CSO Mendelssohn Hymn of Praise - program 03-24-23

DIGITAL PROGRAM BOOK

March 24 & 25 Belk

Jessica Cottis, conductor

Patricia Westley, soprano

Deanna Breiwick, soprano

Joseph Tancredi, tenor

Charlotte Master Chorale

Theater

Welcome to your CSO!

March heralds the arrival of Spring, and for the CSO it’s a time to celebrate cross-pollination and connections across neighborhoods, as we cultivate meaningful and long-lasting bonds throughout our community. At the CSO, we take great pride in being an active and integral part of city life; and much of that work grows out of the partnerships we form with the civic leaders and institutions that have also planted deep roots in our communities.

We begin the month with Pablo + Igor, a concert presented in partnership with The Mint Museum’s exhibit, Picasso Landscapes: Out of Bounds. With returning guest conductor Paolo Bortolameolli on the podium, we’ll explore the intersection of music and art with works by composers whom Picasso worked with and greatly admired: Satie and Stravinsky.

Later this month, in collaboration with Charlotte-Mecklenburg Schools, we’ll welcome 12,000 CMS fifth graders to Belk Theater for six performances of our One Musical Family concert, which introduces students to the various musical families that make up the Charlotte Symphony; later that same week, our friends at the 501st Carolina Garrison will bring the characters of Star Wars to the concert hall for our presentation with live music of the final installment of the original Star Wars trilogy, Return of the Jedi

We also join forces on March 21st with Johnson C. Smith University for an uplifting program on campus showcasing the music programs of JCSU side by side with the Charlotte Symphony. And we’ll end the month with a performance of Mendelssohn’s expansive “Hymn of Praise,” led by returning guest conductor Jessica Cottis and featuring our frequent collaborators, the Charlotte Master Chorale.

We’re so grateful to be a part of Charlotte’s thriving and diverse arts scene. Thank you for your continued support. I hope to see you at many of our exciting collaborations this season.

David Fisk President & CEO

The CSO is…

MORE THAN WHAT’S ONSTAGE.

Did you know that the Charlotte Symphony is much more than what you see on the Belk and Knight Theater stages? Beyond the Classical, Pops, Family, and Movie Series in the theaters, we work to uplift, entertain, and educate our community through inclusive education programs and community performances.

• The CSO has three programs for young musicians: the Youth Orchestra, the Youth Philharmonic, and the Youth Ensemble. CSO musicians participate in coaching throughout the year, and even perform with the young musicians!

• Reaching approximately 15,000 students each season, we also have extensive school programs, including Project Harmony, “Music and the Holocaust,” and “One Musical Family” Education Concerts.

• We perform throughout the region, from community parks and schools to breweries, senior care centers, and places of worship all season long.

The CSO is…FOR EVERYONE .

To learn more, visit charlottesymphony.org

Friday, March 24, 2023 at 7:30pm

Saturday, March 25, 2023 at 7:30pm

Belk Theater at Blumenthal Performing Arts Center

Jessica Cottis, conductor

Patricial Westley, soprano

Deanna Breiwick, soprano

Joseph Tancredi, tenor

Charlotte Master Chorale

ANTONÍN DVOŘ ÁK (1841-1904)

The Golden Spinning Wheel, Op. 109

INTERMISSION

FELIX MENDELSSOHN (1809-1847)

Lobegesang (“Hymn of Praise”), Op. 52

I. Sinfonia

Maestoso con moto - Allegro

Allegretto un poco agitato

Adagio religioso

II. Cantata

chorus: Alles was Odem hat

solo & chorus: Lobe den Herrn, meine Seele

recit. & aria: Saget es, die ihr erlöst seid

chorus: Sagt es, die ihr erlöst seid

duet & chorus: Ich harrete des Herrn

tenor solo: Stricke des Todes

chorus: Die Nacht ist vergangen

chorale: Nun danket alle Gott

duet: Drum sing ich mit meinem Liede

chorus: Ihr Völker, bringet her den Herrn

concert duration: approximately 2 hours. There will be one 20-minute intermission.

Jessica Cottis

guest conductor

Award-winning conductor Jessica Cottis, named ‘2019 Classical “Face to Watch”’ (The Times, UK), is much in demand, working regularly with leading orchestras such as the London Symphony Orchestra, Royal Philharmonic Orchestra, Danish Radio Symphony Orchestra, Prague Radio Symphony Orchestra, Singapore Symphony, Sydney Symphony, Los Angeles Philharmonic, Houston Symphony, Opéra Orchestre national Montpellier, L’Orchestra Sinfonica di Milano Giuseppe Verdi (laVerdi), l’Orchestre

Philharmonique de Monte Carlo, new music ensembles such as London Sinfonietta and Bang on a Can, as well as numerous re-invitations at the Royal Opera House, Covent Garden, and the prestigious BBC Proms. She has recorded for the BBC, ABC, and Decca Classics labels.

One of the most outstanding Australian conductors working today, 2022 marks Jessica Cottis’s second season as Chief Conductor and Artistic Director of the Canberra Symphony Orchestra. Under her leadership, the orchestra has already developed a number of important new initiatives, including significant commissions and championing of Australian works. Recognised for her engaging, wide-ranging and thought-provoking programming, Cottis’ domain is music of the 19 th to 21st centuries. This season she will conduct major works by Wagner, Sibelius and Stravinsky in Canberra, and make highly anticipated debuts with orchestras including Bremer Philharmoniker, RTÉ National Symphony Orchestra, San Antonio Symphony, Opéra National de Bordeaux, Oslo Philharmonic, and Royal Danish Opera for Poul Ruders’ The Handmaid’s Tale, and return to the Royal Opera House for the world premiere of Laura Bowler’s The Blue Woman.

