20AC;&#x2122;s achievementâ&#x20AC;&#x201D;the most prestigious form of his day: the symphony. By yearâ&#x20AC;&#x2122;s end, he had composed his First Symphony and what would eventually become his Fourth, the Overture, Scherzo and Finale he called a sinfonietta, the first version of his Piano Concerto, and an unfinished symphony in C minor. Schumannâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Symphonic Yearâ&#x20AC;? opened with an explosion of creativity. In just four days and sleepless nights, January 23â&#x20AC;&#x201C;26, he sketched in full his First Symphony and by February 20 had completed its orchestration. He called it his â&#x20AC;&#x153;Springâ&#x20AC;? Symphony; but we should not listen to this work as simply a tone poem about this most pleasing and hopeful of seasons. Rather it is more an expression of psychological springtime, reflecting the seasonâ&#x20AC;&#x2122;s spirit of optimism and new life. It reveals Schumannâ&#x20AC;&#x2122;s joy as the happy couple awaited the birth of the first of their eight children. Gustav Mahler adored Schumannâ&#x20AC;&#x2122;s symphonies, but he, like many musicians, believed that Schumannâ&#x20AC;&#x2122;s ability as an orchestrator was his weakest trait. Schumann tended to double melodic lines among many instruments, often giving his orchestral music a thick, rather muddy sound. For his part, Mahler especially prized clarity in scoring. So in his performances of Schumann, he actually lightened up the original textures, so that important details would stand out more clearly. Even more important were the numerous changes in the dynamic markings Mahler used throughout, bringing out details and adding finer shadings to the sculpting of each line.Altogether, he made more than 800 adjustments in dynamics, rhythmic accents, and instrumental parts for the â&#x20AC;&#x153;Springâ&#x20AC;? Symphony. Nothing could be more joyous than the brass fanfare that launches the first movement or the upward hurtling of violins and woodwinds that follows. Schumann already shows his Romantic daring here in veering immediately toward the unexpected key of D minor rather than establishing his home base of B-flat

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p ro g r a m notes major.This slow introduction, full of Beethovenian drama, creates an air of expectancy until it finally accelerates into the main Allegro section. Here, its jaunty first theme is actually a sped-up version of the opening fanfare.And its bouncing dotted rhythm becomes the motor that powers nearly the whole movement. The chief contrast is the gently swaying woodwind idea that serves for a second lyrical theme. After a repeat of this exposition material, the development section is driven forward by the omnipresent gallop of the dotted rhythm.This is capped by the movement’s most exhilarating moment, as the opening brass fanfares and upward-rushing strings cut through the orchestra’s activity to announce the recapitulation.A final surprise comes during Schumann’s rush to the finish line when he pauses to present a marvelous, heartwarming new theme led by strings. A poignant song melody, intensified by little stabbing accents and expressive ornamental notes, forms the substance of the slow movement, originally titled “Evening.” The music is richly colored by unexpected harmonies.The melody returns twice, first in cellos and later in woodwinds, each time with exquisitely varied accompaniments.At movement’s end, the trombones softly intone a plaintive chorale.The music ends harmonically in the air, bridging directly to the Scherzo. And here comes another surprise: The Scherzo’s aggressive, heavily accented dance theme is none other than the gentle trombone chorale on amphetamines! This very macho dance is unusual for having two contrasting trio sections.The first is an enigmatic dialogue between strings and winds, with a little syncopated idea tossed back and forth.The second trio with its racing scale patterns has the gruff energy of Schumann’s idol, Beethoven. The finale explodes with a new version of the upward-rushing idea that opened the symphony. But then it eases into a lightly pattering violin theme. More impressive is the second theme: a triumphant idea proclaimed proudly by the full orchestra before being passed to woodwinds for a puckish echo; it is this theme Schumann chooses for his development section.The return of the upward-rushing scale ushers in a joyous 18

Overture

recapitulation, made even more exciting by the more elaborate brass parts Mahler could not resist contributing. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle and strings. Symphony No. 2 in C Major

Robert Schumann In February 1854 after decades of mental suffering, Schumann attempted suicide by jumping from a bridge into the Rhine River; he spent the last two and a half years of his life in an asylum, where he died of self-starvation at age 46. In 1844, a decade before the suicide attempt, he endured the worst breakdown of his life subsequent to that catastrophic final one. Every effort exhausted him, and composing became a torment.Writing to a physician friend, he recalled:“For a while I could not stand listening to music. It cut into my nerves like knives.” Schumann was tormented by phobias—“melancholy bats,” he called them—including fears of high places, sharp objects and medicines, which he was convinced contained poisons.Worse still for a musician were auditory hallucinations, described by Clara Schumann as a “constant singing and rushing in his ears, every noise would turn into a tone.” Eventually, the symptoms lessened, Schumann began to grow stronger, and his creativity revived. First he completed his popular Piano Concerto. By December he had entered one of his manic creative phases and in just three weeks sketched the Second Symphony, regarded by many as his greatest. It is easy to hear Schumann’s struggle against his illness in this symphony, as well as the joyous return of health and strength in the finale.Through the alchemy of art, the composer managed to transmute suffering into great music, especially in the extraordinary slow movement that is the emotional heart of this work. The sonata-form first movement opens with a long and mysterious slow introduction that contains the seeds from which the symphony will grow. First we hear a solemn fanfare in the brass, distant and dreamlike, above strings wandering in a dark maze.Tuck this fanfare motive in your memory for you will hear it again and again.The woodwinds offer a four-note

dotted-rhythm idea.When the tempo finally accelerates to Allegro, this launches the movement’s main theme, full of nervous struggle. Periodically, the violins arc upward on a tormented wailing idea, which eventually grows into a full-fledged new lyrical episode, divided between woodwinds and violins. More agitated still is the secondmovement scherzo with its fast, frenetic music for the violins. So difficult is this to play that it is customarily included in auditions for violinists seeking an orchestral position. Momentary relief from this obsessive music comes in two trio sections: the first a dialogue between woodwinds and strings featuring triplet figures; the second a lovely, flowing episode, rich in fugal imitation, opened by the strings.A loud return of movement one’s brass fanfare closes the movement. For the slow movement in C minor, Schumann created one of the most heartbreakingly beautiful melodies in the symphonic repertoire. Moving from one solo woodwind to another, it seems to grow lovelier and more painful with each repetition.When the violins sing the melody, they twice add a chain of shimmering trills—a sublime stroke. With an upward-rushing scale and a joyous wake-up-call of a theme in the woodwinds, Schumann seems to leap from his sickbed.The finale is the musical expression of the composer’s recovery, with no lingering dark shadows. Listen for the reappearance of the slow movement’s poignant theme in the low strings, now dancing along in quick tempo. Schumann eventually turns it upside down, creating a buoyant new tune that drives the music forward for several moments.Yet another melody is introduced by the woodwinds: a soaring and uncomplicated hymn of thanksgiving. So infectious is this melody that Schumann forgets all the others and builds the symphony’s conclusion around this uplifting music.At the end, the opening brass fanfare reappears, transformed into triumph. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings. Notes by Janet E. Bedell, copyright 2011

p ro g r a m notes

Saturday, May 14, 2011 7 p.m.

Joseph Meyerhoff Symphony Hall

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

OFF THE CUFF

Schumann’s Beautiful Mind

Rhapsody in Blue and delivered an address, “The Power of Music in Healing Mind and Body,” at the 2009 World Economic Forum in Davos, Switzerland. Dr. Kogan has recorded Music and the Mind:The Life and Works of Robert Schumann for Touchstar Productions and has won numerous honors including the Concert Artists Guild Award and first prize in the Chopin Competition of the Kosciuszko Foundation. Dr. Kogan is a graduate of The Juilliard School of Music Pre-college, Harvard College and Harvard Medical School.

Series Presenting Sponsor: Marin Alsop Richard Kogan

Conductor Piano

Robert Schumann

Selections from Carnaval, opus 9 RICHARD KOGAN

Robert Schumann

Symphony No. 2 in C Major, opus 61 Sostenuto assai Allegro ma non troppo Scherzo: Allegro vivace Adagio expressivo Allegro molto vivace

The concert will end at approximately 8:30 p.m.

The BSO dedicates this Off the Cuff concert to the memory of Howard A. and Rena S. Sugar in appreciation of their significant generosity.

Support for this program is generously provided by

Schumann was tormented by phobias—“melancholy bats,” he called them— including fears of high places, sharp objects and medicines, which he was convinced contained poisons. Worse still for a musician were auditory hallucinations. He completed a psychiatry residency and academic fellowship at NYU. He has a private practice of psychiatry in New York City and is affiliated with Weill Cornell Medical College as co-director of its Human Sexuality Program. He is also co-chairman of the recently established Weill Cornell Music/Medicine Initiative. NOTES ON THE PROGRAM Symphony No. 2 in C Major

Marin Alsop For Marin Alsop’s bio, please see p. 12.

Richard Kogan Dr. Richard Kogan has a distinguished career both as a concert pianist and as a psychiatrist. The NewYork Times has praised him for his “eloquent, compelling, and exquisite playing,” and the Boston Globe has written, “Kogan has somehow managed to

excel at the world’s two most demanding professions.” Dr. Kogan has gained renown for his lecture/recitals that explore the role of music in healing and the influence of psychiatric and medical illnesses on the creative output of composers such as Mozart, Beethoven, Chopin, Schumann,Tchaikovsky, George Gershwin and Leonard Bernstein. He has given these presentations at music festivals, concert series, medical conferences and scholarly symposia throughout the world. He performed Gershwin’s

Robert Schumann For notes on this program, please see p. 18.

