CSO Ravel Piano Concerto - program 01-28-22 by Charlotte Symphony Orchestra

RAVEL

PIANO CONCERTO January 28 & 29 Knight Theater

Jessica Cottis conductor Stewart Goodyear piano Lindsay Kesselman soprano

charlottesymphony.org

WHAT’S INSIDE A Message from the President & CEO 3 A Salute to the Maestro 4 Concert Program 5 Artist Biographies 6 2021-22 Musician Roster 12 Spotlight: In Person with Jessica Cottis 14 About the CSO 17 Program Notes 18 Text & Translations 22 Annual Fund Donors 30 Corporate & Foundation Sponsors 36 Giving Societies 38 Infusion Fund 40 Board of Directors & Trustees 42 Administration 43

join the musical dialogue What did you think of the performance?

@cltsymphony #cltsymphony

contents

WELCOME

Welcome!

Welcome, as we ring in the New Year with your Charlotte Symphony! It’s a time for new beginnings, and this month the Symphony will present established masterworks with fresh energy, reflecting and renewing our commitment to engage our communities through the transformative power of live music. We are delighted to begin January with the conclusion of the “Mahler Journey,” a years-long voyage through Mahler’s most epic Symphonies, led by Music Director Christopher Warren-Green. Mahler’s Ninth Symphony is a journey in itself: a stunning meditation on the human condition — and in the hands of the maestro, it’s sure to be transcendent. The CSO will celebrate great film scores with Spaced Out: Sci-Fi Movie Music and John Williams’ brilliant Harry Potter Children’s Suite for Orchestra. We’ll welcome a new guest conductor to the podium later this month, the Australian Jessica Cottis. Please help us give her a warm welcome to Charlotte, when she shares the immensely appealing program she has curated for

her appearance here — including the Charlotte Symphony premiere of Kurt Weill’s The Seven Deadly Sins. As we carry out our work to pass on the love of music to the next generation, please “save the date” and plan to join us for upcoming performances that showcase some of our partnerships in higher education: Friday, March 4th at the Belk for our second collaboration with Morehouse College, and Sunday, April 3rd for our first concert in the beautiful new Sarah Belk Gambrell Center for the Arts and Civic Engagement at Queens. Next to be scheduled, our first concert in over a decade at Johnson C. Smith University. Wherever you look, you will find your CSO out in the community, making new connections through music! Thank you for your support in 2021, as together we welcome the new in ‘22!

David Fisk President & CEO welcome

A SALUTE TO

THE MAESTRO 12 Brilliant Seasons with Christopher Warren-Green

2021-22 marks Christopher WarrenGreen’s valedictory lap as Music Director after twelve seasons at the helm of the Charlotte Symphony — a tenure that has been marked by a broadening of repertoire and innovative programming, attracting some of the world’s foremost soloists to the Charlotte stage. Throughout the season, we’ll honor the Maestro’s legacy of musical excellence in Charlotte before he takes on the titles of Music Adviser and Conductor Laureate, a title bestowed upon former Music Directors who have made a significant impact and have formed and shaped the institution’s artistic quality over time. We hope you’ll join us throughout Maestro Warren-Green’s farewell season, where he’ll lead some of his favorite works — including Mahler’s Ninth Symphony and Vaughan Williams’s Dona Nobis Pacem. Maestro will close out his tenure as Music Director by leading the CSO and the Charlotte Master Chorale in Beethoven’s epic Ninth Symphony. Help us honor Maestro Warren-Green in his final season as Music Director by sharing your favorite memories on social media with the hashtag #cltsymphony. And see what CSO musicians and supporters have to say about the Maestro in this charming farewell video: Celebrating Christopher Warren-Green 4 salute to the maestro

RAVEL

PIANO CONCERTO Friday, January 28, 2022 | 7:30 p.m. Saturday, January 29, 2022 | 7:30 p.m. Knight Theater at Levine Center for the Arts

Jessica Cottis, conductor Stewart Goodyear, piano Lindsay Kesselman, soprano

JESSE MONTGOMERY

Strum

(1981- )

MAURICE RAVEL (1875-1937)

Concerto for Piano in G major I. Allegramente II. Adagio assai III. Presto Stewart Goodyear, piano INTERMISSION

IGOR STRAVINSKY

Circus Polka, for a Young Elephant

(1882-1971)

KURT WEILL (1900-1950)

text by Bertold Brecht

Full text and English translation on p. 22 of this program.