Jessica Cottis grew up on her family’s sheep farm in southeastern Australia and quickly developed a lifelong interest in both music and the natural world. She is especially interested in the relation between music, nature and science, and the act of listening. She works widely as an advocate for classical music. A gifted communicator described as a “cool,

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contained, super-articulate and engaging” (The Scotsman), she has given masterclasses for the Royal Philharmonic Society and Royal Academy of Music, and has led courses for emerging women conductors for the Royal Opera House. She sits on the Board of new music organisation and record label Nonclassical, and is Chair of the Music Board of the Tait Memorial Trust for Young Australians, a body that supports young Australian and New Zealand performing artists studying in the UK. She is a frequent contributor on BBC radio and television, commenting on a wide range of artsrelated topics, from opera to architecture, synaesthesia, the environment, and acoustics.

Jessica Cottis’ early musical career was as an organist, pianist, and trumpeter. Awarded first class honours at the Australian National University, she continued her studies in Paris with pioneering French organist Marie-Claire Alain. After a wrist injury halted her playing career, she began conducting studies at the Royal Academy of Music in London, studying with Colin Metters and Sir Colin Davis. She went on to serve as Assistant Conductor of the BBC Scottish Symphony Orchestra and at the Sydney Symphony Orchestra, where she worked closely with mentors Sir Donald Runnicles, Charles Dutoit, and Vladimir Ashkenazy. More recently she was honoured with the title of Associate of the Royal Academy (ARAM), an honorary award for formers students who have made a significant contribution to the music profession.

Jessica Cottis has undertaken Executive Leadership studies at Cornell University and Saïd Business School, University of Oxford. She resides in Stockholm and London, and outside of music pursues her passion for butterflies all over the world.

JUST ANNOUNCED!

Join the Charlotte Symphony for an exciting new season with a compelling lineup of concerts! Subscribe today for the best seats, the best prices, and great benefits!

Single tickets on sale later this summer.

featuring...

BEETHOVEN’S EROICA Oct. 6 - 8

GERSHWIN’S RHAPSODY IN BLUE Mar. 1 & 2 HOLST’S THE PLANETS May 17 & 18

featuring...

THE HOT SARDINES Nov. 10 & 11

REGINA CARTER Feb. 9 & 10 GREAT LADIES OF SWING April 12 & 13

featuring...

HOLIDAY POPS Dec. 16

SAINT-GEORGES’ SWORD & BOW Feb. 10 CARNIVAL OF THE ANIMALS April 13

featuring...

ELF IN CONCERT Nov. 24 & 25 THE FORCE AWAKENS IN CONCERT Mar. 15 & 16 JAWS IN CONCERT June 14 & 15

SUBSCRIBE AND SAVE

UP TO 50% OFF SINGLE TICKETS!

view the full season at charlotte symphony.org

presented by

presented by

2O23 GALA ARTIST

Renée Fleming

JAZZ VIOLINIST

Regina Carter

RESIDENT CONDUCTOR

Christopher James Lees

star wars:

New Zealand-American soprano Patricia Westley is a dynamic and engaging performing artist who has been hailed as a “radiant” and “hugely impressive artist” who sings with “fluency and tonal grace” by Opera News and the San Francisco Chronicle. This season Patricia Westley was at the Mariinsky Theatre as the first-ever American accepted into the prestigious Atkins Young Artist Program and made her debut at Teatro La Fenice as First Niece in the theatre’s first-ever production of Benjamin Britten’s Peter Grimes.

Notable highlights in recent seasons include two productions as Gretel in Hansel & Gretel with Palm Beach Opera and Amarillo Opera, a world premier as Selena in Jake Heggie’s If I Were You, Elisa in Mozart’s Il re pastore with Merola Opera Program, and debuts with the Oakland Symphony as soloist for Brahm’s Ein deutsches Requiem, and the Pacific Symphony singing multiple roles in Ravel’s L’enfant et les sortilèges.

As a life long devotee of poetry, Patricia delights in her collaborations with pianists in the performance of song. She can recently be seen in a collaboration with Opera Santa Barbara for their digital recital series with pianist Timothy Accurso. In 2019, Patricia sang a recital of Wolf, Barber, and Brahms with Martin Katz in the Schwabacher Recital Series presented by Merola Opera and the San Francisco Opera Center. This was a recital in which she stepped as a replacement with fewer than 10 days notice.

Additionally, Patricia can be heard in cast recordings produced by Lamplighters Music Theatre as Amiam (YumYum) in Gilbert and Sullivan’s The (New) Mikado (minus the Yellowface), Casilda in The Gondoliers, and Elsie in The Yeomen of the Guard

Patricia is a two time participant in the prestigious Merola Opera Program, a Benenson Young Artist with Palm Beach Opera, and an alumna of the University of Oklahoma and Carnegie Mellon University.

(Guest Artist bios continued next page)

Patricia Westley soprano

Deanna Breiwick soprano

American soprano Deanna Breiwick, hailed by The New York Times for her “sweet sound and floating high notes” and for being a “vocal trapeze artist,” is enjoying an exciting and diverse career.