May 6, 2011 – June 12, 2011

p ro g r a m notes Jack Everly Saturday, May 21, 2011 8 p.m. Sunday, May 22, 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 SUPER POPS

Rodgers & Hammerstein at the Movies Presenting Sponsor: Jack Everly

Conductor

A SYMPHONIC NIGHT AT THE MOVIES Rodgers & Hammerstein at the Movies Music by Richard Rodgers Lyrics by Oscar Hammerstein II By special arrangement with The Rodgers & Hammerstein Organization OKLAHOMA! Starring: Gordon MacRae and Shirley Jones Main Title/Oh,What a Beautiful Mornin’ The Surrey with the Fringe on Top Oklahoma CAROUSEL Starring: Gordon MacRae and Shirley Jones The Carousel Waltz If I Loved You June Is Bustin’ Out All Over SOUTH PACIFIC Starring: Mitzi Gaynor and Rossano Brazzi Overture There Is Nothin’ Like a Dame Some Enchanted Evening Dites-Moi & Finale INTERMISSION

CINDERELLA WALTZ arranged by Robert Russell Bennett THE KING AND I Starring: Deborah Kerr and Yul Brynner The March of the Siamese Children Getting to Know You Shall We Dance? continued on next page 20

Overture

TOD MARTENS

Friday, May 20, 2011 8 p.m.

Jack Everly is the principal pops conductor of the Baltimore and Indianapolis Symphony orchestras, Naples Philharmonic Orchestra, and National Arts Centre Orchestra (Ottawa), and 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. Mr. Everly recently renewed his five-year contract with the BSO through 2017. Mr. Everly is the music director of Yuletide Celebration, now a 25-year tradition.These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concert-goers. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, 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. In television and film, Mr. Everly has appeared on In Performance at the White House and conducted the songs for Disney’s animated classic The Hunchback of Notre Dame. He has been music director on numerous Broadway cast recordings and conducted the critically praised Everything’s Coming Up Roses:The Complete Overtures of Broadway’s Jule Styne. In 1998, Mr. Everly created the Symphonic Pops Consortium, serving as music director.The consortium, based in Indianapolis, produces a new theatrical pops program each season.

Rodgers & Hammerstein at the Movies continued from previous page

STATE FAIR Starring: Jeanne Crain, Dick Haymes, Ann-Margret and Pat Boone Itâ&#x20AC;&#x2122;s a Grand Night for Singing THE SOUND OF MUSIC Starring: Julie Andrews, Christopher Plummer, Charmian Carr, Nicholas Hammond, Heather Menzies, Duane Chase, Angela Cartwright, Debbie Turner and Kym Karath Introduction The Sound of Music Main Title Do-Re-Mi So Long, Farewell Climb Evâ&#x20AC;&#x2122;ry Mountain & Finale Clips from Oklahoma!, Carousel, State Fair, The King and I, South Pacific and The Sound of Music courtesy of Twentieth Century Fox Home Entertainment The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes and Variations), Theodore Chapin and Bruce Pomahac. A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists. To learn more about the musicals of Rodgers & Hammerstein, please visit www.rnh.com. To see the entire Rodgers & Hammerstein Movie Collection available on DVD, go to www.foxhome.com. PRODUCTION CREDITS

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Producer: John Goberman Music Consultant: John Waxman Music Preparation: Larry Spivack

AY S SE LE CT SU ND ORIGINAL ORCHESTRATORS AND ARRANGERS

Oklahoma! Film Orchestrations by Robert Russell Bennett Carousel Film Orchestrations by Earle Hagen, Gus Levene, Bernard Mayers, Edward B. Powell, Nelson Riddle and Herbert W. Spencer State Fair Film Orchestrations by Edward B. Powell (original orchestrations recreated by Larry Spivack)

The King and I Film Orchestrations by Robert Russell Bennett, Gus Levene, Bernard Mayers and Edward B. Powell South Pacific Film Orchestrations by Robert Russell Bennett, Pete King, Bernard Mayers, Alfred Newman and Edward B. Powell The Sound of Music Film Orchestrations by Irwin Kostal

For The Rodgers and Hammerstein Organization President and Executive Director: Theodore S. Chapin Senior Vice President/General Manager: Bill Gaden Senior Vice President/General Counsel: Victoria G. Traube Senior Vice President/Communications: Bert Fink Director of Music: Bruce Pomahac

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

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May 6, 2011 â&#x20AC;&#x201C; June 12, 2011

p ro g r a m notes include two 2008 releases with the Grant Park Orchestra: one of works by Pulitzer Prize-winning composer Aaron Jay Kernis and one featuring the world-renowned mezzo-soprano Jennifer Larmore. Mr. Kalmar was born in Uruguay to Austrian parents. He showed an interest in music at an early age and began studying violin at age 6. By age 15, his musical development led him to the Vienna Academy of Music, where he studied conducting with Karl Osterreicher. He resides in Portland, Oregon and Vienna.

Friday, May 27, 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

Mahler, Sibelius and Walton

Gustav Mahler Arranged by Benjamin Britten Jean Sibelius

Conductor Violin

What the Wild Flowers Tell Me

Violin Concerto in D Minor, opus 47 Allegro moderato Adagio di molto Allegro, ma non tanto KAREN GOMYO

INTERMISSION

William Walton

Symphony No. 1 in B-Flat Minor Allegro assai Presto con malizia Andante con malinconia Maestoso - Allegro biroso ed ardentemente

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

Media Sponsor: WYPR 88.1 FM

JAY MOREAU

Carlos Kalmar Carlos Kalmar was appointed music director of the Oregon Symphony Orchestra in 2003, and in April 2008, his contract was extended until 2013. He is also music director of the Grant Park Music Festival in Chicago. During his career, he has been music director of the Hamburg Symphony, Stuttgart Philharmonic,Vienna’s Tonkünstlerorchester and the Anhaltisches Theater in Germany. 22

Overture

His international conducting appearances have included the Prague Symphony, Royal Scottish National Orchestra, Czech Philharmonic, Berlin Radio Symphony, the National Orchestra of Spain, the ORT Orchestra of Florence, the Bournemouth Symphony, the Hamburg State Opera, the BBC Welsh, the Residentie, the Vienna State Opera, the Yomiuri Japan Orchestra, the Flemish Radio, and the Zürich Opera. Mr. Kalmar’s next recording will feature the Oregon Symphony with the popular group Pink Martini. His most recent recordings on the Cedille label

Karen Gomyo COURTESY OF THE BSO

Carlos Kalmar Karen Gomyo

Recipient of the prestigious Avery Fisher Career Grant in 2008, Canadian violinist Karen Gomyo first caught public attention just one week after her 15th birthday when she won the 1997 Young Concert Artists International Auditions. She became the youngest artist ever to be presented in the Young Concert Artists Series, in a critically acclaimed New York debut as recipient of the Summis Auspiciis Prize, and ever since has been heard as soloist, recitalist, and chamber musician across the U.S., Canada, South America, Europe and Asia. Highlights this season were re-engagements as soloist with the Los Angeles Philharmonic at the Hollywood Bowl under the baton of Leonard Slatkin; the St. Louis Symphony under Gilbert Varga; the Houston Symphony under Louis Langrée; and the Toronto Symphony under Kwamé Ryan, as well as returns with the symphonies of Utah,Winnipeg, Edmonton and Phoenix among others. Ms. Gomyo made first-time appearances with the City of Birmingham Symphony Orchestra with Xian Zhang, the Royal Scottish National Orchestra, Orchestre National de Lille, the New Jersey Symphony, Orquesta Filarmonica de la Ciudad de Mexico, and summer concert debuts with the San Francisco Symphony and Philadelphia Orchestra under Hans Graf. In September 2008, Ms. Gomyo had the honor of being asked to perform a solo Bach movement at the First

p ro g r a m notes Symposium for the Victims of Terrorism held at the headquarters of the United Nations in New York. Ms. Gomyo has made numerous recital and chamber music appearances. She has performed at the Aspen Music Festival, Banff in Canada, Ravinia Festival Recital Series, Caramoor International Chamber Music Festival, Lajolla Chamber Music Festival, Seattle Symphony Recital Series, Mostly Mozart Recital Series in New York, Gardner Museum in Boston, Schloss Elmau in Germany, the Louvre Museum in Paris, Festival Internacional Santander in Spain, Chanel Ginza Recital Series in Tokyo, and Suntory Hall in Tokyo, as part of a eight-city tour of Japan. Born in Tokyo to a Japanese painter and French professor of philosophy, Ms. Gomyo was raised in Montreal.At age 5 she had already begun performing in public. She was one of 10 children chosen to play in a masterclass in Chicago given by the late Dorothy DeLay and was promptly taken under the pedagogue’s wing to study on full scholarship at The Juilliard School. After Miss DeLay’s passing, Ms. Gomyo continued her studies with Mauricio Fuks at Indiana University and with Donald Weilerstein at the New England Conservatory of Music, where she graduated in May 2007 with an Artist Diploma, the school’s highest honor. Ms. Gomyo plays the “Ex Foulis” Stradivarius of 1703. NOTES ON THE PROGRAM What the Wild Flowers Tell Me

Gustav Mahler Born in Kalischt, Bohemia, July 7, 1860; died in Vienna, May 18, 1911 Arranged for Small Orchestra by Benjamin Britten (1913–1976)

In June 1895, Gustav Mahler abandoned the pressures and politics of the Hamburg State Opera, where he was chief conductor, and headed for the village of Steinbach on the Attersee, in Austria’s beautiful Salzkammergut Lake district for a summer of composing. For this passionate nature lover and mountain hiker, this was an ideal location in which to write a symphony about Nature with a capital N: that is, all of creation, from the flowers in the field to animals, human beings and even God himself.