The Seven Deadly Sins Prologue I. Sloth II. Pride III. Wrath IV. Gluttony

V. Lust VI. Greed VII. Envy Epilogue

Anna I + II: Lindsay Kesselman, soprano Father: William Edwards, tenor Brother: Zachary Taylor, tenor Brother: Robert Wells, baritone Mother: Reginald Powell, bass

There will be one 20-minute intermission. program

CONDUCTOR Jessica Cottis conductor These performances mark Jessica Cottis’s first appearance with the Charlotte Symphony.

Hailed by the UK music press as “one to watch”, Jessica Cottis possesses intellectual rigour, innate musicality and an easy authority; she is a charismatic figure on the podium who brings dynamism, intensity and clarity of vision to all her performances. Frequently in demand as a guest conductor, highlights of Cottis’ recent seasons include performances at the prestigious BBC Proms, and engagements with the Sydney Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, BBC Symphony Orchestra, l’Orchestre Philharmonique de Monte Carlo, New Zealand Symphony Orchestra, Los Angeles Philharmonic Orchestra, and recording with the BBC Scottish Symphony Orchestra. In the 2021/22 season, Cottis looks forward to engagements with Norrlands Opera where she will conduct a new production of Macbeth, in addition to working with the Oslo Philharmonic, Bremen Philharmonic Orchestra, Bordeaux Symphony Orchestra, San Antonio Symphony Orchestra, Charlotte Symphony, Basel Sinfonietta, and Ulster Orchestra among others, she will conduct the Royal Opera House’s world premiere of The Blue Woman by Laura Bowler.

6 conductor

Born in Australia and a dual BritishAustralian citizen, Jessica Cottis was awarded a first class honours degree in organ, piano and musicology from the Australian National University and continued her studies as an organist with Marie-Claire Alain in Paris, winning awards from the Royal Philharmonic Society and Royal College of Organists. She began conducting studies in 2006, studying with Colin Metters and Sir Colin Davis on the postgraduate conducting course at the Royal Academy of Music. From 2009 to 2011 she was Assistant Conductor at the BBC Scottish Symphony Orchestra and Fellow in Conducting at the Royal Conservatoire of Scotland, and from 2012 to 2014 was Assistant Conductor of the Sydney Symphony Orchestra. In 2014 Cottis took up the position of Principal Conductor of the Glasgow New Music Expedition and is the current Chief Conductor of the Canberra Symphony Orchestra. Jessica Cottis makes her home in South London and in her free time is learning to fly a helicopter.

photo by Kaupo Kikkas

GUEST ARTISTS Stewart Goodyear piano These performances mark Stewart Goodyear’s first appearance with the Charlotte Symphony.

Proclaimed “a phenomenon” by the Los Angeles Times and “one of the best pianists of his generation” by the Philadelphia Inquirer, Stewart Goodyear is an accomplished concert pianist, improviser and composer. Mr. Goodyear has performed with, and has been commissioned by, many of the major orchestras and chamber music organizations around the world. Last year, Orchid Classics released Mr. Goodyear’s recording of his suite for piano and orchestra, Callaloo and his piano sonata. His recent commissions include a Piano Quintet for the Penderecki String Quartet, and a piano work for the Honens Piano Competition. Mr. Goodyear’s discography includes the complete sonatas and piano concertos of Beethoven, as well as concertos by Tchaikovsky, Grieg and Rachmaninov, an album of Ravel piano works, and an album entitled For Glenn Gould, which combines repertoire from Mr. Gould’s US and Montreal debuts. His Rachmaninov recording received a Juno nomination for Best Classical Album for Soloist and Large Ensemble Accompaniment. Mr. Goodyear’s recording of his own transcription of Tchaikovsky’s The Nutcracker (Complete Ballet), was chosen by the New York Times as one of the best classical music recordings of 2015.