In the 22/23 season, Ms. Breiwick makes her debut at San Francisco Opera, performing Sister Constance in Dialogues of the Carmelites. She will return to Bayerische Staatsoper for Adele in Die Fledermaus, and make debuts at the Gran Teatre del Liceu as Drusilla in L’incoronazione di Poppea, the Atlanta Opera as Cunegonde in Candide, and with Philharmonia Baroque Orchestra as Oriana in Amadigi. In the 21/22 season, Ms. Breiwick returned to the Metropolitan Opera as Najade in Ariadne auf Naxos, reprised Drusilla with Opernhaus Zürich, debuted with Seattle Opera as Amore in Gluck’s Orfeo ed Euridice, and performed the roles of Bradamante and Pittura in Il Palazzo Incantato by Alarcon with Opéra National de Lorraine and The Royal Opera of Versailles. Finally, she appeared with the Pacific Chorale, performing in Vaughan-Williams’ Don Nobis Pacem. In the 20/21 season, Ms. Breiwick appeared with The Dallas Opera in a series of concerts of opera favorites and made a role and house debut with Opéra de Dijon as Bradamante and Pittura. At the Metropolitan Opera, Deanna Breiwick has been featured as La Charmeuse in Massenet’s Thaïs, a Flower Maiden in Wagner’s Parsifal, a Shadow in the North American premiere of Nico Muhly’s Marnie, and a featured soloist in the company’s Summer Recital Series.

Past orchestral engagements include Fauré’s Requiem and Mahler’s Symphony No. 2 with the San Antonio Symphony, Messiah with the Seattle Symphony, Detroit Symphony, United States Naval Academy and New Choral Society in Scarsdale, NY, Orff’s Carmina Burana in a joint project with the Charleston Symphony and Nashville Ballet, as well as with the El Paso Choral Society, and the Israelite Woman in Handel’s Judas Maccabaeus with the International Handel Festival in Göttingen, Germany.

Joseph Tancredi tenor

Hailed by Opera News for his “high notes with a ringing, clarion tone,” tenor Joseph Tancredi from Bayville, New York, is currently pursuing his Professional Studies degree at the Curtis Institute of Music under the tutelage of Jack LiVigni.

Previous credits include Nemorino (L’elisir d’amore), Roderick Usher (The Fall of the House of Usher), Ferrando (Così fan tutte), the title role in Albert Herring, Conte Almaviva (Il barbiere di Siviglia) and Raimondo (I due timidi). Joseph has participated in the Apprentice Singer Program at the Santa Fe Opera for two summers, where he sang the Peasant in Eugene Onegin and covered Benjamin in The Thirteenth Child and Jon Harker in The Lord of Cries. Mr. Tancredi has garnered ample recognition in the competition circuit and has recently been named a National Semifinalist in the Metropolitan Opera Laffont Competition this season.

Coming up, Joseph looks forward to performing as Lurcanio in Ariodante with the Curtis Opera Theatre, Harry in La fanciulla del West in his Cleveland Orchestra debut, and covering the title role of Idomeneo at the Aspen Music Festival as a Renée Fleming Artist.

Mr. Tancredi holds a Bachelor of Music degree in Classical Voice Performance from the Manhattan School of Music and a Master of Music degree in Opera Studies from the Curtis Institute of Music.