Waiting for him at the edge of the Attersee lake was a tiny white-washed cottage, the first of three little studios in rural oases he would use over his composing career.Windows on three sides gave views of the lake and a lovely flowering meadow. Over this summer and the next, the Third, the longest of his symphonies, was born: a mystical vision of Nature as a complex living being inspired by his readings of Schopenhauer and Nietzsche. The musical forces required for this symphony are immense. But tonight we will hear the most delicate of the Third Symphony’s six movements: the second movement, What the Wild Flowers Tell Me. Inspired by that flower-filled meadow outside his cottage, this is a mostly gentle minuet and trio in A major with subtly colored scoring emphasizing woodwinds and strings.The middle trio section features faster, slightly more intense music with whirling sixteenth notes, but the overall tone remains untroubled.“It is the most carefree piece I have ever written,” Mahler wrote to a friend.“It is carefree as only flowers can be. Everything hovers in the air with grace and lightness, like flowers bending on their stems and being caressed by the wind.” Four decades later, the young English composer Benjamin Britten was falling in love with Mahler’s music. In the 1930s and 40s, there was very little interest in Mahler’s music in the U.K., and performances were rare.Attending a concert in London featuring the Fourth Symphony, the 17-year-old Britten expected to be bored by a composer he assumed wrote pretentious, over-blown music.“But what I heard was not what I expected to hear. First of all ... the scoring startled me. It was mainly ‘soloistic’ and entirely clean and transparent.The colouring seemed calculated to the smallest shade.” Britten revered Mahler for the rest of his life and tried to convert others through his performances of Mahler’s music at his Aldeburgh Festival (he gave the first modern performance of “Blumine” there in 1967). In 1941 at the suggestion of his publisher Erwin Stein, also a Mahler fancier, he created this reduced orchestration of What the Wild Flowers Tell Me to enable smaller English orchestras to add a Mahler work to their repertoires.

Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, percussion, harp and strings. Violin Concerto

Jean Sibelius Born in Hämmenlina, Finland, December 8, 1865; died in Järvenpää, Finland, September 20, 1957

Despite all the acclaim he received as a composer, Sibelius nursed a hidden wound over a musical accomplishment that had eluded him. In his diary in 1915 he wrote: “Dreamt I was twelve years old and a virtuoso.” Sibelius loved the violin above all instruments and had in his youth striven hard to conquer its difficulties. But he had begun too late—age 14—and lacked the physical coordination and temperament to become a virtuoso. In his early 20s, he tried for a position with the Vienna Philharmonic; failing the audition, he returned to his hotel room and wept for his lost dream. But in his late 30s, Sibelius fulfilled the dream vicariously by writing one of the most magnificent of violin concertos and one bristling with the greatest virtuoso demands.The external stimulus came from violinist Willy Burmester, concertmaster of the Helsinki Philharmonic. Responding to Burmester’s urging, Sibelius—fresh from the triumph of his Second Symphony— began composing the concerto late in 1902 but barely completed the work in time for its premiere in Helsinki on February 8, 1904. Despite the dour portraits of the composer in old age, Sibelius in his younger days was a bon vivant with a fondness for liquor and Helsinki’s café life; hell-raising with the boys often got in the way of his composing schedule. Rushing to finish the concerto, he completely forgot Burmester, turning instead to a far less able fiddler Viktor Novácˇek. Novácˇek was the first but not the last to go down in flames tackling the work’s formidable difficulties, and the premiere was not a success. Realizing his mistake, Sibelius extensively revised the work in 1905, making the solo part slightly easier. But again he unaccountably passed over Burmester; the concerto as we hear it today was premiered by Karl Halir with the Berlin Philharmonic, led by Richard Strauss, on October 29, 1905. May 6, 2011 – June 12, 2011

p ro g r a m notes This work falls into the category of the soloist-dominated concerto, like Mendelssohn’s or Bruch’s, rather than the more symphonically conceived concertos of Beethoven and Brahms. But it boasts greater musical complexity and a more interesting role for the orchestra—clothed in the dark, wind-dominated colors that are Sibelius’ trademark—than most virtuoso vehicles. Over the shimmer of muted orchestral violins, the soloist opens the first movement, in the key of D minor, with a long solo melody that steadily grows in intensity and passion, sweeping over the instrument’s full range.The mood suggests a Scandinavian bard, reciting one of the Norse sagas Sibelius loved so well. The orchestra finally asserts itself with grim power, introducing an ominous stepwise theme.The soloist returns to embroider on this in a passage of rich double stops. The orchestra wraps up the exposition with a bold striding theme, partnered by a lighter idea for woodwinds. In an innovative stroke, Sibelius now interjects a long and introspective cadenza for the soloist, exploring the ideas of its opening song; this takes the place of a conventional development.As it concludes, a solo bassoon quietly reprises the opening solo, in a shadow image of the violin’s soaring tones.A sudden acceleration of tempo combines the orchestra’s striding and lyrical woodwind themes with a spectacularly virtuosic close for the soloist. In B-flat major, the second movement combines lyricism and drama within a very slow tempo.After a haunting introduction by pairs of woodwinds, the violin sings an expansive, soulful melody opening deep in its range.The orchestra then proposes a stormy idea, derived from the woodwind introduction; with the violin in obbligato, this strives passionately upward to a climax.The orchestra then quietly reprises the opening solo melody while the violin independently soars to another climax. In Donald Francis Tovey’s memorable phrase, the D major finale is “a polonaise for polar bears.” Over the rumble of timpani and low strings on the polonaise rhythm, the violin launches a robust dance, characterized by some of the most fiendish multiple-stopping ever devised. Sibelius provided no comfort to the fidder:“It must be played with absolute mastery, fast ... but 24

Overture

no faster than it can be played perfectly,” he instructed.A second theme, opened by the orchestra, delights in lively cross rhythms. Over an epic Sibelian orchestral swell, the soloist triumphantly fulfills the composer’s dream of virtuosity. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. Symphony No. 1

Sir William Walton Born in Oldham, England, March 29, 1902; died on the island of Ischia, Italy, March 8, 1983

William Walton—there was no “Sir” attached to his name yet—was only 30 years old in 1932 when he decided to tackle his First Symphony. Born into a poor but musically talented family in Lancashire, England, he had enjoyed a rapid rise despite being booted out of Oxford in 1920 and having had relatively little formal training in composition.At age 18, he had been “adopted” by the rich, culturally wellconnected but very eccentric Sitwell family, and just two years later, his fashionably witty score Façade, setting Edith Sitwell’s poetry to music, had made him a wunderkind in British artistic circles. Much more substantial scores followed, including a masterly Viola Concerto, which none other than the renowned composer and accomplished violist Paul Hindemith premiered in 1929. At the Leeds Festival in October 1931, Walton’s flamboyantly dramatic oratorio Belshazzar’s Feast was an enormous hit, hailed as the most important British choral work since Elgar’s The Dream of Gerontius. In the wake of this success, the prominent English conductor Sir Hamilton Harty, soon to be director of the London Symphony Orchestra, requested a symphony. However, creating this major work proved to be the hardest task of Walton’s career, and it took him more than three years—from 1932 to 1935—to bring it to completion. He later told his wife Susana: “Symphonies are a lot of work to write. Too much. One has to have something really appalling happen to one that lets loose the fount of inspiration.” Work on the first two movements went quite smoothly, but the slow movement proved more challenging.Then there was a hiatus of more than a year when Walton became ill

and deeply depressed and simply could not write the finale. Part of the problem lay in the composer’s personal relationships. Later he commented wryly:“I changed horses, so to speak. A great mistake to change horses crossing streams.”Always susceptible to beautiful ladies of the nobility, he had been living with Baroness Imma von Doernberg for several years when in 1934 she suddenly left him for another man.Walton was devastated, and work on the symphony ground to a halt.A new liaison with his patroness Viscountess Alice Wimborne soon replaced her, and with the Viscountess’s support, the symphony was successfully finished. Nevertheless,Walton still dedicated the score to Baroness von Doernberg. A professional delay also arose in 1934 when the composer accepted a contract to write the score for the British film Escape Me Never.This launched a second career in which Walton became one of the most successful movie composers of the 20th century and especially famous for his Shakespeare trilogy with Sir Laurence Olivier of Henry V, Hamlet and Richard III. (The director David Lean was deeply disappointed when Walton turned down his offer to score Lawrence of Arabia.) Meanwhile Sir Hamilton Harty was champing at the bit to present the longdelayed symphony. Eventually, he persuaded Walton to allow him to perform the first three movements at a BBC Symphony concert in London on December 3, 1934. The premiere of the complete symphony finally came on November 6, 1935, with Harty leading the London Symphony Orchestra.The response from audience and critics alike was overwhelming:“Historic night for British music,” proclaimed one headline. Sir Henry Wood, beloved founder of the Proms Concerts, wrote Walton’s publisher:“What a work, truly marvelous, it was like the world coming to an end, its dramatic power was superb; what orchestration, what vitality and rhythmic invention— no orchestral work has ever carried me away so much.” Indeed,Walton had written a symphony on a grand scale with outsized emotions and virtuoso handling of the orchestra. It is a worthy successor to Elgar’s two symphonies and deserves inclusion among the major symphonies of the 20th century.

