CCM's Guest Artist Series Presents THE SPHINX VIRTUOSI

2016-17 CONCERT SERIES

SPHINX VIRTUOSI LATIN VOYAGES: VIAJES LATINOS

COLLEGE-CONSERVATORY OF MUSIC

GUEST ARTISTS 8 p.m. Monday, Oct. 24, 2016 Robert J. Werner Recital Hall

CCM Season Presenting Sponsor and Musical Theatre Program Sponsor

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THE CSO/CCM DIVERSITY FELLOWSHIP, FUNDED BY THE ANDREW W. MELLON FOUNDATION.

BRAVOS.

WITHOUT BARRIERS.

BECAUSE NOTHING SHOULD STAND IN THE WAY OF YOUR GREATNESS. The Cincinnati Symphony Orchestra and the UC College-Conservatory of Music are proud to partner on a prestigious performance fellowship program.

Made possible by a generous grant from The Andrew W. Mellon Foundation, the CSO/CCM Diversity Fellowship provides an unparalleled learning experience for exceptional string players coming from populations that are historically underrepresented in classical music. Fellows perform with the CSO while completing their 2-year graduate degrees at CCM. Learn more about the program and our inaugural class of Fellows by visiting ccm.uc.edu/bravos-without-barriers.

COLLEGE-CONSERVATORY OF MUSIC

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UNIVERSITY OF CINCINNATI COLLEGE-CONSERVATORY OF MUSIC GUEST ARTIST SERIES PRESENTS

SPHINX VIRTUOSI

LATIN VOYAGES: VIAJES LATINOS

Robert J. Werner Recital Hall 8 p.m. Monday, Oct. 24, 2016

Season Presenting Sponsor and Musical Theatre Program Sponsor The Otto M. Budig Family Foundation Visiting Artist Sponsor The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC Corporate Counsel The Sphinx Virtuosi’s visit to CCM is made possible by generous contributions from the University of Cincinnati, CCMpower, Sigma Alpha Iota, Manuel D. & Rhoda Mayerson Foundation, the CCM Harmony Fund, UC Office of Equity and Inclusion and the Cincinnati Symphony Orchestra Multicultural Awareness Council.

CCM is an accredited institution of the National Association of Schools of Dance (NASD), National Association of Schools of Music (NASM) and the National Association of Schools of Theatre (NAST), as well as a member of the University/Resident Theatre Association (U/RTA).

The video or audio recording of this production is strictly prohibited.

The University of Cincinnati does not discriminate on the basis of disability, race, color, religion, national origin, ancestry, medical condition, genetic information, marital status, sex, age, sexual orientation, veteran status or gender identity and expression in its programs and activities. The complete Notice of Nondiscrimination can be found at uc.edu/about/policies/non-discrimination.

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ORCHESTRA SPHINX VIRTUOSI 2016 ROSTER

Violin I Karla Donehew Perez, concertmaster Stephanie Matthews Alex Gonzalez Hannah White

Cello Karlos Rodriguez, principal Thomas Mesa Sterling Elliott Caleb Vaughn-Jones

Violin II Suliman Tekalli, co-concertmaster Rainel Joubert Meredith Riley Maria Sanderson

Bass Xavier Foley, principal Christopher Johnson

Viola Paul Laraia, principal Celia Hatton Drew Alexander Forde Salwa Bachar

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PROGRAM

SPHINX VIRTUOSI 2016 TOUR PROGRAM LATIN VOYAGES: VIAJES LATINOS Libertango

ASTOR PIAZZOLLA, arr. THOMAS KALB (1921-1992)

Primera Suite Argentina

ALBERTO WILLIAMS (1862-1952)

Metro Chabacano

JAVIER ÁLVAREZ (b. 1956)

Prélude Ibérique

Hannah White, violin

CÉSAR ESPEJO (1892-1988)

Bachianas Brasileiras No.5, Aria

Catalyst Quartet

HEITOR VILLA-LOBOS, arr. CATALYST QUARTET (1887-1959)

La muerte del Ángel

Catalyst Quartet

ASTOR PIAZZOLLA, arr. CATALYST QUARTET (1921-1992) —Intermission—

Last Round for Two String Quartets and Double Bass Concerto per corde, op. 33

OSVALDO GOLIJOV (b. 1960) ALBERTO GINASTERA (1916-1983)

The national Sphinx Virtuosi tour is made possible with the generous support of The Andrew W. Mellon Foundation, with additional support from the John & Marcia Goldman Foundation, NEA Art Works, Mercedes Benz Financial Services and Aetna.