Kenney Potter, Artistic Director

Philip Biedenbender, Assistant Conductor & Pianist

Erin Schwarz, Chorus Manager

SOPRANO

Samantha Balsam

Rachel Barber

Romy Cawood

Katie Colgate

Cat Connolly

Claire Crabtree

Megan Crosson

Mary Catherine Donovan

Michelle Duncan*

Sarah L. Fink

Kirstyn Gilliland*

Angela Gwinn

Darlene Ifill-Taylor, MD

Emily Linskens

Rebecca Lopez*

Kaitlyn Melendez*

Fran Morrison

Amy O’Brien

Abigail Okland

Mariah Siedel

Jennifer Shea

Rebecca H. Smith

Morgan Stoeling

Melissa Theiss

Victoria Wojciechowski

TENOR

David Benton

Rajah Chacko

Ned Harris

S. Seth Hickel

Robert Hochberg

David Jacobs

Adam Krahn

Kevin Logan

William Massey

Thomas Moncrief

David Quackenbush

Andreas Schuhmacher

Jesse M. Tillman, III

*denotes Young Artist in Residence

ALTO

Carin Bissiere-Grote

Brett Blumenthal

Haley Bohon

Judy Brown-Steele

Lori Garber

Kimberly Gilbert

Lisa M. Harper

Caitlin Whalan Jones

Patti Kelly

Sydney Kopera

Marcella La Barrie

Kathryne Lavender

Jeanette Laxton

Victoria Lloret

Emily Lupsor

Katie Nix

Kate Porier

Lillian Quackenbush

Laura Reinbold

Audrey Lynn Robinette

Ivy Rogers*

Stephenie Santilli

Paige Sisk

Angelica Stanley

Christine Fink Starnes

Rachel Sykes McConnell

Cricket Weston

BASS

Bennett Billard

Philip Bugaiski

Aj Calpo Parkes C. Dibble

Stephen Field

Thomas Griffin

Jeffrey Hollowell

Samuel Mayo-Tineco*

Maxim Muter

Caleb Hill Newman

Ethan Price

Manley Roberts

Alan Samdal

Michael Stoudmire

William R. Taylor

Ray Trogdon

YOUR CHARLOTTE SYMPHONY

Christopher Warren-Green, Conductor Laureate & Music Adviser

Christopher James Lees, Resident Conductor

FIRST VIOLINS

Calin Ovidiu Lupanu, Concertmaster

The Catherine & Wilton Connor Chair

Joseph Meyer, Associate Concertmaster

Kari Giles, Assistant Concertmaster

Ernest Pereira°*

Susan Blumberg°°

Jane Hart Brendle

Emily Chatham°°

Ayako Gamo

Jenny Topilow°°

Dustin Wilkes-Kim

Hanna Zhdan

SECOND VIOLINS

Oliver Kot, Principal

The Wolfgang Roth Chair

Kathleen Jarrell, Assistant Principal

The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona°

Monica Boboc

Tatiana Karpova

Ellyn Stuart

Martha Geissler

Sakira Harley

VIOLAS

Benjamin Geller, Principal

The Zoe Bunten Merrill Principal Viola Chair

Alaina Rea, Assistant Principal *

Chihiro Tanaka, Acting Asst. Principal

Ellen Ferdon

Cynthia Frank

Viara Stefanova

Ning Zhao

Matthew Darsey †

CELLOS

Jonathan Lewis, Principal

The Kate Whitner McKay Principal Cello Chair

Allison Drenkow, Assistant Principal

Alan Black, Principal Emeritus

Marlene Ballena

Jeremy Lamb

Sarah Markle

DOUBLE BASSES

Kurt Riecken, Principal

Judson Baines, Assistant Principal

Jeffrey Ferdon

Jason McNeel

FLUTES

Victor Wang, Principal

The Blumenthal Foundation Chair

Amy Orsinger Whitehead

Erinn Frechette

PICCOLO

Erinn Frechette

OBOES

Hollis Ulaky, Principal

The Leo B. Driehuys Chair‡

Erica Cice

Terry Maskin

ENGLISH HORN

Terry Maskin

CLARINETS

Taylor Marino, Principal

The Gary H. & Carolyn M. Bechtel Chair

Samuel Sparrow

Allan Rosenfeld

E♭ CLARINET

Samuel Sparrow

BASS CLARINET

Allan Rosenfeld

BASSOONS

Joseph Merchant, Principal

Joshua Hood

Naho Zhu†

CONTRABASSOON

Naho Zhu†

HORNS

Byron Johns, Principal

The Mr. & Mrs. William H. Van Every Chair

Andrew Fierova

Robert Rydel

Richard Goldfaden

Philip Brindise†

TRUMPETS

Alex Wilborn, Principal

The Betty J. Livingstone Chair

Jonathan Kaplan

Gabriel Slesinger, Associate Principal*

The Marcus T. Hickman Chair

TROMBONES

John Bartlett, Principal

Thomas Burge

BASS TROMBONE

Scott Hartman, Principal

TUBA

Colin Benton, Principal

The Governor James G. Martin Chair

TIMPANI

Jacob Lipham, Principal

The Robert Haywood Morrison Chair

PERCUSSION

Brice Burton, Principal

HARP

Andrea Mumm Trammell, Principal

The Dr. Billy Graham Chair

This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians onstage varies depending on the piece being performed.

° Non-revolving position

°° Alternates between first and second violins

† Acting member of the Charlotte Symphony

‡ Funded by The Symphony Guild of Charlotte, Inc.

* On leave

ARTISTIC OPERATIONS

Michael Reichman, VP of Artistic Operations & General Manager

Carrie Graham, Director of Artistic Planning

Tim Pappas, Acting Director of Operations

Nixon Bustos, Principal Music Librarian

Bradley Geneser, Assistant Librarian

Erin Eady, Acting Personnel Manager

John Jarrell, Stage Manager

The Charlotte Symphony is a proud member of the League of American Ochestras.

BOB RYDEL Horn

Member of CSO since 1993 hometown: Fairfax, VA

FUN FACTS

• I love to home brew beer. I won several awards, including a best in show.

• I was a member of the National Tour of Sondheim’s Tony-award winning musical, Into the Woods

• My first symphony orchestra job was Co-Principal Horn with the Orquesta del Principado de Austurias in Oviedo, Spain.

For more information about Charlotte Symphony musicians, visit charlottesymphony.org

One of the premier music organizations in the Southeastern United States and the oldest operating symphony orchestra in the Carolinas, the Charlotte Symphony Orchestra (CSO) connects with more than 100,000 music lovers each year through its lively season of concerts, broadcasts, community events, and robust educational programs. The CSO is committed to its mission of uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional music experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 62 professional, full-time musicians perform throughout the region — from community parks and breweries, to places of worship and senior care centers — and offer significant educational support, aimed at serving the underresourced areas of our community.

The Charlotte Symphony is deeply committed to the notion that music, accessible to all and experienced in its many forms, enriches and unifies our community. The CSO believes in equity and inclusion and strives to be an industry leader in imaginative, relevant programming by intentionally seeking out women conductors, underrepresented in our industry, and conductors, composers, and guest artists of color.

Founded in 1932, the Charlotte Symphony plays a leading cultural role in the Charlotte area and aims to serve the community as a civic leader, reflecting and uniting our region through the transformative power of live music.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

OUR VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

For more information, visit us online at charlottesymphony.org

The Symphony Guild of Charlotte’s Heart of the Home Tour

A Tradition Returns to Charlotte

In February 1950, The Charlotte Observer reported that a new Charlotte Symphony Women’s Association would soon be incorporated with the aim of building and developing cultural activities in the Charlotte area through music. Mrs. Joseph A. Elliott Jr., who was temporary chairman of the association, called for “housewives, civic workers, businesswomen, and representatives from all facets of the city’s population to join and help build a love of music.”

Seventy-three years later, the renamed Symphony Guild of Charlotte is continuing that mission. With over 100 active members, The Guild has provided substantial financial and volunteer support over the years with an emphasis on supporting the CSO’s Youth Orchestra and Education programs.