p ro g r a m notes Though with its heroic use of the brass section it often sounds like a work for a massive orchestra, it is actually written for an ensemble the size of Beethoven’s, with the significant addition of a second timpani in the finale as well as a tam-tam or gong— both used to shattering effect there. Other than the troubles in his love life, we don’t know what “appalling” events might have loosed the storms of rage and grief that fill its first three movements, but there is certainly no trace of British reticence in this bold and astonishingly assured work. First movement: The symphony’s opening is an extraordinarily dramatic gathering together of energy and force. It begins very quietly with the timpani rumbling a low, sustained pedal on the home-key note of B-flat, the swinging of horns, and a plaintive melody in solo oboe, which is ornamented with a little twisting figure that will haunt this movement. At this time, Sibelius was the most popular symphonist in Great Britain, and Walton’s indebtedness to the Finn is impossible to miss here: the long-held pedal notes, the galloping rhythmic figures, the wild, keening quality of the sound, and the crushing power of the brass.The music steadily grows in volume, activity and emotional fury. Eventually, it becomes quieter, but the menacing galloping figures persist and the twisting motive from the oboe solo haunts the air. In this developmental phase, two bassoons singing a mournful plea temporarily calm the mood; they are echoed by the cellos, which extend this idea into a poignant melody.The orchestra, however, reacts in increasing anguish and fury to this pleading, and a climax of shattering violence and dissonance is reached.This subsides into a return of the opening music, but now played more vehemently, with the violins taking the place of the oboe and heavy blows from the timpani.The movement concludes with devastating power and rage. Movement two, a vigorous scherzo marked “Presto with malice,” recalls somewhat the witty, biting mood of Façade. It is a virtuosic rhythmic game of shifting accents and cross rhythms, spurred on by a fierce timpani part. Pounding repeated notes power the closing moments, which culminate in a trick ending. After the violence of the first two movements, the beautiful Andante con malinconia

third movement comes as a welcome oasis. In C-sharp minor, it opens with an intensely sad melody for the solo flute, which surprisingly Walton had originally conceived as a faster-tempo theme to open the first movement.The scoring is subtle and delicate with melancholy woodwind solos predominating. But it is the soulful voices of cellos and violas (Walton particularly loved these instruments and wrote wonderful concertos for them) that lead the way to a climax of pain. Exhausted, the music falls back, and the flute returns to close this superb movement. The triumphant finale offers no hint that Walton had been paralyzed by composer’s block. It opens Maestoso with imposing ceremonial music in the style of Walton’s famous Crown Imperial March for George VI’s coronation, still two years in the future. Fragments of this music will reappear throughout the movement. The tempo increases to Allegro, and we hear leaping, swirling music derived from the Maestoso theme and led by strings. Next comes a vivacious fugue built around

a lengthy and complex subject introduced by second violins and violas. The fugue is followed by a light scampering development of elements of both the Maestoso and the fugue, which gradually grows louder and more frenzied. Reinforced by the hammering of the now two timpanists, this music reaches a huge climax, then returns to the Maestoso opening music declaimed by all the strings. Cleverly,Walton pulls back a little, the better to build one of the biggest, most viscerally thrilling conclusions in the entire symphonic repertoire, with blazing brass, pounding drums, and the roar of the tam-tam all making the pulse soar. Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, two timpanists, percussion and strings. Notes by Janet E. Bedell, copyright 2011

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Friday, June 3, 2011 8 p.m. Saturday, June 4, 2011 8 p.m. Sunday, June 5, 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

Emanuel Ax Plays Brahms Presenting Sponsor:

Marin Alsop Emanuel Ax

Osvaldo Golijov Benjamin Britten

Conductor Piano

Sidereus* The Young Person’s Guide to the Orchestra, opus 34

INTERMISSION

Johannes Brahms

Piano Concerto No. 1 in D Minor, opus 15 Maestoso Adagio Rondo: Allegro non troppo EMANUEL AX

*Co-commissioned by the Baltimore Symphony Orchestra through the Henry Fogel Commissioning Consortium The concert will end at approximately 9:45 p.m on Friday and Saturday, and 4:45 p.m. on Sunday.

Support for this program is generously provided by

Marin Alsop For Marin Alsop’s bio, please see p. 12.

Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at 26

Overture

J HENRY FAIR

Emanuel Ax

The Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he

subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University, where he majored in French. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize. In recognition of the bicentenaries of Chopin and Schumann in 2010 and in partnership with London’s Barbican, Amsterdam’s Concertgebouw, Carnegie Hall, the Los Angeles Philharmonic and the San Francisco Symphony, Mr. Ax commissioned new works from composers John Adams, Peter Lieberson and Osvaldo Golijov for recital programs that were presented in each of those cities with colleagues Yo-Yo Ma and Dawn Upshaw. In addition to this large-scale project, he toured Asia with the New York Philharmonic on its first tour with new music director Alan Gilbert, and toured in Europe with both the Chamber Orchestra of Europe and James Conlon, as well as the Pittsburgh Symphony with Manfred Honeck. As a regular visitor in subscription concerts, he returned to Chicago, Philadelphia and Boston. Mr. Ax has been an exclusive Sony Classical recording artist since 1987. Recent releases include Strauss’s Enoch Arden, narrated by Patrick Stewart; discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman; and Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman. Mr. Ax has received Grammy awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams’s Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004-05 season, Mr. Ax also contributed to an international Emmy Award-winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz.

p ro g r a m notes In recent years, Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng and Melinda Wagner. Mr. Ax is also devoted to chamber music and has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, Jaime Laredo and the late Isaac Stern. NOTES ON THE PROGRAM Sidereus

Osvaldo Golijov Born in La Plata, Argentina, December 5, 1960; now living near Boston, Massachusetts

There’s no more exciting composer working today than Osvaldo Golijov, whose music is as eclectic and impossible to categorize as is his own fascinating mixed heritage. One could as easily place his CDs in the “World Music” section of a record store as into the “Classical” bins. Writes Alex Ross in the New Yorker: “His works arouse extraordinary enthusiasm in audiences because they revive music’s elemental powers:They have rhythms that rock the body and melodies that linger in the mind.” Born into a Russian Jewish family that had immigrated to Argentina to escape the Czarist pogroms, Golijov describes himself as a “Jewish gaucho.” His father was a physician and his mother a piano teacher who “took me to Buenos Aires to hear opera and also . . . Astor Piazzolla tangos. She sang to me in Yiddish, but she also got me to listen to Bach. Somehow it all came together.” Indeed it did. Golijov’s special genius—confirmed by a coveted MacArthur Fellowship—has mixed Yiddish soulfulness with Latino rhythms and solid classical training in Argentina, Jerusalem and at the University of Pennsylvania (where he earned a Ph.D.) into a potent brew. Now living near Boston, he divides his time between composition and teaching; since 1991, he has been a professor of music at the College of Holy Cross in Worcester, Massachusetts. In 2000, the premiere of his Latino-flavored oratorio, the St. Mark Passion, won him instant fame.

Golijov’s concert overture Sidereus is the result of a joint commission from no less than 35 orchestras, ranging from the Chicago Symphony and the Baltimore Symphony to such smaller ensembles as the Reno Chamber Orchestra and the New England Conservatory Philharmonia. The commission honors Henry Fogel, the dean of American orchestral administrators, who over his career has led the New York Philharmonic, the National Symphony and the Chicago Symphony, as well as serving as president of the League of American Orchestras. Sidereus received its world premiere on October 16, 2010 by the Memphis Symphony under the baton of Mei-Ann Chen. The work’s evocative title comes from Galileo Galilei’s 1610 treatise Sidereus Nuncius, in which he wrote about his observations of the heavens and especially the moon through his telescope; here he began to expound his theory that the earth revolved around the sun by observing that four small bodies or moons seemed to revolve around Jupiter. Golijov explains that the work’s title is “more commonly translated as ‘Starry Messenger,’ but to me the word ‘sidereal’ is more beautiful.” Golijov continues: “The realizations of Galileo referred to the new discoveries in the surface of the moon.With these discoveries, the moon was no longer the province of poets exclusively. It had also become an object of inquiry: Could there be water there? Life? If there were life, then the Vatican was scared because, as Cardinal Bellarmino wrote to Galileo: How were the people there created? How would their souls be saved? What do we do about Adam? ... How do we explain the origin of possible life elsewhere?” Sidereus is a beautiful work that requires no complicated explanation to enjoy. In Golijov’s words: “The melodies and the harmony are simple. ... For the ‘Moon’ theme, I used a melody with a beautiful, open nature: a magnified scale fragment that my good friend and longtime collaborator, accordionist Michael Ward Bergeman, [created] some years ago when we both were trying to come up with ideas for a musical depiction of the sky in Patagonia. I then looked at that theme as if through the telescope and

under the microscope, so that the textures, the patterns from which the melody emerges and into which it dissolves point to a more molecular, atomic reality. ... [There is] a dark theme that opens the piece and reappears in the middle. It’s sort of an ominous question mark that tears the fabric of a piece that is essentially spacious and breathes with a strange mixture of melancholy and optimism.” Sidereus was co-commissioned by the Baltimore Symphony Orchestra as a member of the Henry Fogel Commissioning Consortium, a consortium of 35 American orchestras to honor the former League of American Orchestras President and champion of classical music, Henry Fogel.The Baltimore Symphony Orchestra is a member of the League of American Orchestras. Instrumentation: two flutes, oboe, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, two horns, two trumpets, two trombones, tuba, timpani and strings. The Young Person’s Guide to the Orchestra

Benjamin Britten Born in Lowestoft, England, November 22, 1913; died in Aldeburgh, England, December 4, 1976

Benjamin Britten’s The Young Person’s Guide to the Orchestra is heard more often at youth concerts than on “adult” subscription programs. But that is unfortunate because beyond its original educational purpose, it is simply a marvelous musical work: a series of charmingly virtuosic mood pieces, imaginatively demonstrating the varied colors of symphonic instruments. The most prominent and perhaps the most gifted of England’s 20th-century composers, Britten wrote the work in 1946 as the score for a British documentary film The Instruments of the Orchestra. He took its majestic theme from a hornpipe dance written by the great English Baroque composer Henry Purcell (1659–1695) as part of the incidental music for the play Abdelazer or The Moor’s Revenge.Though its subtitle Variations and Fugue on a Theme of Purcell tells exactly how this piece is constructed, Britten found that much too intellectual and always preferred it be called The Young Person’s Guide. May 6, 2011 – June 12, 2011

p ro g r a m notes Its impressive theme is first played grandly by the full orchestra, then by each instrumental family: the woodwinds, brass, strings and percussion.Then 13 brief variations show off the unique timbres and expressive capabilities of each instrument, beginning with flutes and piccolo and ending with the percussion family. Even the usually neglected double bass and tuba are given their moments to shine. Britten finishes with a brilliant, high-speed fugue, in which—to reinforce their identities— the instruments re-enter in the same order in which they were presented in the variations. Under the fugue, the grand Purcell theme emerges in the brass for a splendorous conclusion. Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings. Piano Concerto No. 1 in D Minor