The Sphinx Virtuosi and Catalyst Quartet are exclusively represented in North America by California Artists Management (www.CalArtists.com)

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PROGRAM PROGRAM NOTES

Latin Voyages: Viajes Latinos is compiled by Afa S. Dworkin, President and Artistic Director, The Sphinx Organization, with contributions by Adriana Acosta.

Latin Voyages: Viajes Latinos takes the listener on a journey, a quest from the tantalizing Argentine tango to the nocturnal imagery of Mexico, along with a tribute to the great Piazzolla. We invite you to explore the exciting palette of the string medium through the prism of renowned composers of Latin heritage as well as those heard more seldom. Celebrate the intricate mosaic of sounds and colors that pay homage to our vastly diverse heritage through music!

ASTOR PIAZZOLLA (1921-1992) ARR. THOMAS KALB: LIBERTANGO Astor Piazzolla, born in 1921 in Mar Del Plata, Argentina, was an only child to his two parents. In 1925, the family relocated to New York City until 1936. At the age of eight he was given his first bandoneon, which his father purchased for him at a pawn shop in 1929. After a year of studying the instrument with Andres D’Aquila, Piazzolla made his first record, Marionette Spagnol, a phonograph disk recorded in the Radio Recording Studio in New York. In 1933, he studied with Hungarian pianist Bela Wilda. Later he became friends with Carlos Gardel, who was an actor in El Dia Que me Quieras, a highly influential film in the history of tango.

Piazzolla recorded and published Libertango in 1974. This piece represents a pinnacle in his career as it became the symbol for his departure from classical tango to tango nuevo. Originally performed on the bandoneon, this arrangement by Thomas Kalb, German conductor, pianist and bassoonist, is set for a chamber string ensemble. We invite you to listen for the exquisite melodic lines and robust rhythms: the piece demands consummate musicianship from its performers while simultaneously being beautifully accessible to the audience.

ALBERTO WILLIAMS (1862-1952): PRIMERA SUITE ARGENTINA Alberto Williams (Buenos Aires, Argentina 1862-1952) is a post-Romanticallyinspired composer who takes us on a journey of the transfiguration and emergence of an Argentine-inspired musical corpus “pampeano.” Williams was a champion of Argentinian and Latin American folk music and was the first eminent Argentinian composer to relate Argentine folk music into classical style music. He left behind two concert overtures, nine symphonies, three symphonic poems, three series of milongas for orchestra, three Argentine suites for strings, three sonatas for violin and piano, one sonata for cello and piano, a sonata for flute and piano, a trio, 83 songs for voice and piano and more than 100 additional works.

Composed by Williams in 1923, the Primera Suite Argentina is comprised of four dances: the hueya, the milonga, the vidalita and the gato. Listen for

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the distinctive style of each movement, varying from lively, as heard in the pizzicato section, to contemplative to elements of tango.

JAVIER ÁLVAREZ (B. 1956): METRO CHABACANO Born in Mexico City, Mexico, Javier Álvarez Fuentes (b. 1956), is known for his ability to combine musical styles from around the world, unusual instrumentation and new music technologies. He was hailed by celebrated composer John Adams, “The music of Javier Álvarez reveals influences of popular cultures that go beyond the borders of our own time and place.” Álvarez studied composition and clarinet with Mario Lavista before moving to the United States in the early 1980s. Later he moved to Great Britain for his studies, where he attended the Royal College of Music and the City University in London. Before writing Metro Chabacano, he wrote an electroacoustic work for tape and maracas in 1984 and named it Temazcal.

Metro Chabacano (chabacano is “apricot” in Mexican Spanish) was commissioned in 1988 for Cuarteto Latinoamericano by Marcos Limenez. The piece references a train station in Mexico City and is punctuated with brief solos from each instrument as they showcase the rhythmical insistence of repetitive eighth notes. Sounds simplistic? Deceptively so… the work is rather rich in its complexity.

CÉSAR ESPEJO (1892-1988): PRÉLUDE IBÉRIQUE César Espejo was a Spanish violinist and conductor who sadly remains obscure in today’s world of musical literature. He authored a plethora of works, mostly for the violin, including a scale book. Espejo identified as a Spaniard, despite the fact that he resided mostly in France. He dedicated his Prélude Ibérique to the incredible violin virtuoso Henryk Szeryng (19181988). The work offers a serious virtuosic challenge for the artist and an absolute treat for the audience. Further, Prélude Ibérique pays homage to the composer’s heritage while audibly connecting with some of the best Spanish compositional traditions preceding his time (Turina, Albeniz and others). The Prélude is likely inspired by Malagueña, a song by Cuban composer Ernesto Lecuona. The song has since become a standard of sorts completely outside of its original realm (performed by drum corps and marching bands!). Our inspiration behind programming this work came from a spectacular album Capricho Latino by violin virtuoso and a long-time artistic advisor to Sphinx, Rachel Barton Pine.