At a recent get-together over coffee, some of The Guild’s longest-serving members — many of them past Presidents — shared fond memories of how they came to be involved with The Guild, and the many members they met who soon became friends. Much of the conversation, and laughter, centered on The Guild’s most successful – and laborious – fundraising venture: The Designer Show House.

Started in 1972 to raise funds for the Symphony’s school concerts and Youth Orchestra, the first Designer Show House took place in a stately home on Park Road, now part of Forest Hill Church.

Members of the Guild partnered with the Carolinas Chapter of the American Institute of Interior Designers to refurbish the home and make it available to the public for 3 weeks. Music was provided by Charlotte Symphony musicians and a shuttle bus took visitors to the house from SouthPark. The Charlotte Observer reported that it was the first fundraiser of its kind in Charlotte, but it took a toll on the members, who had to fill 650 volunteer slots, working as hostesses and staffing the basement tearoom. However, the venture was a success, raising $16,000 for the Symphony — enough to keep the fundraiser going for 38 years before undergoing a facelift and becoming today’s Heart of the Home Tour, which features tours of multiple homes in the Charlotte area. It’s obvious how proud the members are of their contributions as they reminisce over “their houses” — the ones that were designed under their leadership. Recalling details of the rooms, designers’ names, and how large the crowds were. It’s even more obvious the fondness that the members have for each other.

Past President Linda Weisbruch remembers feeling a bit at sea after moving to Charlotte from Los Angeles in 1987. She decided to volunteer at the Designer House down the block from her home. She recalled that by the end of that first evening, she was in the back room counting the money. “They just said ‘come on in, join us!’ It was such a great organization and welcoming. So many of my friends come from being in The Guild, and I’ve had so many opportunities to do things I’ve never done before, being chair of a Designer House, being President of The Guild, and President of the Volunteer Council at the League of American Orchestras. None of that would have happened without me being bold enough to go down the street and ask to volunteer. I’ve gained a lot of very deeply loved friends.”

LInda Weisbruch & Melissa Woolf McCrory

Melissa Woolf McCrory, another former Guild President, agrees. “Some of my dearest friends have come from this organization. We work really hard, but I’m always amazed by the intelligence and efficiency. And oh, we’ve had a lot of fun — there are a lot of great stories.”

Now, after a three-year hiatus due to the pandemic, the Heart of the Home Tour is returning March 31–April 1. The two-day tour will include six beautiful homes featuring their kitchens and outdoor entertaining spaces which showcase trends for kitchen makeovers, bold design, and sustainable materials, along with fresh inspiration for entertaining indoors or out. Tour-goers will enjoy tastings from local chefs, sample signature beverages, and explore flower and jewelry options from local artisans while visiting six spectacular homes.

Proceeds allow The Symphony Guild to support the Charlotte Symphony, its youth orchestras, and The Guild’s award-winning youth music education initiatives.

“I think it’s vitally important that a community our size has a volunteer organization to support our Symphony,” Woolf McCrory points out. “Because our symphony is so vital to the arts in our community, and a lot of people don’t quite understand the impact they have. The symphony is an incredible gem to the arts in Charlotte.”

Charlotte Observer preview of the first CSO Designer House, Sept. 1972.

Heart of the Home Details:

Taste of the Tour Party & Silent Auction

Wednesday, March 29, 2023, at 5:30–8:30 pm

Ferguson’s South End Showroom (129 West Summit Avenue)

Tickets are available for purchase online for $50 per person with a special rate of $40 for guests under 40.

Heart of the Home Tour

Friday, March 31, 5:00–8:30 pm

and Saturday, April 1, 10:00 am–4:00 pm

Tickets are available for purchase online for $35 per person

Learn more about The Symphony Guild of Charlotte, including how to become a member, at symphonyguildcharlotte.org

PROGRAM NOTES by Ken Meltzer

ANTONÍN DVOŘ ÁK

born: September 8, 1841 in Nelahozeves, Bohemia died: May 1, 1904, in Prague, Bohemia

The Golden Spinning Wheel

Opus 109 (1896)

approx. duration: 30 minutes

From 1892-95, Czech composer Antonín Dvořák served as Director of the National Conservatory of Music of America, located in New York City. While in America, Dvořák, in addition to his Conservatory responsibilities, composed numerous works. Among these American compositions are two orchestral masterpieces, his Symphony No. 9, Opus 95 (“From the New World”) (1983), and Cello Concerto, Opus 104 (1895).

In 1895, Dvořák, homesick for his native land, returned to Prague. The following year, he turned his attention to another long-contemplated orchestral project. Dvořák greatly admired the works of Czech writer Karel Jaromír Erben, and in particular, his collection of folk ballads published in 1853 as The Garland. In 1896, Dvořák composed four symphonic poems based upon ballads from Erben’s The Garland; The Water Goblin, The Noonday Witch, The Golden Spinning Wheel, and The Wood Dove, Opus Nos. 107- 110.

Dvořák brought a lifetime of experience and mastery of orchestral composition to his Erben-inspired symphonic poems. It should also be mentioned, in the context of these descriptive and highly dramatic works, that Dvořák was a highly accomplished composer of operas.

SYNOPSIS

A King rides in the countryside. There, he encounters the beautiful Dornička. The King falls in love with Dornička, and asks her to be his bride. Dornička’s stepmother and stepsister pretend to escort Dornička to the castle. But while in the forest, they murder Dornička, dismember her hands and feet, and cut out her eyes. The stepsister, at her

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premiere: October 26, 1896 in London

mother’s urging, takes those body parts with her. Mother and daughter set out for the castle.