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

The First Piano Concerto was Brahms’ calling card to the world: his announcement that a powerful new voice had arrived on the European musical scene.When it was premiered in Hanover, with the composer as soloist, on January 22, 1859 and then given a more prominent presentation five days later in the musical center of Leipzig, where Mendelssohn had reigned until a decade earlier, no one had heard a concerto so bold, weighty, and demanding of its listeners since Beethoven’s “Emperor” Concerto of 1809.And even Beethoven had not conceived a concerto as sprawling in its dimensions as this or one that assaults the listener with such a dramatic and defiant principal theme as Brahms hurls out in the first measures.The timpani thunders a mighty rolling D while violins and cellos lash out with a savage melody, apparently in a different key and with repeated ferocious trills on the discordant note A-flat, which forms a tritone—the ominous “devil in music” interval—with the sustained D pedal. Such a mood of fierce tragedy was not in tune with the fashion of the day, which celebrated such great virtuosi as Liszt and Mendelssohn in pleasing vehicles designed to show off their dazzling techniques. 28

Overture

And so its first audience at Hanover was lukewarm, and the audience at Leipzig positively hostile.“My Concerto has had here a brilliant and decisive—failure,” Brahms wrote to his friend Joseph Joachim. “At the conclusion three pairs of hands were brought together very slowly, whereupon a perfectly distinct hissing from all sides forbade any such demonstration.”A critic called the first movement a “monstrosity.” Brahms had indeed written music that demanded as much technique and, over its great length, even more stamina of a pianist than anything by Liszt. But it was imbedded in a work that was symphonic in conception, featuring the orchestra as equal partner with the pianist. It was, in fact, his first symphony manqué. Brahms began composing the work in 1854 when he was 20 and in the midst of a tumultuous domestic tragedy. In February of that year, Robert Schumann, Brahms’ beloved mentor, attempted suicide and was incarcerated in a mental asylum where he died in 1856. Brahms raced to the Schumann home in Düsseldorf to comfort Clara Schumann and spent the next several years at her side, acting as go-between to her husband and in the process falling deeply in love with this beautiful and accomplished musician, 14 years his senior. It was a terrible situation for a very young and sensitive man, and Brahms grew up fast. The month after Schumann’s suicide attempt, he began composing the concerto as a sonata for two pianos; Joachim wrote that the first movement’s mood was his response to Schumann’s plight. Soon the piano format seemed inadequate for his big thoughts, and he tried transforming it into a symphony. But virtuoso piano passages kept intruding, and by the time of Schumann’s death Brahms had decided he wasn’t ready to tackle a symphony. First movement: Although that searing opening theme in the orchestra seems to cry out for the piano, we have to wait several minutes for the soloist’s first appearance, which is unexpectedly subdued and self-effacing, presenting soft meditative music we haven’t heard before. Eventually he attacks the descending trills of the principal theme before launching the lyrical second theme: a noble hymn-like melody in rich chords. Meditative and defiant

moods alternate in this massive sonata-form movement. Brahms finds a new way to intensify the heroic struggle of his principal theme when it returns for the recapitulation section:While the orchestra thunders the home key of D minor, the piano laces into the theme in clashing E major. In the coda, nostalgic horn calls try in vain to soften the mood. If movement one exudes the strength and virility of youth, the second movement Adagio is music of a man old and wise beyond his years.The mood is now hushed, reflective, with an almost religious serenity. Donald Francis Tovey called it “a Requiem for Schumann”; in an early edition of the score Brahms inscribed the words from the Latin Mass,“Benedictus qui venit in nomine Domini” (“Blessed is he/she who comes in the name of the Lord”)—his nickname for Schumann had been “Mynheer Domini.” But at the end of 1856, Brahms wrote to his beloved Clara: “I am also painting a gentle portrait of you, which shall . . . be the Adagio.” Midway through, clarinets introduce a fleeting moment of passion. In the finale, we return to the world of heroic strife. Springing from a bold syncopation, the pianist’s refrain theme has sharply accented rhythms and a virile upward-sweeping melodic profile. For the episodes, Brahms spins off two clones of this melody: first, a noble version with a prominent ascending triplet for the piano; later, a lusciously Romantic and flowing version for the violins.A radiant coda, which Malcolm MacDonald aptly described as “like a sunset after a storm,” accelerates to a virtuoso young-man-of-iron finish. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. Notes by Janet E. Bedell, copyright 2011

p ro g r a m notes Ms. Meade has triumphed in an astounding number of vocal competitions, 53 in all, including many of the opera world’s most important prizes. In addition to being a winner at the 2007 Met National Council Auditions, she was the first singer ever to take first prize in both the opera and operetta categories of Vienna’s prestigious Belvedere Competition. She also garnered the largest cash prize in the world of opera, the $50,000 first prize of the Jose Iturbi Competition, and triumphed at the Concours Musical International de Montreal in 2008.

Thursday, June 9, 2011 8 p.m. Friday, June 10, 2011 8 p.m. Sunday, June 12, 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

Verdi’s Requiem

Eve Gigliotti A newcomer to the stage, young mezzosoprano Eve Gigliotti is thrilling audiences with her rich, warm timbre, dynamic stage presence and easy vocal production. In the 2010-11 season, Ms. Gigliotti makes her Bilbao debut as Isabella in L’italiana in Algieri, and she returns to the Metropolitan Opera as Mercedes in Carmen and Sigrune in Wagner’s Die Walküre. A graduate of the Curtis Institute of Music, she was a finalist and received an honorable mention in the 2009 George London Foundation Competition and an encouragement award in the 2009 Licia Albanese-Puccini Foundation Competition. Ms. Gigliotti is a past winner of the Palm Beach Opera Vocal Competition, the Joyce Dutka Arts Foundation and a recipient of the McGlone Award from the Central City Opera House Association. In her commitment to performing new work, Ms. Gigliotti has premiered pieces by Daniel Felsenfeld, Christian McLeer, Glen Cortese, Elena Ruehr, Martin Hennessy and Joseph Summer, and has recorded selections of Summer’s work on Shall I Compare Thee to a Summer’s Day, released on Albany Records.

Marin Alsop Conductor Angela Meade Soprano Eve Gigliotti Mezzo-Soprano Garrett Sorenson Tenor Alfred Walker Bass-Baritone Washington Chorus Julian Wachner, Music Director

Giuseppe Verdi

Messa di Requiem Requiem and Kyrie Sequence (Dies irae) Offertorio (Domine Jesu) Sanctus Agnus Dei Lux aeterna Libera me

The concert will end at approximately 9:30 p.m. on Thursday and Friday, and 4:30 p.m. on Sunday.

Media Sponsor: WBAL Radio

For Marin Alsop’s bio, please see p. 12.

Angela Meade Less than two years after her professional debut,American soprano Angela Meade has quickly become recognized as one of the outstanding vocalists of her generation. She excels in the most demanding heroines of the

19th-century bel canto repertoire as well as in the operas of Verdi and Mozart. Ms. Meade joined an elite group of history’s singers when she made her professional operatic debut on the stage of the Metropolitan Opera as Elvira in Verdi’s Ernani, substituting for an ill colleague in March 2008. She had previously sung on the Met stage as one of the winners of the 2007 Metropolitan Opera National Council Auditions, a process that is documented in the film The Audition recently released on DVD by Decca.

Garrett Sorenson LISA KOHLER

Marin Alsop

American tenor Garrett Sorenson has been praised as a young artist of unique promise, drawing critical interest for a rich lyric voice May 6, 2011 – June 12, 2011

p ro g r a m notes Orleans native is the recipient of many distinguished awards, including the prestigious Sullivan Foundation career grant.

The Washington Chorus SCOTT SUCHMAN

of beauty and power. His exciting 2009-10 season began with the San Francisco Opera’s production of Salome, followed by Katya Kabanova with the Lyric Opera of Chicago. He made his debuts with the Canadian Opera as well as the West Australian Opera as Don Jose in Carmen. His orchestral engagements included an appearance with the Alabama Symphony in Handel’s Messiah and Verdi’s Requiem with the Grand Rapids Symphony. Among his honors and awards, Mr. Sorenson was the winner of the Opera Birmingham Young Singer Contest and the Sorantin Young Artist Award. He was also a finalist in the Loren L. Zachary Society Contest for Young Opera Singers and The Metropolitan Opera National Council Audition’s Southwest Region.

Alfred Walker

Overture

Julian Wachner MARGOT SCHULMAN

Gaining rapid international and national acclaim for his commanding performances, Alfred Walker sang his first performances of Creonte in Medea with Opera de Nancy et Lorraine and the title role in Don Quichotte with Tulsa Opera in the 2009-10 season. The bass-baritone recently received great acclaim for performances of Allazim in the Peter Sellars’ production of Zaide at the Aix-en-Provence Festival,Vienna Festival, London’s Barbican Centre and Lincoln Center’s Mostly Mozart Festival. In addition to his vast operatic repertoire, Mr.Walker is an equally versatile concert artist. He recently joined the Atlanta Symphony Orchestra under the baton of Robert Spano for Beethoven’s Symphony No. 9, and the American Symphony Orchestra in Alice Tully Hall for Mahler’s Kindertotenlieder and Rückert Lieder. Mr.Walker’s video credits include Metropolitan Opera productions of Samson et Dalila and Fidelio, featured on PBS’ Live from Lincoln Center. He can also be heard on Deutsche Grammophon’s release of Strauss’ Elektra and on the complete Verdi Tenor Arias CD with Placido Domingo. A graduate of Dillard University, Loyola University and the Metropolitan Opera Lindemann Young Artist Program, the New

Founded in 1961 as the Oratorio Society of Washington, The Washington Chorus is noted for its critically acclaimed performances and recordings of the entire range of the choral repertoire. A Grammy Award winner,The Washington Chorus is celebrating its 50th season and is considered a cultural leader in the Washington area.The Chorus, under direction of music director Julian Wachner, presents an annual subscription series at the Kennedy Center for the Performing Arts, the Music Center at Strathmore and other major venues throughout the Washington area.The Chorus frequently appears at the invitation of the National Symphony Orchestra, singing under the direction of many of the world’s greatest conductors, including Leonard Slatkin, Mstislav Rostropovich, Rafael Frühbeck de Burgos, Seiji Ozawa, Sir Neville Marriner, Charles Dutoit, Kent Nagano and Marin Alsop. The Chorus has toured internationally, traveling to such musically important destinations as Paris,Vienna, Prague, Barcelona, and Rome, among others.To better serve its local community, the Chorus also has various educational programs and presents free concerts throughout the greater Washington area for special-needs groups.The Washington Chorus is deeply committed to being a strong presence in the Washington community.