His discography is released on the Marquis Classics, Orchid Classics, and Steinway & Sons labels. His new album, entitled Phoenix, will be released on the Bright Shiny Things label in October 2021, and will include Mussorgsky’s Pictures at an Exhibition. Highlights for the 2021-22 season is his Boston debut at the Isabella Stewart Gardner Museum, return engagements at the Chamber Music Society of Detroit, the Ladies Morning Musical Club (Montreal, Canada), l’Orchestre Symphonique de Quebec, Saint Paul Chamber Orchestra, the Buffalo Philharmonic and the Vancouver and Indianapolis Symphonies, and his debut with the National Symphony Orchestra (Washington, DC).

stewartgoodyearpiano.com

Steinway Piano selected from STEINWAY PIANO GALLERY - CHARLOTTE

guest artist

GUEST ARTISTS Lindsay Kesselman soprano Ms. Kesselman first appeared with the CSO in 2018’s Mr. Tambourine Man: Poems of Bob Dylan.

Hailed by Fanfare Magazine as an “artist of growing reputation for her artistry and intelligence...with a voice of goddess-like splendor” Lindsay Kesselman is a two-time GRAMMY ™ nominated soprano who passionately advocates for contemporary music. Recent and upcoming highlights include Knoxville: Summer of 1915 by Samuel Barber with the Columbus Symphony Orchestra, Astronautica: Voices of Women in Space with Voices of Ascension, ongoing performances of two works written for Kesselman by John Mackey with orchestras and wind symphonies across the country, the John Corigliano 80th birthday celebration at National Sawdust (2018), Quixote (Amy Beth Kirsten and Mark DeChiazza) with Peak Performances at Montclair State University (2017), a leading role in Louis Andriessen’s opera Theatre of the World with the Los Angeles Philharmonic

8 guest artists

and Dutch National Opera and an international tour of Einstein on the Beach with the Philip Glass Ensemble (2012-2015). Kesselman is featured on several recent recordings: Chris Cerrone’s The Arching Path (2021, In a Circle Records), Russell Hartenberger’s Requiem for Percussion and Voices (2019, Nexus Records), and Louis Andriessen’s Theatre of the World with the Los Angeles Philharmonic (2017, Nonesuch). Kesselman has been the resident soprano of the Pittsburgh New Music Ensemble for 10 seasons and holds degrees in voice performance from Rice University and Michigan State University. She is represented by Trudy Chan at Black Tea Music and lives in Charlotte, NC with her son Rowan. More information can be found at lindsaykesselman.com

GUEST ARTISTS William Edwards tenor This concert marks Mr. Edwards’s first appearance with the Charlotte Symphony.

William Edwards, tenor, is from Kernersville, NC pursuing a Masters of Music in Vocal Performance at the University of North Carolina at Greensboro. He has appeared with North Carolina Opera, Opera in the Ozarks, and the Des Moines Choral Festival. Operatic roles at UNCG include Jenik in Smetana’s The Bartered Bride, Mozart in RimskyKorsakov’s Mozart and Salieri, and John James Box in Sullivan’s Cox and Box. Recently seen on the operatic stage as a

baritone, Will’s stage experience includes Fredrik in Sondheim’s A Little Night Music, Don Giovanni in Mozart’s Don Giovanni, Marquis de la Force in Poulenc’s Dialogues of the Carmelites, and Strephon in Gilbert & Sullivan’s Iolanthe. Will is a career grant recipient from the North Carolina and Virginia chapter of the National Society of Arts and Letters and is also currently a Coordinator of Contemporary Worship at Sedge Garden United Methodist Church in Kernersville, NC.