The stepsister greatly resembles Dornička. The King believes the stepsister to be his beloved, and the two marry. After the wedding, the King departs for battle. He urges his wife to spin, and to await his return.

A magician discovers Dornička’s body. The magician dispatches a youth to the castle to convince the stepsister to relinquish Dornička’s hands, feet, and eyes in exchange for a spinning wheel, distaff, and spindle made of gold. The magician is then able to restore Dornička to life.

When the King returns to the castle, he asks his wife to spin on the golden wheel. As she does, the wheel reveals the horrible murder of Dornička. The King rushes off and finds Dornička. The two return to the castle and are wed.

It is at this point in the tale that Dvořák’s orchestral tone poem concludes. In Erben’s ballad, the stepmother and sister meet the same fate they inflicted on Dornička. The Golden Spinning Wheel vanishes.

Karel Jaromír Erben (1811 – 1870), the Czech folklorist and poet whose work inspired Dvořák.

FELIX MENDELSSOHN

born: February 3, 1809 in Hamburg, Germany died: November 4, 1847 in Leipzig, Germany

Symphony No. 2 in B-flat Major Opus

52, “Lobgesang” (1840)

premiere: June 25, 1840 in Leipzig approx. duration: 65 minutes

1840 marked the 400 th anniversary of Johannes Gutenberg’s invention of a printing system with movable type. The city of Leipzig, one of Europe’s centers of printing and publishing, observed the anniversary with a series of June events and celebrations. Felix Mendelssohn, music director of the famed Leipzig Gewandhaus Orchestra, composed two musical works for occasion. On June 24, 1840, Mendelssohn’s Festgesang zum Gutenbergfest premiered in the Leipzig market square. The brief work, scored for male chorus, two brass orchestras, and timpani, accompanied the unveiling of a new statue of Gutenberg. As a totality, Mendelssohn’s Festgesang has been relegated to obscurity. But in 1856, organist William H. Cummings aligned the melody of the Festgesang’s second portion, “Vaterland, in deinen Gauen” (Fatherland, in your districts) to George Whitefield’s adaptation of the Charles Wesley hymn, “Hark! the Herald Angels Sing.” The fortuitous marriage produced one of the most beloved Christmas carols.

The day after the Festgesang’s premiere, Mendelssohn led the first performance of his Symphony No. 2, “Lobgesang” (“Hymn of Praise”). That premiere took place in Leipzig’s Thomaskirche. Mendelssohn described his work, scored for vocal soloists, mixed chorus, and orchestra, as a “Symphony-Cantata”. The sung texts include excerpts from the Luther Bible, as well as a chorale by Martin Rinckart. The head of Mendelssohn’s “Lobgesang” score quotes Martin Luther: “Sondern ich wöllt alle künste, sonderlich die Musica, gern sehen im dienst des der sie geben und geschaffen hat” (“Rather, I want all the arts, especially music, happily in the service of He who gave and created them”).

In the audience for the Leipzig premiere of Mendelssohn’s “Lobgesang” was Robert Schumann:

The work was enthusiastically received, and its choral numbers especially must be counted among the master’s freshest and most charming creations. Every one who has followed the progress of his labours knows what this means, after such great performances as have preceded this. We do not intend to give a detailed description, but we must mention a duet, interrupted by a chorus, “I waited for the Lord,” at the conclusion of which a whisper rustled throughout the entire assemblage, — which means more in a church than loud applause in a concert-hall. It was like a glance into heaven filled with the Madonna eyes of Raphael.”

In September, Mendelssohn conducted his Symphony No. 2 in Birmingham, England. He then set about revising the work, adding an organ to the instrumentation. He also composed what are now the Symphony’s movements III, VI, and IX. Schumann was once again in attendance for the December 3, 1840 performance at the Leipzig Gewandhaus of the revised “Lobgesang” Symphony:

All praise for the splendid composition, as it was, and as it now is! We declared it before. Everything that can make people happy and ennoble them — pious feelings, consciousness of power, its freest, most natural expression — may be found here; not to speak of the musical skill of the composition and the imagination with which Mendelssohn worked on this piece, especially the parts where the chorus predominates.

During the 19 th century, the “Lobgesang” Symphony was one of Mendelssohn’s most revered and performed works. But even then, the work was not immune from debate and criticism. The “Lobgesang’s” structure of three instrumental movements and choral finale led to inevitable comparisons with Beethoven’s immortal Ninth Symphony (1824). Among the most outspoken detractors Mendelssohn’s “Lobgesang” was Richard Wagner. In his extended essay, The Artwork of the Future (1849), Wagner characterized the Beethoven Ninth as the culmination of “a great voyage of discovery”, a “unique, absolutely unrepeatable feat…the last and boldest accomplishment of his genius.” Wagner excoriated those who attempted to follow in Beethoven’s footsteps:

A new genre, a “Symphony with Chorus”, — that was all they saw in it! Why shouldn’t anyone be able to write a Symphony with Chorus? Why shouldn’t “God the Lord” be praised at the top of one’s lungs at the end, after He helped bring about the three preceding instrumental movements as cleverly as possible? Thus Columbus discovered America only for the amiable peddlers of our time!

While Wagner did not name the object of his ire, the composer’s identity was clear. Wagner was (for many reasons) hardly dispassionate in his assessments of Mendelssohn and his compositions. But Wagner was also far from alone in his opinion that Mendelssohn had overreached in attempting to emulate Beethoven’s singular achievement. And as much as Robert Schumann admired the “Lobgesang” Symphony, he recommended (perhaps with the Beethoven controversy in mind) that Mendelssohn divide the “Lobgesang” into two works; one instrumental, the other choral.