Music director of The Washington Chorus, Julian Wachner is one of North America’s most exciting and versatile musicians, sought after as both conductor and composer. Last summer, he made New York City Opera history having been selected as both conductor (With Blood,With Ink by

Daniel Crozier; Zolle by Du Yun) and composer (Evangeline Revisited) at the company’s annual VOX Contemporary American Opera Lab festival of contemporary opera. In addition to his City Opera debut,Wachner regularly appears on the world’s leading stages, including engagements with the Philadelphia Orchestra, Glimmerglass Opera, Montréal Symphony Orchestra, Boston Pops Orchestra, Portland Symphony, Pittsburgh Symphony,Toledo Symphony, Honolulu Symphony, Spoleto Festival USA, Music Academy of the West, Berkshire Choral Festival, Calgary Philharmonic, San Diego Symphony, National Arts Centre Orchestra, Handel & Haydn Society, Pacific Symphony, and L’Orchestre Métropolitain du Grand Montréal. Mr.Wachner is the inaugural director of music and the arts for Trinity Wall Street, the historic Episcopal parish in lower Manhattan. He is also associate professor of music at the Schulich School of Music at McGill University in Montréal, Québec, where he serves as principal conductor of Opera McGill. Mr.Wachner’s complete catalogue of music, containing more than 80 works, is published by E. C. Schirmer. He is also an award-winning organist and improvisateur. As a collaborative pianist, Mr.Wachner has twice toured South America with countertenor Daniel Taylor and the Theatre of Early Music. Mr.Wachner’s recordings are with the Chandos, Naxos, Atma Classique, Arsis, Musica Omnia and Titanic labels. Born in Hollywood, California, Mr.Wachner began his musical education at age 4 with cello and piano lessons at the University of Southern California, and he studied under Gerre Hancock while a boy chorister at the St.Thomas Choir School in New York City. He earned a doctor of musical arts degree from Boston University’s School for the Arts, where his teachers included David Hoose and Lukas Foss. NOTES ON THE PROGRAM Messa di Requiem

Giuseppe Verdi Born in Le Roncole, Italy, October 9, 1813; died in Milan, Italy, January 27, 1901

When the poet/novelist Alessandro Manzoni died in Milan on May 22, 1873 at

p ro g r a m notes the age of 88, he left Giuseppe Verdi the sole surviving spiritual and cultural leader of the Risorgimento, Italy’s successful mid-19th century movement of reunification as a nation, free of Austrian domination. Manzoni had been the poet of the Risorgimento,Verdi its composer. To non-Italians,Verdi’s artistic legacy in his mighty series of immensely popular operas is well known, Manzoni’s far less so. Manzoni had written what is even today Italy’s most famous and beloved novel—its War and Peace or David Copperfield—I promessi sposi (“The Betrothed”).Virtually every Italian has read it (Verdi himself first read it at age 16), not only for its romantic story, but also for its fresh, vivid language, for Manzoni had consciously tried to create a new language for a new nation, heretofore divided by its regional dialects. In I promessi sposi he produced the model for modern literary Italian at just the moment when Italians were most eager to embrace it.The novel ensured Manzoni’s place in the hearts of his countrymen, and at his death, a whole nation mourned. Verdi mourned, too.To his lifelong friend, the Contessa Maffei, he wrote: “Now all is over! and with him ends the most pure, the most holy, the greatest of our glories. I have read many papers. No one speaks fittingly of him. Many words, but none deeply felt.” Too grief-stricken to attend Manzoni’s funeral,Verdi brooded on his own memorial—something to counteract the “many words, but none deeply felt.” A week later, he proposed it to the Mayor of Milan: a Requiem Mass to be composed by him and performed in a Milanese church on the first anniversary of Manzoni’s death.Verdi would pay the expenses of producing and printing the music and would select, train, and lead the chorus, soloists, and orchestra. The city would pay the performance expenses.The Mayor didn’t think twice. Here was Italy’s greatest composer—fresh from the triumph of Aida—offering a new work in memory of Milan’s first citizen. In the words of a later, fictional Italian, truly “an offer he can’t refuse.” The Requiem and its performing forces—four vocal soloists, including the celebrated soprano Teresa Stolz, the first La Scala Aida; a chorus of 120; and an orchestra of 100—were ready as promised

on the anniversary, May 22, 1874.Verdi had chosen Milan’s Church of San Marco as having the finest acoustics for the premiere. Under the composer’s baton, it was one of those all too rare artistic occasions when expectations are exceedingly high and the work and the performance are great enough to meet them.Three days later, the Requiem was performed again, this time to the tumultuous applause the church premiere had denied, at Milan’s La Scala opera house, site of many Verdi operatic triumphs. It then proceeded on a successful tour of European capitals— Paris,Vienna, London. But from the beginning, the “Manzoni Requiem” was a controversial work.Too theatrical, said some. Not a suitably reverent treatment of the sacred text of the Roman Catholic Mass for the Dead.The famous German conductor and Brahms supporter, Hans von Bülow, initially dismissed it as Verdi’s “latest opera in ecclesiastical dress” and refused to hear it. Brahms himself came to the defense; after studying the score, he declared,“Bülow has made a fool of

himself, since this could only have been done by a genius.” Yet von Bülow wasn’t entirely wrong.The Messa da Requiem,Verdi’s only large-scale non-operatic work, really is a sacred opera. Its glory is its very theatricality. Verdi responded to the ancient text with, as Donald Francis Tovey said,“flaming sincerity,” and the work is the product of his years of experience in the opera house. And the dominant role goes not to the chorus or orchestra but to his four soloists, all given music of great virtuosity and operatic thrust. Yet the chorus and orchestra are not slighted. In his early years,Verdi was accused of writing for the orchestra as though it were a crude, small-town Italian band, such as those he knew in his hometown of Busseto. But when he created the Requiem, the composer was as great a master of the orchestra as of voices.Verdi wrote of needing always to find the right color or “tinto” for an operatic scene, and here he finds it every time, whether in the hair-raising brass fanfares that introduce

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p ro g r a m notes the “Tuba mirum” or the three flutes spinning silvery webs above the soprano and mezzo in the “Agnus Dei.” Like two other composers of famous Requiems, Brahms and Berlioz,Verdi was an agnostic, and so, since he was too honest a man and artist, his Requiem does not portray what he could not himself believe. It is an often troubling setting, providing no false consolation, no answers.The composer elevates the “Dies irae” (“Day of Judgment”) portion of the mass to the center of his conception and gives it music of terrifying force.The emphasis throughout is on the fears of the living as they face the unknown region of death, not the joys awaiting the departed. I. Requiem and Kyrie: The work begins almost inaudibly in the muted cellos, with the chorus murmuring “Requiem” in broken phrases. As often happens in late Verdi works, the melody emerges in the orchestra, not the voices. Listen for the magical brightening effect of the chorus’ harmonic progression on “lux” (“light”), as A minor is transformed into A major.The middle portion of this opening section,“Te decet hymnus,” features beautiful counterpoint, reminiscent of Palestrina, for unaccompanied chorus. (Verdi was schooled in the contrapuntal methods of Palestrina and remained a lifelong admirer of this 16th-century Italian master.) After a return of the “Requiem” music, the “Kyrie” begins, introducing the soloists with bravura vocal writing befitting the grand operatic artists they are. II. Dies irae: Four hammer blows launch the ferocious “Dies irae” music, which dominates this section—by far the longest in the work and casting its fiery glow over the entire Requiem.The chorus’ terrified cries as they envision this “Day of Anger” are silenced by fanfares from eight trumpets, four on-stage and four off, which swell into an eruption of the entire brass section (“Tuba mirum”). Here Verdi’s early exposure to village brass bands has been transmuted into one of the most electrifying passages of brass writing in the classical canon—“The Last Trump” indeed! This large section subdivides into many highly contrasted, artfully balanced numbers for the soloists, as well as two returns of the blazing “Dies irae” music. Here Verdi brings the drama down to the personal 32

Overture

level: each individual’s struggle with the fear of death and what may come thereafter.Then he gathers his forces together again for the concluding “Lacrimosa,” introduced by the mezzo-soprano, with its sighing motives and its anguished chromatically ascending scale partnering the poignantly simple principal melody. At the end, in a marvelously subtle use of harmony for dramatic effect,Verdi gives us an “Amen” on an unexpected, bright G major chord (a ray of hope?), then subsides to an exceedingly dark-colored B-flat major close (death is the reality). III. Offertorio: The “Offertorio” provides quiet contrast in a lyrical 6/8meter movement for the solo quartet. At midpoint, the beautiful “Hostias et preces” (“A sacrifice of praise and prayer”) section is introduced by the tenor.This is framed by the two faster “Quam olim Abrahae” (“As He promised to Abraham”) sections, which Verdi, eschewing custom, chose not to set as a fugue.The movement has a lovely, haunting ending as the soprano rises to a dolcissimo high A-flat, and the orchestra closes with shimmering muted-string tremolos and a melancholy solo clarinet. IV. Sanctus: Brass peals forth to open a fiery fugue for double chorus. In this compact, hot-blooded movement, the composer combines the “Sanctus,” “Osanna,” and “Benedictus” texts, often set separately by other composers. His conception of God is not a gentle one: no mystery and awe here, instead virile, Italianate worship of fierce divinity. V. Agnus Dei: After the fire of the “Sanctus” comes the chaste, cool sound of the soprano and mezzo soloists singing, at first unaccompanied, a simple melody in C major, in bare octaves. Listen for Verdi’s ethereal writing for three flutes at the soloists’ third entrance: a moment to treasure. VI. Lux Aeterna: In one of the most beautiful sections of the Requiem, Verdi spotlights his three lower-voiced soloists, saving his soprano for the last act. The mezzo’s luminous pianissimo “Lux aeterna” melody, with a halo of tremolo strings, contrasts with the bass’ ominoussounding “Requiem aeternam” theme, accompanied by low brass.These two moods battle gently, with the mezzo’s