Reginald Powell bass This concert marks Mr. Powell’s first appearance with the Charlotte Symphony.

Reginald Powell, bass-baritone, is a 25 year old native of Wilson, NC. He earned a Bachelor’s degree from the University of North Carolina at Greensboro in May 2020. Reginald has performed with UNCG Opera Theater as Sarastro in Die Zauberflöte, Pistola in Falstaff, Simone in Gianni Schicchi (unfortunately canceled due to the pandemic) and Salieri in

Mozart and Salieri. He made his debut with Greensboro Opera in December 2019 as King Balthazar in Amahl and the Night Visitors and last week appeared as Jim in Porgy and Bess. He is currently back at UNCG obtaining his master’s in music performance.

Guest Artist bios continued next page guest artist 9

GUEST ARTISTS Zachary Taylor tenor This concert marks Mr. Taylor’s first appearance with the Charlotte Symphony.

Zachary Taylor, tenor, is currently pursuing his MM in Voice Performance at UNC Greensboro, where he studies with tenor Robert Bracey. He obtained his BM from Towson University in Fall 2020, where he studied with tenor Min Jin. Zach recently performed as Mozart in UNCG Opera Theatre’s production of Mozart and Salieri and will be performing as Vasek in UNCG’s production of The Bartered Bride this April; other past roles include Frederic in Pirates of Penzance

and Don Basilio in Le Nozze di Figaro, as well as three different children’s operas. Zach is also an avid lover of choral music, having sung with two semi-professional chamber ensembles — the men’s group Quorus and the mixed ensemble Lux — while living in the DMV area. Outside of opera, Zach enjoys hiking, video games, and following the eclectic collection of sports teams he roots for.

Robert Wells baritone This concert marks Dr. Wells’s first appearance with the Charlotte Symphony.

Baritone Robert Wells is currently Professor of Voice and Coordinator of Vocal Pedagogy at the University of North Carolina at Greensboro College of Visual and Performing Arts. He earned the BM in Voice from the State University of New York College at Fredonia, and holds MM and DMA degrees in Voice from the University of Cincinnati CollegeConservatory of Music. Dr. Wells is a former Governor of the Mid-Atlantic Region of the National Association of Teachers of Singing (NATS) and served as President of the NC Chapter of NATS. 10 guest artists

An active choral conductor recognized for his work with numerous professional and community choral organizations, Dr. Wells is the Director of the Chancel Choir at First Presbyterian Church, Greensboro. Dr. Wells was an Artist Faculty member of the Schlern International Music Festival in Voels am Schlern, Italy for a number of years and he formerly served on the faculty at the State University of New York College at Fredonia, where he was CoChair of the Voice Faculty.

Kensho Watanabe, conductor Sara Davis Buechner, piano

February 11 & 12 Belk Theater

“Intelligent and agile” (Bachtrack) conductor Kensho Watanabe leads Tchaikovsky’s boisterous and melancholic Symphony No. 6, “Pathétique.”

CLYNE Within Her Arms C. SCHUMANN Piano Concerto TCHAIKOVSKY Symphony No. 6 “Pathétique”

For tickets or more info, call 704.972.2000 or visit us online at

MUSICIANS

YOUR CHARLOTTE SYMPHONY Christopher Warren-Green, Music Director 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°° Lenora Leggatt† Ellyn Stuart Jenny Topilow°° Angela Watson† Dustin Wilkes-Kim SECOND VIOLINS Oliver Kot Principal The Wolfgang Roth Chair

Kathleen Jarrell

Assistant Principal The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona° Sakira Harley° Monica Boboc Tatiana Karpova Martha Geissler Alice Silva†

VIOLAS Benjamin Geller

FLUTES Victor Wang

Alaina Rea

Amy Orsinger Whitehead Erinn Frechette

Principal The Zoe Bunten Merrill Principal Viola Chair Assistant Principal

Ellen Ferdon Cynthia Frank Nancy Marsh Levine Viara Stefanova Ning Zhao CELLOS Alan Black