But in truth, the Beethoven Ninth and Mendelssohn Second stand on their own as independent and quite different works. In the Beethoven Ninth’s three opening orchestral movements, various themes are presented. In the fourth and final movement, those themes are repeated, only to be rejected in turn by the orchestra. That conflict sets the stage for the introduction of the immortal melody, Beethoven’s setting for soloists and chorus of Schiller’s “Ode To Joy.” Mendelssohn’s “Lobgesang” opens with the trombones boldly proclaiming the theme that both returns throughout the instrumental movements, and serves as the basis for the chorus’s central proclamation: “Alles was Odem hat, lobe den Herrn!” (“Everything that has breath, praise the Lord!”). Beethoven’s Ninth is a riveting symphonic journey that opens mysterious darkness, and culminates in joy. Mendelssohn’s Symphony-Cantata is an unwavering proclamation of faith.

The Symphony No. 2 opens with an instrumental Sinfonia. The trombones proclaim the work’s central theme (Maestoso con moto), immediately repeated by the remainder of the orchestra. This episode serves as the introduction to a series of three movements, played without pause. First is a vibrant Allegro, cast in sonata form. A flowing movement in 6/8 time (Allegretto un poco agitato) ensues. The reflective Adagio religioso concludes the Symphony’s purely orchestral sequence.

The ensuing Cantata portion comprises nine movements and approximately 2/3 of the work.

Lobegesang (“Hymn of Praise”), Op. 52

I. Sinfonia

Maestoso con moto - Allegro Allegretto un poco agitato

Adagio religioso

II. Cantata

chorus:

Alles, was Odem hat, lobe den Herrn! (Psalm 150, Psalm 33, Psalm 145)

soprano & chorus:

Lobe den Herrn, meine Seele (Psalm 103)

tenor recit. & aria:

Sagt es, die ihr erlöst seid durch den Herrn (Psalm 107, Psalm 56)

chorus:

Sagt es, die ihr erlöset seid von dem Herrn (Psalm 107, Psalm 56)

soprano duet & chorus: Ich harrete des Herrn (Psalm 40)

tenor solo: Stricke des Todes hatten uns umfangen (Psalm 116, Ephesians 5:14, Isaiah 21:11-12)

chorus:

Die Nacht ist vergangen (Romans 13:12)

chorale: Nun danket alle Gott (Evangelisches Kirchengesangbuch, Martin Rinkart)

soprano & tenor duet: Drum sing ich mit meinem Liede (Psalm 28, Psalm 31, Psalm 103)

final chorus:

Ihr Völker, bringet her den Herrn (Psalm 96, I Chronicles 16: 8–10, Psalm 150)

We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund. This list reflects gifts received between July 1, 2022 through March 1, 2023

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$25,000 – $49,999

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CORPORATE PARTNERS

We are grateful for the following outstanding corporate funders:

$250,000 +

$100,000 - $249,999

$20,000 - $49,999

$10,000 - $19,999

$5,000 - $9,999

Atrium Health Kingfisher Capital The Dunhill Hotel

For more information, please contact Amanda LoCascio, AVP - Institutional Philanthropy at 704.714.5138 or alocascio@charlottesymphony.org

GOVERNMENT & FOUNDATION SUPPORT

We are grateful for the following outstanding foundation and government funders:

$100,000 +

$50,000 - $99,999

Dickson Foundation

$20,000 - $49,999

DG Brungard Foundation

Mariam & Robert Hayes Charitable Trust

The Trexler Foundation

$10,000 - $19,999

Blumenthal Foundation

Charlotte Mecklenburg Community Foundation

Cole Foundation

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$5,000 - $9,999

AT&T Foundation

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Barnhardt/Thomas Trust

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Stanly County Community Foundation

Winer Family Foundation

For more information, please contact Toni Freeman, Grant Writer at development@charlottesymphony.org

The Truist Charitable Fund is a donor-advised fund created by Truist and administered by The Winston-Salem Foundation

We invite your firm to join this special group of corporate supporters committed to keeping the music alive — enriching Charlotte and the surrounding communities as a first-class place to work and live.

$2,500 - $4,999

GreerWalker

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$5,000 + $500 - $2,499

Carter Troutman Pepper LLP

World Famous Golf Carts of South Carolina

For more information, please contact Amanda LoCascio, AVP - Institutional Philanthropy at 704.714.5138 or alocascio@charlottesymphony.org

The Charlotte Symphony Orchestra recognizes donors of exceptional generosity whose cumulative giving to the CSO exceeds $1 million with the designation of Music Director Society.

Anonymous (2)

Bank of America Corporation

Catherine & Wilton Connor

Goldman, Sachs & Co.

The Leon Levine Foundation

John S. & James L. Knight Foundation

Mr. & Mrs. Hugh L. McColl, Jr.

Robert Haywood Morrison Foundation

C. D. Spangler Foundation

The Symphony Guild of Charlotte, Inc.

Wells Fargo Corporation

For more information, please contact Leslie Antoniel, AVP of Development, at 704.714.5139 or lantoniel@charlottesymphony.org.

Anonymous (3)

Geraldine I. Anderson†

Richard & Ruth Ault

Baldwin Family Trust

Barnhardt Thomas Trust

Larry & Joyce† Bennett

Donald H. & Barbara K. Bernstein

Mark & Louise Bernstein†

Twig & Barbara Branch

Saul Brenner

Mike & Joan Brown†

Mrs. Joan Bruns †

Jan & Bob Busch

Dr. Helen G. Cappleman, Ph.D.†

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Mr. Martin Ericson, Jr.