ultimately dominating.The orchestra is used sparingly but with great artistry throughout. VII. Libera Me: The soprano soloist suddenly shatters the tonality and the serene mood of the preceding with her frantic unaccompanied recitative,“Save me, Lord, from eternal death.”The mood of terror has returned, and soon it erupts full-force as the “Dies irae” music returns one final time. Soprano and chorus then sing very softly what may be the most exquisite moment in the entire work: “Requiem aeternam.”This culminates in a floating pppp high B-flat for the soloist: a moment audiences look forward to eagerly—and sopranos with butterflies in their stomachs. Verdi had originally composed part of the “Libera me” in 1869 for a multicomposer Requiem in memory of Rossini, and the vigorous choral fugue that follows, with the soprano cresting to a high C, is a survivor of this earlier movement. But Verdi refuses to conclude his Requiem on this dramatic, exuberant plane.The subject, after all, is death; and Verdi, the agnostic, closes in an uncertain, questioning mood. The soprano and chorus mutter “Libera me” on a unison middle C, which dies out over the darkest C major orchestral chord imaginable. In the words of Giuseppina Verdi, a clear-headed, astute observer of her husband’s work:“They have all talked so much of the more, or less, religious spirit of this sacred music, of not having followed the style of Mozart, of Cherubini, etc. etc. I say that a man like Verdi must write like Verdi.” Instrumentation: three flutes, piccolo, two oboes, two clarinets, four bassoons, four horns, four trumpets, three trombones, tuba, timpani, bass drum, off-stage trumpets and strings. Notes by Janet E. Bedell, copyright 2011

SYMPHONY FUND HONOR ROLL T

January 15, 2010 – March 15, 2011 WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generous gifts to the Annual Fund between January 15, 2010 – March 15, 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.”

Marin Alsop at the BSO Gala with Ziba and Greg Franks and guest.

The Century Club Mayor and City Council of Baltimore City Baltimore County Executive & County Council Joseph and Jean Carando* CareFirst BlueCross BlueShield 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. Sandra Levi Gerstung 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 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 Joanne Gold and Andrew A. Stern David and Chris Wallace

$10,000 or more Liddy Manson “In memory of James Gavin Manson” 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

May 6, 2011 – June 12, 2011

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. Brian and Susan Sullam at the BSO’s winter Cast Party.

Governing Members Johnny and Shirley Ramsey mingle with BSO violinist Igor Yuzefovich at a Cast Party.

Individuals Maestra’s Circle (continued) $10,000 or more The Cordish Family Fund Suzi and David Cordish 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

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. Arthur Chomas “In memory of Mrs. Gloria Chomas” Dr. and Mrs. Wilmot C. Ball, Jr. Mr. and Mrs. John W. Beckley Ms. Arlene S. Berkis 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. David Leckrone and Marlene Berlin 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 Drs. William and Deborah McGuire

Overture

Sara and Nelson Fishman 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

Paul Meecham and Laura Leach Dr. and Mrs. John O. Meyerhoff Mr. and Mrs. Neil Meyerhoff Mr. Hilary B. Miller Margot and Cleaveland Miller 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 (7) 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.

Donald L. Bartling Kenneth S. Battye* The Legg & Co. Foundation Dr. and Mrs. Theodore M. Bayless Dr. Neil W. Beach and Mr. Michael Spillane Lynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit 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. Cape Foundation Turner and Judy Smith Michael and Kathy Carducci 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 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

Terry M. and James Rubenstein 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

Kari Peterson, Benito R. and Ben DeLeon 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 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 Mrs. Ann Greif 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 Dr. Richard T. Johnson Richard and Brenda Johnson Mr. and Mrs. Harry Kaplan Mary Ellen and Leon Kaplan Barbara 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 Mr. Kevin Lee Mr. and Mrs. Burt and Karen Leete 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 410.783.8124. 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 BSO Patrons arrive at an Open Rehearsal.

Mrs. Marie McCormack Mr. and Mrs. Gerald V. McDonald 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 Drs. Erol and Julianne Oktay Mrs. Bodil Ottesen Olive L. Page Charitable Trust Dr. and Mrs. Lawrence C. Pakula Ellen and Stephen* Pattin Drs. Hans Pawlisch and Takayo Hatakeyama Michael Love Peace 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. John Rounsaville Mr. and Mrs. Charles Rowins Robert and Leila Russell T. Edgie Russell Neil J. and JoAnn N. 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 Mr. Thom Shipley and Mr. Christopher Taylor 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. and Mrs. Lee M. Snyder Diane L. Sondheimer and Peter E. Novick Dr. and Mrs. Charles S. Specht

Leonard Sachs (left) welcomes Arlene and Sheldon Bearman and Sandi Gerstung into his home for a Maestra’s Circle affair.

Joan and Thomas Spence Melissa and Philip Spevak Anita and Mickey Steinberg Mr. Edward Steinhouse Mr. James Storey Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge Susan and Brian Sullam Mrs. Janis Swan 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 (2) The Becker Family Fund Mr. and Mrs. Stanley Ber Mr. Edward Bersbach 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. Louis Gitomer Drs. Ronald and Barbara Gots 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 Mr. Max Jordan Gail and Lenny Kaplan Gloria B. and Herbert M. Katzenberg Fund Harriet* and Philip Klein Andrew Lapayowker and Sarah McCafferty Mrs. Elaine Lebar 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 Mr. Charles Miller Mr. and Mrs. M. Peter Moser 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 Mrs. Barbara K. Scherlis Ms. Phyllis Seidelson Mr. Jeffrey Sharkey Marshall and Deborah Sluyter Mr. and Mrs. Edgar Smith Mr. and Mrs. Richard D. Spero Mrs. Ann Stein 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 Mr. and Mrs. Sean Wharry Dr. Edward Whitman Dr. Richard Worsham and Ms. Deborah Geisenkotter Ms. Anne Worthington Ms. Jean Wyman

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 (17) Mrs. Rachael Abraham Mr. and Mrs. Ronald Abrams Dr. and Mrs. Marshall Ackerman 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 Mr. Thomas Atkins 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. David and Sherry Berz Mr. and Mrs. Edwin and Catherine Blacka Reverend James Blackburn 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

• 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!

May 6, 2011 – June 12, 2011

Corporations $100,000 or more

World-class music reaches multiple generations at an Open Rehearsal. Individuals (continued)

$50,000 or more

$25,000 or more

Overture

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 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 and Ms. Rosalie Lijinsky 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. and Mrs. Charles C. Counselman, Jr. 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 Mr. John Day and Mr. Peter Brehm Joan de Pontet Mr. and Mrs. William C. Dee Mr. and Mrs. Anthony Deering Mr. Duane Calvin DeVance Mr. and Mrs. Mathias J. DeVito Ms. Priscilla Diacont Jackson and Jean H. Diehl Marcia Diehl Ms. Maribeth Diemer Nicholas F. Diliello Mrs. Marcia K. Dorst Mr. and Mrs. Robert Duchesne Ms. Lynne Durbin Mr. and Mrs. 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 Mr. and Mrs. Charles Fax Dr. and Mrs. Marvin J. Feldman Mrs. Sandra Ferriter Joe and Laura Fitzgibbon Mr. and Mrs. Anthony Fitzpatrick 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 Mr. and Mrs. Leland Gallup Dr. and Mrs. Donald S. Gann Mr. Ron Gerstley and Ms. Amy Blank Dr. and Mrs. Frank A. Giargiana, Jr. Mr. and Mrs. William Gibb Mr. Peter Gil Dr. and Mrs. Sanford Glazer Mr. Harvey Gold Mr. Jonathan Goldblith William R. and Alice Goodman Barry E. and Barbara Gordon 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 Sara and James A. Harris, Jr. Dr. and Mrs. S. Elliott Harris Mr. Fred Hart and Ms. Elizabeth Knight Mr. John Healy Mr. and Mrs. Robert Helm Ms. Doris T. Hendricks Mrs. Ellen Herscowitz David A. and Barbara L. Heywood Dr. Stephen L. Hibert Nancy H. Hirsche Edward Hoffman Mr. William Holmes Mr. and Mrs. John Hornady, III Ms. Irene Hornick 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 Mr. and Mrs. Gilbert Jones Mr. J. Lee Jones Mrs. Helen Jordahl Mrs. Amri Joyner 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 Ms. Rebecca Lawson Melvyn and Fluryanne Leach 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 Mr. and Mrs. K. Wayne Lockard Carol Brody Luchs and Kenneth Luchs Dr. and Mrs. Peter C. Luchsinger Ms. Louise E. Lynch Michael and Judy Mael Ms. Gail G. and F. Landis Markley 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. and Mrs. Charles R. Miller Mr. and Mrs. Gary Miller

Governing Member Francine Shure and Jonathan Carney meet at a Cast Party. 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. 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 Douglas and Barbara Norland Ms. Irene E. Norton and Dr. Heather T. Miller Carol C. O’Connell Anne M. O’Hare Mr. Garrick Ohlsson Mr. James O'Meara and Ms. Marianne O'Meara Ms. Margaret O’Rourke and Mr. Rudy Apodaca Mr. and Mrs. William Osborne Mrs. S. Kaufman Ottenheimer Mr. and Ms. Ralph Ottey Ms. Judith Pachino Mr. and Mrs. Frank Palulis 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 Ms. Nancy Rice 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. J. Kelly Russell Mr. and Mrs. John Sacci Beryl and Philip Sachs Mr. Lee 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 Mr. and Mrs. Benjamin Schapiro Mr. and Mrs. Eugene H. Schreiber Estelle D. Schwalb Ken and Nancy Schwartz Bernard and Rita Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford Shapiro Mr. and Mrs. Brian T. Sheffer Reverend Richard Wise Shreffler Mr. Richard Silbert Ronnie and Rachelle Silverstein 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

BSO Board of Directors 2010-2011 Season OFFICERS Michael G. Bronfein* Chairman

Ann L. Rosenberg Bruce E. Rosenblum*

Kathleen A. Chagnon, Esq.* Secretary Lainy LeBow-Sachs* Vice Chair

Patrons enjoying a night out at a post-concert reception.