HEITOR VILLA-LOBOS (1887-1959) ARR. CATALYST QUARTET: BACHIANAS BRASILEIRAS NO.5, ARIA Heitor Villa-Lobos (Rio de Janeiro 1887-1959) was a well-known Brazilian composer whose remains prominent to this day. He composed over 2,000 vocal, orchestral, chamber and instrumental pieces. Villa-Lobos was heavily influenced by elements of European classical folklore and Brazilian folk music, hence he gave the name Bachianas Brasileiras to a series of works he created. The arrangement of this popular work by the Catalyst Quartet showcases its members’ individual playing styles, captures the dynamic piece and transports you to the depths of Brazilian rainforests with the use of astonishing and moving classical traditions.

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PROGRAM PROGRAM NOTES

ASTOR PIAZZOLLA (1921-1992) ARR. CATALYST QUARTET: LA MUERTE DEL ÁNGEL Written in 1960s, La muerte del Ángel (from a series of angel-themed pieces) is one of the composer’s most distinctive pieces. This gem has been immortalized by artists of several generations in a variety of instrumental transcriptions. In this work, Piazzolla transcends the traditional genre of tango with his innovative sultry style that clearly asserted a new musical language.

One can hear a jazz swing and wonderful sophistication in the harmonies and beautiful chromatic lines, all of which constitute a new direction that the composer charted for himself, this form and the genre as a whole.

OSVALDO GOLIJOV (B. 1960): LAST ROUND Osvaldo Golijov grew up listening to the music of Astor Piazzolla, which moved him deeply. As a young person, Golijov studied piano and composition; he studied in Israel as well as the U.S. under such greats as George Crumb, Oliver Knussen and Lucas Foss.

This incredible masterpiece is inspired by the great Astor Piazzolla, as well as the St. Lawrence String Quartet, a group that is favored by Golijov. Tragically, Piazzolla’s terminal illness was the event which precipitated the birth of the slow movement of the work. With encouragement from the St. Lawrence Quartet, Golijov finished the work in 1996, scoring it specifically for its current instrumental configuration and preceding the slow movement with a fiery fast movement.

Following is an excerpt from the liner notes of the magnificent recording by St. Lawrence Quartet from Golijov himself: “The title is borrowed from a short story on boxing by Julio Cortázar; the idea was to give Piazzolla’s spirit an imaginary challenge to fight one more time (he used to get into fistfights throughout his life). The piece is conceived as an idealized bandoneon. The first movement represents a violent compression of the instrument and the second a final, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song My Beloved Buenos Aires, composed by the legendary Carlos Gardel in the 1930s). But Last Round is also a sublimated tango dance. Two quartets confront each other separated by the focal bass, with violins and violas standing up as in the traditional tango orchestras…”

ALBERTO GINASTERA (1916-1983): CONCERTO PER CORDE, OP. 33 Alberto Ginastera composed his String Quartet No. 2 in 1958. His Concerto per Corde (Concerto for Strings), Op. 33 came seven years after as an adaptation of the quartet for full string orchestra. The new first movement, Variazioni Per I Solisti, is a raw-sounding and challenging theme and variations, where soloists engage in a complex dialogue with the orchestra.

This is followed by Scherzo Fantastico: Presto, which leaves the listener with

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a sense of chaos and disorientation — a frantic chase, perhaps. The Adagio Angoscioso explores the concept of sound from a contemplative perspective, paying tribute to the past and incorporating traditional melodic elements.

The piece concludes with the Finale Furioso: colorful, rhythmic and almost breathless. This movement showcases folk idioms, changing meters and hidden melodic ideas from preceding movements, all expressed through excellent writing for the string medium (much like Bartók, an inspiration behind much of Ginastera’s work). Get immersed in the ferocious energy of the unyielding rhythm and virtuosic brilliance of the sound.

PROFILE

THE SPHINX VIRTUOSI The SPHINX VIRTUOSI, led by the Catalyst Quartet, is one of the nation’s most dynamic professional chamber orchestras. Comprised of 18 of the nation’s top Black and Latino classical soloists, these alumni of the internationally renowned Sphinx Competition come together each fall as cultural ambassadors to reach new audiences. This unique ensemble earned rave reviews from the New York Times during its highly acclaimed debut at Carnegie Hall in December 2004. Allan Kozinn described their performance as “first-rate in every way” and “the ensemble produced a more beautiful, precise and carefully shaped sound than some fully professional orchestras that come through Carnegie Hall in the course of the year.”