David J.L. Fisk & Anne P. O’Bryne

Peter & Ann† Guild

William G. & Marguerite K. Huey Fund†

Dr. Nish Jamgotch, Jr.

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† Deceased

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The Encore Society includes individuals who have made provisions for the CSO in their estate plans. We are honored to recognize their support: Leave a lasting legacy of great music through your planned gift. For more information, contact Leslie Antoniel at 704.714.5139.

With your gift, the Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

Music by MARK KNOPFLER

7:30 pm | Belk Theater

Fencing, fighting, revenge, giants, monsters, chases, escapes, true love, miracles...The Princess Bride has something for everyone! Mark Knopfler’s unforgettable score has been specially arranged for a symphony orchestra. Missing this concert experience would be “inconceivable!”

Multimillion Dollar Commitment City of Charlotte

$1.5 million and above Bank of America

C.D. Spangler Foundation / National Gypsum Company

John S. and James L. Knight Foundation

Trane Technologies

$600,000 - $1 million

Albemarle Foundation

Atrium Health

Barings

Duke Energy

Honeywell

JELD-WEN, Inc.

LendingTree Foundation

Lowe’s Companies, Inc.

Novant Health

Red Ventures

Truist

$300,000-$600,000

Ally Financial

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Childress Klein Properties

Coca-Cola Consolidated

Deloitte

EY

The Gambrell Foundation

Moore & Van Allen

PwC

Robinson, Bradshaw & Hinson, P.A.

Rodgers Builders

Wells Fargo

Up to $300,000

Fifth Third Bank

Foundation For The Carolinas

Deidre and Clay Grubb

Leslie and Michael Marsicano

Jane and Hugh McColl

Nucor Corporation

PNC Bank

Premier, Inc.

Jane and Nelson Schwab

The Charlotte Symphony is supported, in part, by the Infusion Fund and its generous donors.

BOARD OF DIRECTORS

Linda McFarland Farthing

Chair

John Williams

Vice Chair

Mick Ankrom

Treasurer

David Fisk

President & CEO

Melissa Anderson

Joye D. Blount

Mike Butterworth

Manny Clark

Nick Clements

Catherine Connor

BOARD OF TRUSTEES

Richard Osborne, Chair

Ruth & Richard Ault

Kat Belk

Arlene & Milton Berkman

Jason & Tiffany Bernd

Mary & Charles Bowman

Frank Bragg

Robin & Bill Branstrom

Derick & Sallie Close

Robin Cochran

Wilton Connor

Jeanie & T. Thomas Cottingham III

Brian Cromwell

Alessandra & Pasquale De Martino

Alvaro & Donna de Molina

Peggy & Richard Dreher

Lisa Hudson Evans

Todd Gorelick

Janet Haack

Reginald B. Henderson, Esq.

Mark & Whitney Jerrell

Jeff Lee

Mary Delk*

Denise DeMaio

Richard Krumdieck

Alex McKinnon

Ulrike W. Miles

Glenn Mincey

Robert Rydel*

Ylida Scott

Melinda Snyder

Jennifer Sullivan

Jenny Tolson*

Jenny Topilow*

Kevin Walker

*ex officio

Gov. James G. Martin

Jane & Hugh McColl

Susan & Loy McKeithen

Elizabeth J. McLaughlin

George McLendon

Patrick J. O’Leary

Debbie & G. Patrick Phillips

Paul Reichs

Nancy & Charles Robson

Patricia A. Rodgers

M.A. Rogers

Dan & Sara Garces Roselli

Laura & Mike Schulte

Carolyn Shaw

Tom Skains

Emily & Zach Smith

Bob & Marsha Stickler

Adam Taylor

Cynthia Tyson

Braxton Winston

Richard Worf

Albert Zue

EXECUTIVE

David J. L. Fisk, President & CEO

Samantha Hackett, Executive Administrator

ARTISTIC OPERATIONS (see p. 15)

DEVELOPMENT

Shayne Doty, Vice President of Development

Leslie Antoniel, Associate Vice President of Development

Libby Currier, Annual Fund Manager

Tammy Matula, Database Manager

Jennifer Gherardi, Campaign Coordinator

Senta Harvey, Annual Fund & Sponsorships Associate

FINANCE & ADMINISTRATION

Angel Adams, Vice President of Finance & Administration

Lissette Rodriguez, Staff Accountant

Chazin & Company, Financial Services

Amy Hine, Office Administrator

HUMAN RESOURCES

Maribeth Baker (Catapult), Human Resources Counselor

LEARNING & COMMUNITY ENGAGEMENT

Aram Kim Bryan, Vice President of Learning & Community Engagement

Emily Gordon, Project Harmony Manager

Dylan Lloyd, Youth Orchestras Manager

Peyton Wulff, Learning Manager

Jirah Montgomery, Youth Orchestras Assistant

MARKETING

Mical Hutson, Vice President of Marketing & Audience Development

Deirdre Roddin, Director of Institutional Marketing & Communications

Nicole Glaza, Senior Manager of Digital Marketing

Chad Calvert, Visual Communications Manager

Laura Thomas, Marketing Manager

Meghan Starr, Patron Communications Manager

Garrett Whiffen, Ticketing Manager 128

April 28 & 29

Belk Theater

Lan Shui, conductor Mari Kodama, piano

“Interpretive” (Gramophone) guest conductor Lan Shui leads Rachmaninoff’s exultant Symphony No. 2 and Mendelssohn’s dazzling Piano Concerto No. 1.