Governing Members Hans Pawlisch and Takayo Hatakeyama enjoy a private party hosted by Ron Taylor.

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

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 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

$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 P&G Fund of the Greater Cincinnati Foundation Valley Motors Zuckerman Spaeder LLP

$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 $2,500 or more Cavanaugh Financial Group Charitable Foundation Downtown Piano Works Eagle Coffee Company, Inc. Federal Parking, Inc. S. Kann Sons Company 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. McGuireWoods LLP Mercer Nina McLemore, Inc. Rosenberg Martin Greenberg, LLP Semmes, Bowen & Semmes

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

Endowment 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 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

Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr.

Paul Meecham* President & CEO

Solomon H. Snyder, M.D.* William Wagner

Richard E. Rudman* Vice Chair Mr. and Mrs. William J. Sneeringer, Jr. Laurie M. Sokoloff 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 Mr. Harry Telegadas Mr. Marc J. Teller Patricia Thompson and Edward Sledge Mr. and Mrs. William Thompson Mr. Peter Threadgill Mr. and Mrs. David Traub Mr. and Mrs. Israel S. Ungar Mr. and Mrs. Robert Vogel Ms. Mary Frances Wagley Mr. Robert Walker 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 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 Dr. Mildred Zindler

The Honorable Steven R. Schuh

Andrew A. Stern* Vice Chair & Treasurer

LIFE DIRECTORS Peter G. Angelos, Esq. Willard Hackerman

BOARD MEMBERS A.G.W. Biddle III

H. Thomas Howell, Esq. Yo-Yo Ma

Robert L. Bogomolny

Harvey M. Meyerhoff

Barbara Buzzuto

Decatur H. Miller, Esq.

Andrew A. Buerger

Patricia B. Modell

Richard T. Burns

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

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST Benjamin H. Griswold IV Chairman

Beth J. Kaplan Murray M. Kappelman, M.D. Sandra Levi-Gerstung

Terry Meyerhoff Rubenstein Secretary

Richard Levine, Esq. Jon H. Levinson

Michael G. Bronfein

Ava Lias-Booker, Esq.

Mark R. Fetting

Susan M. Liss, Esq.*

Paul Meecham

Howard Majev, Esq.

W. Gar Richlin

Liddy Manson

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! > 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+)

> Allegretto Dinner

Join us for cocktails and dinner before the BSO’s performance of Verdi’s Requiem. Thursday, June 9. Cocktails in the Meryerhoff Lounge at 6 p.m. Dinner in the Park Avenue Lounge at 6:30 p.m. Governing Members ($2,500+) 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.

May 6, 2011 – June 12, 2011

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 Sara Nichols 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 Brendan Cooke Group Sales Manager

Lisa A. Sheppley Associate Director of Education

Jamie Schneider Marketing Manager, E-Commerce and Digital

Nick Skinner OrchKids Site Manager

Elisa Watson Graphic Designer

Larry Townsend Education Assistant Dan Trahey OrchKids Director of Artistic Program Development DEVELOPMENT Jennifer Barton Development Program Assistant Margaret Blake Development Office Manager

TICKET SERVICES Amy Bruce Manager of Special Events and VIP Ticketing

Alana Morrall Director of Individual and Institutional Giving

Peter Murphy Ticket Services Manager

Emily Wise Donor Relations Manager, BSO at Strathmore

Overture

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

Patrons enjoy breakfast before an open rehearsal. 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

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 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. 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.

We gratefully acknowledge the following Donors who have included the Baltimore Symphony Orchestra in their Estate Plans.

Kathy Marciano Director of Ticket Services

Richard Spero Community Liaison for BSO at Strathmore

Mr. and Mrs. T. Michael Preston 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

Adrian Hilliard Senior Ticket Services Agent, Strathmore

Becky McMillen Donor Stewardship Coordinator

Elspeth Shaw Annual Fund Manager

The Zanvyl and Isabelle Krieger Fund Anne and Paul Lambdin Therese* and Richard Lansburgh Sara and Elliot* Levi 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

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.

Timothy Lidard Assistant Ticket Services Manager

Joanne M. Rosenthal Director of Major Gifts, Planned Giving and Government Relations

Endowment (continued)

Gabriel Garcia Ticket Services Agent

Allison Burr-Livingstone Grants Program Manager

Rebecca Potter Corporate Relations Coordinator

Pops Conductor Jack Everly and Tenor Ben Brecher visit a Governing Members Party hosted by Ron Taylor (center).

(F) Founding Member (N) New Member * Deceased 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. Clarence B. Coleman* Mark D. and Judith L. Coplin (N) 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 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 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.

impromptu

Steady progress: For horn player Mary Bisson (right) and partner Karen Swanson, work on their new house began with the arrival of 1,000 concrete forms (top). Next came the construction of the foundation walls. Their Vermont mountain home (bottom) is now nearing completion, but “there’s always something to be done,” she notes.

MARY BISSON was never a Lego kind of kid. The colorful plastic bricks held little allure for the BSO horn player, who as a child preferred to climb trees, build forts and play outside with her many pets. However, Bisson, whose father was an architect, has long been fascinated by the process of building a house. “Someone has to put those walls up,” she remembers thinking. “How do they do it?” Now she knows the answer. For the last five years, Bisson and her partner Karen Swanson have been building a home on 15 acres in rural Addison County, Vermont, with their own hands. They designed the airy, 3,000-square-foot mountain home. Then, using more than 1,000 insulated concrete forms, a type of interlocking modular Lego-like foam brick, Bisson and Swanson constructed the walls, reinforced them with metal rods and filled them with concrete. They framed and roofed the house their first summer. Now every August they return to Vermont and spend the month building. “I’ve always wanted to have a house out in the country and this just seemed like an interesting challenge and a fun thing to do,” Bisson says.

The job requires long hours of hammering and hauling, sawing and sanding. Often their guests pitch in to help. So far they’ve applied cedar siding, framed and installed windows, added radiant floor heating and insulation, hooked up water and electric, and built a bathroom. Swanson, the job boss, is the electrical and plumbing specialist. Bisson, the worker bee, shows no fear when it comes to such tasks as scaling 20-foot-high scaffolding to frame windows or attach ceiling panels, but her dedication to the project has its limits. “I don’t get anywhere near saws,” she says. “Maybe I’m worried about losing my fingers.” The house is coming along nicely, although “there’s always something to be done,” Bisson notes. But every August when she emerges from her Honda Element after the 10-hour drive from Baltimore to see the house she built standing before her, she can’t help but feel content. Right before she turns to begin unloading dogs and cats, tool boxes and other supplies from the car, she always allows herself a few seconds to stand and admire the view. — Maria Blackburn

May 6, 2011 – June 12, 2011

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how everything can work together â&#x20AC;&#x201C; from asset allocation and business succession planning to personal and commercial insurance. An M&T Wealth Advisor will consult with you to prioritize your needs, understand your risks, and provide you with context on the economy and issues that impact your business. Then, working with you, a strategic plan is constructed, drawing on the expertise of M&Tâ&#x20AC;&#x2122;s team of specialists. Thatâ&#x20AC;&#x2122;s the power of mSIGHT, the signature approach of M&T Investment Group. Put it to work today by calling Kevin Burke at 410-545-2189.

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M&T Bank services include financial planning, investment management, trust and estate services, custody and employee benefit services. Wealth advisors are employees of M&T Bank and M&T Securities, Inc. _Â&#x201E;Â&#x152;{Â&#x2030;Â&#x160;Â&#x192;{Â&#x201E;Â&#x160; wÂ&#x201E;z _Â&#x201E;Â&#x2030;Â&#x2039;Â&#x2C6;wÂ&#x201E;y{ fÂ&#x2C6;Â&#x2026;zÂ&#x2039;yÂ&#x160;Â&#x2030;P ÂŠ WÂ&#x2C6;{ dej Z{Â&#x2020;Â&#x2026;Â&#x2030; Â&#x160;Â&#x2030; ÂŠ WÂ&#x2C6;{ dej \Z_YC_Â&#x201E;Â&#x2030;Â&#x2039;Â&#x2C6;{z ÂŠ WÂ&#x2C6;{ dej _Â&#x201E;Â&#x2030;Â&#x2039;Â&#x2C6;{z XÂ? WÂ&#x201E;Â? \{z{Â&#x2C6;wÂ&#x201A; ]Â&#x2026;Â&#x152;{Â&#x2C6;Â&#x201E;Â&#x192;{Â&#x201E;Â&#x160; W}{Â&#x201E;yÂ?ÂŠ ^wÂ&#x152;{ de XwÂ&#x201E;Â ]Â&#x2039;wÂ&#x2C6;wÂ&#x201E;Â&#x160;{{ ÂŠ cwÂ? ]Â&#x2026; ZÂ&#x2026;Â?Â&#x201E; _Â&#x201E; lwÂ&#x201A;Â&#x2039;{ M&T Investment GroupSM is a service mark of M&T Bank Corporation and consists of M&T Securities, Inc., the investment-related areas of M&T Bank and investment advisory firms MTB Investment Advisors, Inc., and Zirkin-Cutler Investments, Inc. Brokerage services and insurance products are offered by M&T Securities, Inc. (member FINRA/SIPC), not by M&T Bank. M&T Securities, Inc. is licensed as an insurance agent and acts as agent for insurers. Insurance policies are obligations of the insurers that issue the policies. Insurance products may not be available in all states. Asset allocation does not assure a profit nor protect against loss. ÂŠ2010 M&T Bank.