The Sphinx Virtuosi have returned to Carnegie Hall annually since 2006 performing to sold-out halls and earning outstanding reviews from the New York Times each year. At once a bridge between minority communities and the classical music establishment, the Sphinx Virtuosi continue to garner critical acclaim during its annual national tours to many of the leading venues around the country.

Inspired by Sphinx’s overarching mission, the Sphinx Virtuosi works to advance diversity in classical music while engaging young and new audiences through performances of varied repertoire. Masterpieces by Bach, Tchaikovsky, Vivaldi and Mozart are performed alongside the more seldom presented works by composers of color, including Coleridge-Taylor Perkinson, George Walker, Michael Abels and Astor Piazzolla, among others.

The four principals of the Sphinx Virtuosi are members of the Catalyst Quartet, which has independently garnered acclaim in performances around the world. Members of the Sphinx Virtuosi have performed as soloists with America’s major orchestras, including the New York Philharmonic, Cleveland, Detroit, Atlanta, Philadelphia, Seattle and Pittsburgh Symphony

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PROFILE

THE SPHINX VIRTUOSI Orchestras. Members also hold professional orchestral positions, and several have been named laureates of other prestigious international competitions, including the Queen Elizabeth and Yehudi Menuhin. Roster members have completed and continue to pursue their advanced studies at the nation’s top music schools, including Juilliard, Curtis, Eastman, Peabody, Harvard and the University of Michigan.

The Sphinx Virtuosi’s first recording was released in 2011 on the White Pine label and features the music of Mendelssohn, Sibelius, Gabriela Lena Frank and George Walker.

THE CATALYST QUARTET The Catalyst Quartet, prize winners of the 2012 Gianni Bergamo Classical Music Award, is comprised of top laureates and alumni of the internationally acclaimed Sphinx Competition. Known for rhythmic energy, polyphonic clarity and tight ensemble-playing, the quartet has toured with sold-out performances at the Kennedy Center for the Performing Arts, Chicago’s Harris Theater, the New World Center in Miami and Carnegie Hall. They have appeared on numerous radio and television broadcasts, including American Public Media’s Performance Today, and have contributed to online and print media, including The Strad and Strings magazine. The Catalyst Quartet has held concert residencies at the University of Washington, University of Michigan, Rice University, University of Cincinnati College-Conservatory of Music, Pennsylvania State University, In Harmony Project (UK) and the University of South Africa. They serve as principal faculty at the Sphinx Performance Academy and have been guest artists at Festival del Sole, Great Lakes Chamber Music Festival, Sitka Music Festival, Juneau Jazz and Classics, Juilliard String Quartet Seminar, Strings Music Festival, the Grand Canyon Music Festival and the Britten-Pears Young Artist Programme.

Catalyst Quartet’s debut album The Bach/Gould Project (Azica Records) features their own arrangement of J.S. Bach’s “Goldberg Variations” and Glenn Gould’s “String Quartet.” They are also featured on the album STRUM, featuring the string works of Jessie Montgomery.

HANNAH WHITE, VIOLIN Hannah White, Fellow Laureate and recipient of the highest merit scholarship at the Academy of Music Institute of Chicago, studies with Almita Vamos and Hye-Sun Lee. Hannah is a recipient of the Jack Kent Cooke Scholarship, Isaac Stern Award, Puth Foundation Scholarship and Farwell Trust Award.

Hannah has soloed with many orchestras, including the Cleveland Symphony Orchestra, New World Symphony Orchestra, South Bend Symphony Orchestra, Milwaukee Symphony Orchestra, Ann Arbor Symphony Orchestra, Madison Symphony Orchestra, Sphinx Symphony Orchestra, Buffalo Symphony Orchestra and Dexter Community Orchestra, among others.

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Hannah has won first place at numerous competitions, including the Sphinx Competition Junior Division, St. Paul String Quartet Chamber Competition, Milwaukee Symphony Orchestra Young Artists, Jules M. Laser Chamber Competition, Music Teachers National Association (MTNA) at the national, regional and state levels, Madison Youth Concerto Competition, Milwaukee Youth Symphony Orchestra Senior Symphony Concerto Competition, Chinese Fine Arts Music Competition, Grandquist Competition, Sejong Competition, twice, Walgreens National Concerto Competition, DePaul Competition and Milwaukee Symphony Orchestra Bach Double Competition, among others.

In addition, Hannah has received top prizes at M-Prize International Chamber Competition, Fischoff Chamber Competition, Barnett Chamber Competition, American String Teachers Association Competition, Discover Chamber Competition and was a semi-finalist at Cooper International Competition and Stradivarius International Competition.

ABOUT THE COMPOSERS ASTOR PIAZZOLLA Astor Piazzolla, a major Argentinian composer of the 20th century, was a virtuoso on the bandoneon (a square-built button accordion) who left traditional Latin American tango bands in 1955 to create a new tango that blended elements of jazz and classical music.

In 1925 Piazzolla moved with his parents to New York, where the family lived until 1936. He received his first bandoneon at age eight and learned to play both that instrument and the piano as a child. When the family returned to Mar del Plata in 1936, Piazzolla began playing with a variety of tango orchestras. He formed his own orchestra, composing new works and experimenting with the sound and structure of the tango. About the same time he began to compose music for film. Having won a composing contest with his symphonic piece Buenos Aires (1951), he went to study in Paris with Nadia Boulanger. She urged him to remain true to himself and to continue his experiments with the tango. Henceforth he combined his two musical passions, despite much criticism from tango traditionalists. He returned to Argentina in 1955 but moved once again to the United States, where he lived from 1958 to 1960. When he returned again to Argentina, he formed the influential Quinteto Nuevo Tango (1960), featuring violin, electric guitar, piano, double bass and bandoneon. Though many of his 750 compositions were written for that quintet, he also composed pieces for orchestra, big band, bandoneon and cello. His innovations include counterpoint, new rhythms and harmonies and were initially not well-received in his country, but they were greatly admired in the United States and Europe. In Argentina Piazzolla’s new tango gradually gained acceptance. His music influenced a new generation of tango composers and was featured during the 1970s and ’80s in film scores, television programs and commercials.

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PROFILE

ABOUT THE COMPOSERS

ALBERTO WILLIAMS The Argentinian composer, conductor and pianist Alberto Williams was born in Buenos Aires and studied there before a period at the Paris Conservatoire, where his teachers included César Franck. Founder of the Conservatorio Williams in his native city, he was also associated with early Argentinian musical nationalism.

JAVIER ÁLVAREZ Born in Mexico City, Álvarez studied clarinet and composition before moving to the United States in the early 1980s and subsequently to Great Britain, where he attended the Royal College of Music and the City University in London. In 1993 Alvarez became a Fellow of the Mexican Endowment for the Arts and Culture, an award he held until 1999. He has held teaching positions at the University of Hertfordshire and the Malmö Music Academy in Sweden, having also taught composition and computer music technology at the City University, Royal College of Music and the Guildhall School of Music in London. He was a founding member of Sonic Arts Network and Artistic Director of the Society for the Promotion of New Music. In 2005 he was appointed Head of the Musical Arts Department of the Escuela Superior de Artes de Yucatan, returning to his native Mexico after nearly 25 years abroad.

CÉSAR ESPEJO César Espejo was born in Málaga, Spain in 1892 to Amador Espejo and Elisa Boucherant, the latter of whom was a piano and organ teacher. His musical career unfolded in France, where he played violin and conducted numerous orchestras, including those of the National Opera and the Théâtre Mogador in Paris. His compositions include more than fifty pieces, most for the violin, and his book of scales for the instrument is still in print. Espejo never lost his Spanish identity or his taste for Spanish music, despite his lifelong residence in France, where he died in 1988.

HEITOR VILLA-LOBOS Primarily self-taught, the Brazilian composer Heitor Villa-Lobos spent his early years absorbing the styles of Brazilian popular music as a guitarist in street choros, or village bands. During an expedition along the Amazon to the interior of Brazil, he pursued an interest in native chant, rites and music. Later established as an educator and prolific composer, he traveled widely and lived in both New York and Paris, though he remained immersed in the spirit and culture of Brazil. His love of Bach and of Brazilian folk music manifest in several works.

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OSVALDO GOLIJOV Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, Argentina. Born in 1960 to a piano teacher mother and physician father, Golijov was raised surrounded by classical chamber music, Jewish liturgical music and klezmer music, as well as the new tango of Astor Piazzolla. His blending of genres and seamless integration of voices speak volumes about his approach and style, a musical language that can only be termed “Golijovian.”

Since the early 1990s, Golijov has enjoyed collaborations with some of the world’s leading chamber music ensembles, such as the Kronos Quartet and the St. Lawrence String Quartet, in addition to relationships with artists such as Yo-Yo Ma, Dawn Upshaw and Robert Spano. In 2000 the premiere of Golijov’s La Pasión según San Marcos (St. Mark Passion) took the music world by storm. The Boston Globe called it “the first indisputably great composition of the 21st century.” Golijov has also received acclaim for other groundbreaking works such as his opera Ainadamar and the clarinet quintet The Dreams and Prayers of Isaac the Blind, as well as music he has written for the films of Francis Ford Coppola. He is currently working on a commission for the Metropolitan Opera.

Golijov served as the Debs Composer’s Chair at Carnegie Hall during the 2012-13 season. He is the Loyola Professor of Music at College of the Holy Cross in Worcester, Mass., where he has taught since 1991.

ALBERTO GINASTERA Alberto Ginastera was the leading Argentinian composer of the twentieth century. He was born in Buenos Aires in 1916 and studied music privately as a child, later enrolling at the National Conservatoire of Music in his home city.

In 1946-47 Ginastera spent a year in the United States on a Guggenheim fellowship, joining the teaching staff of the National Conservatory upon his return home. He was later the Dean of the Faculty of Musical Arts and Sciences at the Pontifical Catholic University of Argentina. His first opera, Don Rodrigo, premiered to immediate acclaim in 1966 and was soon followed by two others, Bomarzo (1967) and Beatrix Cenci (1971). In 1969, finding himself out of sympathy with the prevailing political climate in Argentina, Ginastera left the country and settled in Geneva.

In the early 1950s, the nationalist element in his music gradually lost its dominance, and more explicitly modernist characteristics began to make their presence felt in what Ginastera called his neo-expressionistic period.

He actively adopted the 12-tone technique, and his works also incorporated microtones and polytonality. By the time of his death on June 25, 1983, his modernism had softened, and he began to look again at the tonality and folkmusic inflexions of his early output.

Alberto Ginastera is published by Boosey & Hawkes.

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ABOUT

ABOUT THE SPHINX ORGANIZATION

The Sphinx Organization is the Detroit-based national organization dedicated to transforming lives through the power of diversity in the arts.

The organization’s founding and mission were informed by the life experiences of Aaron P. Dworkin, the organization’s founder. As a young Black violinist, he was acutely aware of the lack of diversity both on stage and in the audience in concert halls. He founded Sphinx while a graduate student at the University of Michigan to address the stark under-representation of people of color in classical music. He was also President Barack Obama’s first appointment to the National Council on the Arts. Aaron P. Dworkin currently serves as dean of the University of Michigan’s School of Music, Theatre & Dance, which is ranked among the top performing arts schools in the nation.

Now led by Afa S. Dworkin, its President and Artistic Director, Sphinx programs reach over 100,000 students, as well as live and broadcast audiences of over two million annually. Sphinx works to create positive change in the arts field and in communities across the country through a variety of programs organized into four main principles: Education & Access Overture (grassroots beginning violin program) Sphinx Performance Academy (intensive summer program) Classical Connections (in-school integrative curriculum) Artist Development National Sphinx Competition for young Black and Latino string players Music Assistance Fund (scholarships and fine instruments) Performing Arts Sphinx Virtuosi Sphinx Symphony Orchestra Soloist Program Global Scholars Catalyst Quartet Harlem Quartet Arts Leadership SphinxConnect (the epicenter for artists and leaders in diversity) Sphinx Medals of Excellence (identifying extraordinary artists who demonstrate artistic excellence, outstanding work ethic, a spirit of determination and leadership potential)

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As the organization has grown, so has its acclaim. Sphinx has been featured in the New York Times, Newsweek, People magazine, the Detroit Free Press and on National Public Radio and NBC’s Today show. In addition, the annual Sphinx Competition is broadcast by Detroit Public Television and syndicated to PBS stations nationwide.

Afa S. Dworkin’s work as the organization’s long-time Artistic Director and now President has also been recognized nationally. She was recognized as one of Detroit’s “40 Under 40” by Crain’s Detroit Business, in addition to being a frequent speaker on the importance of inclusion and music education at conferences nationwide, including the League of American Orchestras, Chamber Music America, Americans for the Arts and beyond. Ms. Dworkin also serves as faculty for Roosevelt University’s Master’s Program in Performing Arts Administration.

For more information please visit www.SphinxMusic.org or call 313-877-9100.

ALL AGES. ALL ABILITIES. CCM Preparatory offers classes and programs including

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MUSIC, THEATRE & DANCE. ccm.uc.edu/prep • 513-566-2595

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SPONSORS 2016-17 SPONSORS & PARTNERS CCM recognizes and thanks the following corporations, foundations and individuals for their generous support:

Louise Dieterle Nippert Trust Scholarship and Resident Artist Sponsor

The Andrew W. Mellon Foundation CCM/CSO Diversity Fellowship Sponsor

The Otto M. Budig Family Foundation

Season Presenting Sponsor, Musical Theatre Program Sponsor & Event Sponsor

The Corbett Endowment at CCM Dance Department Supporter & All-Steinway School Sponsor

The Greater Cincinnati Foundation H. Wayne Ferguson Family Foundation The Carol Ann and Ralph V. Haile, Jr./ U.S. Bank Foundation The Louise H. and David S. Ingalls Foundation, Inc. Frances R. Luther Charitable Trust Community Partners

Macy’s

Mainstage Season Production Sponsor

Mr. & Mrs. Edward S. Rosenthal Opera Department Sponsor

Genevieve Smith

Opera Production Sponsor

The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel Visiting Artists Sponsor

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Anonymous The Estate of Mr. William A. Friedlander Mrs. William A. Friedlander Dr. & Mrs. Randolph L. Wadsworth Mr. & Mrs. Frank Bloom Mr. & Mrs. J. David Rosenberg Mr. & Mrs. Harry H. Santen Mr. & Mrs. Paul G. Sittenfeld Mr. & Mrs. Thomas E. Stegman Dr. & Mrs. Theodore W. Striker The Thomas J. Emery Memorial Ariel Quartet Sponsors

Jan Rogers Willard and Jean Mulford Charitable Fund of the Cambridge Charitable Foundation Choral Studies Sponsors

Ms. Margaret L. Straub & Mr. Neil R. Artman Studio Drama Series Sponsor

Judith Heiny and Piotr Chomczynski Polish Festival Sponsor

The Sarah Marvin Foundation for the Performing Arts Classical Guitar Sponsor

Mr. & Mrs. Joseph W. Hirschhorn Orchestral Sponsor

Rosemary & Mark Schlachter Dance Sponsor

Northwestern Mutual Musical Theatre Sponsor

CCMpower The CCM Harmony Fund: Challenging Hate and Prejudice through Performing Arts Jeff Thomas Catering Sigma Alpha Iota Graeter’s Event Sponsors

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Mainstage Productions Invitation to a backstage tour and

dress rehearsal Parking Pass for TWO events

* Ticket discount available to Members the week of the show or concert only.

A maximum of two tickets must be purchased with no exchange privileges. ** Chosen by box office staff based on availability. You will be notified the week of the performance.

Please make this check payable to UC Foundation/CCMpower Learn more by visiting ccm.uc.edu/support/ ccmpower or calling 513-556-2100.

Mail to CCMpower University of Cincinnati P.O. Box 210003 Cincinnati, OH 45221-0003 CCM 17

CCM ADMINISTRATIVE STAFF bruce d. mcclung, Interim Dean and Thomas James Kelly Professor of Music Scott Lipscomb, Associate Dean and Director of Graduate Studies John Martin, Assistant Dean of Preparatory and Community Engagement Andrea M. Fitzgerald, Assistant Dean of Enrollment Services Kathryn Zajac Albertson, Senior Admissions Officer Kandice Odister, Admissions Program Manager Diane White, Director of Business Affairs Steve McConnell, Business Manager TJ Hizer, Human Resources Consultant Rayburn Dobson, Jr., Senior Director of Performance Operations Beth Dochinger, Senior Director of Development and External Relations Karen Tully, Director of Development and External Relations Stephanie Dumais, Assistant Director of Constituent Development Curt Whitacre, Director of Marketing and Communications Mikki Graff, Graphic Designer Rebecca Butts, Assistant Public Information Officer Alexandra Doyle, Charlotte Kies, Public Information Assistants Mark Lyons, Photographer John McDonagh, Director of Facilities and Performance Services Eric Wolfley, Director of Piano Services Rebekah Whitacre, Piano Technician Simรณn Sotelo, Director of Recording Services Eric Louie, Scheduling Manager Andrea Dylewski, CCM Summer Interim Programs Director Jeanne Rose, Box Office Manager Seika Fukumoto, Karen Lee, Joe Murrell, Box Office Assistant Managers Olivia Baer, Annie Barr, Daniel Blevins, Mackenzie Brauns, Albert Carter, Jr., Rachel Culley, Taylor Fleshman, Delaney Jacob, Gabi Gorgas, Zach Jones, Charlotte Kies, Brent Levy, Shannon Lock, Jerome McCray, Anthony Smith, Box Office Staff Kate Alexandra, Abigail Martin, Eric Morin, House Managers Desiree Adams, Faroq Al-Rjoub, Charlie Aloisi, Alvin Ashlaw, Nicki Berger, Emilio Carlo, Jabari Carter, Nicole Chance, Lily Couch, Ilona Eke, Kyle Evanoff, Ryan Garrett, Nick Garver, Paula Gibson, Nicholas Heffelfinger, Alison Hinton, Casey Hull, Pauline Humbert, Jennelle John-Lewis, Philip Johnson-Richardson, Umpha Koroma, Kyle Lamb, Jalen Lee, Miranda Martin, Steve McClain, Anurag Neti, Madison Nuss, Kayliegh Overmyer, Max Schaefer, Jenna Sehmann, Micah Tawney, House and Operations Staff Nick King, Operations Assistant Manager Wendling Printing Company, Printing House Industries, Neutra Text Font Design

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A legacy of arts support and patronage

SUSAN FRIEDLANDER Sue Friedlander’s love of chamber music began with the world-renowned LaSalle Quartet, CCM’s storied string quartet-in-residence from 1953 to 1988. Over the years Sue and her husband Bill remained close to the Amernet Quartet and supported appearances of various chamber music groups. After hearing a remarkable young ensemble, the Ariel Quartet, their passion for chamber music was again reignited. Along with Evi and Walter Levine, Bill and Sue Friedlander drove the highly successful initiative to bring the Ariel Quartet to Cincinnati as CCM’s string quartet-in-residence.

Following Bill Friedlander’s passing in 2014, Sue’s leadership and philanthropy continues to influence the transformation of countless organizations. The impact of her generosity is immeasurable.

COLLEGE-CONSERVATORY OF MUSIC

GIFT PLANNING

For more information, contact CCM External Relations Office at 513-556-2100.

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INFO

GENERAL INFORMATION CCM BOX OFFICE: Located in the CCM Atrium, the Box Office is open Monday through Friday, noon-5:30 p.m.; Saturday, noon-4 p.m.; and one hour prior to curtain for Mainstage performances.

MasterCard, Visa and Discover cards are accepted. CCM Box Office, P.O. Box 210003, Cincinnati, OH 45221-0003; 513-556-4183.

PARKING: Convenient parking is available in the CCM Garage at the base of Corry Boulevard off of Jefferson Avenue. Additional parking is available in garages throughout the UC campus. Any questions concerning on-campus parking should be directed to UC Parking Services at 513-556-2283.

TAX CREDIT: If you find that you cannot attend your performance, your tickets may be donated for tax credit as a charitable contribution. Simply notify the Box Office prior to the performance to release your seats, and give your name and address. A tax donation receipt will be mailed to you.

EMERGENCY CALLS: If you are likely to receive an emergency call during a performance, please leave your name and seat location with the House Manager. If you have a beeper, we also request that you leave it with the House Manager along with your seat number so as not to disturb the audience and performers. In case of emergencies, this will help us locate you as quickly as possible.

LOST AND FOUND: 513-556-9413 HOUSE POLICIES: The House Manager has been instructed to minimize the disturbance to patrons already seated when accommodating latecomers. The director and producer of each production select times that are least likely to interrupt the performance, and latecomers will be seated only during these times.

Latecomers who miss these opportunities will not be admitted until intermission. Children under the age of six are not to be admitted.

CAMERAS, PHONES AND RECORDING DEVICES: The use of cameras, with or without flashes, recording devices, cellular phones and other electronic devices inside the theater is strictly prohibited.

Please leave them with the House Manager.

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SMOKING AND REFRESHMENTS: Smoking and refreshments are not permitted in the theater. Effective January 1, 2006, smoking is prohibited inside all buildings, athletics facilities and vehicles owned, operated or leased by the University of Cincinnati. Smoking is also prohibited within 25 feet of all university building entrances, exits, air intakes and operable windows. Smoking shall not be permitted on any bridge, overpass or enclosed walkway.

HEARING ENHANCEMENT: Telex listening devices are available for checkout during performances in both Patricia Corbett Theater and Corbett Auditorium. Please inquire at the Box Office.

WHEELCHAIR SEATING: Wheelchair seating is available in both theaters. Seating is limited, so reservations should be made with the Box Office when ordering tickets. These seats are subject to availability.

GROUP SALES: The Box Office can accommodate groups for major productions and concerts. Preview and benefit performances are also available for some productions. For more information, call the CCM Box Office at 513-556-4183.

CCM ONLINE: ccm.uc.edu JOIN THE CCM FACEBOOK COMMUNITY: www.facebook.com/ UCCollegeConservatoryofMusic FOLLOW CCM ON TWITTER: twitter.com/uc_ccm VIEW CCM ON INSTAGRAM: instagram.com/uc_ccm READ THE CCM VILLAGE NEWS BLOG: ccmpr.wordpress.com The purpose of these performances is educational, and they are part of the University of Cincinnati academic program.

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Every Wednesday in print.

Everyday online at the new citybeat.com

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Email your request today to ccmplacement@uc.edu 513.556.9481 • ccm.uc.edu/talentforhire CCM 22

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cincinnatisymphony.org 513.381.3300 CSO MASTERWORKS SERIES SPONSOR

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CSO ASCENT SERIES SPONSOR

SPONSORS OF THE SPHINX VIRTUOSI’S VISIT TO CCM THE JOSEPH AND FRANCES JONES POETKER FUND

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