Principal The Kate Whitner McKay Principal Cello Chair

Jonathan Lewis

Assistant Principal

Marlene Ballena Drew Dansby† Jeremy Lamb Sarah Markle Denielle Wilson† DOUBLE BASSES Kurt Riecken

Principal The Blumenthal Foundation Chair

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

Judson Baines

E♭ CLARINET Samuel Sparrow

Jeffrey Ferdon Jason McNeel

BASS CLARINET Allan Rosenfeld

Principal

Assistant Principal

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.

12 musicians

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

MUSICIANS BASSOONS Olivia Oh* Principal

Joshua Hood

Acting Principal

Margaret O'Leary† 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†

MUSICIAN SPOTLIGHT

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 Derek Fenstermacher†

Acting 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

° 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

The son of two music educators, Principal Horn Byron Johns was born and raised in the Gulf Coast city of Venice, Florida. Before joining the Charlotte Symphony in 2014, Byron earned a master’s degree in horn performance and literature from the Eastman School of Music and held positions with the Rochester Philharmonic Orchestra and the Rochester Chamber Orchestra. He has also performed with the Buffalo Philharmonic Orchestra and the Jacksonville Symphony. Like his parents, Byron has a passion for education and serves on the faculty of the University of North Carolina at Charlotte and Queens University of Charlotte.

Byron Johns Principal Horn

When he’s not performing or teaching, Byron enjoys flyfishing, hunting, backpacking, and spending time with his wife Katy and their two loyal canine friends.

For more information about Charlotte Symphony musicians, visit charlottesymphony.org musicians 13

SPOTLIGHT

This month, Australian-born conductor Jessica Cottis makes her debut with the Charlotte Symphony to conduct a fascinating program including the CSO premiere of Kurt Weill’s witty and theatrical The Seven Deadly Sins. We sat down with Ms. Cottis to discuss her path to the podium and what the audience can expect from her debut performance. What led you to pursue conducting as your career? For me, growing up in a musical family, music was very much a means of expression and communication, even more so than speaking. I did my undergraduate as an organist and musicologist and had a really excellent career, but I got carpal tunnel syndrome in my twenties and I never knew when my hands would be reliable. I needed to rethink how I was as a musician and it was incredibly hard, particularly so because I had started music at such a young age. Conducting was very intoxicating — to think there was this opportunity to get so much depth and nuance from a symphony orchestra. I was like a match struck in the dark — it was sheer exhilaration that we as humans can express thoughts, emotions, and stories through this incredible art form and this incredible instrument, which is the orchestra itself. What is it like stepping in front of a new orchestra for the first time? I love meeting new orchestras because they all have such a personality, and I never know what it’s going to be until we start making music, really! I took a look at many of the recent programs that 14 spotlight: In Person with Jessica Cottis

the Charlotte Symphony has put on and they seem forward-thinking, friendly, and really passionate about music. For me, one of the greatest things about being a human is being able to create and participate in art, and I really feel that passion from everything I’ve seen. So I’m very much looking forward to being in Charlotte and meeting the orchestra. You’ve created such an interesting program, from Stravinsky to Kurt Weill and Jessie Montgomery. What goes into programming a concert like this? One of my greatest interests in music is programming, and in the way that we can find connections between music that might be so disparate - 300 years between pieces or completely different focuses from the composers, but that one piece might lead somehow, imaginatively, into another and maybe even open our ears in new ways so that we can hear old music afresh. In this program, as with any program, I tend to start with a seed of an idea, and then from that seed I look to see how it grows, and I never know from the beginning how it will grow! The initial idea of this program was that I really wanted to do The Seven Deadly Sins with the Charlotte Symphony. Somehow

SPOTLIGHT that felt like a perfect matching of minds and musical intellect. It’s such a fantastic piece, so incredibly theatrical, and it has such a brilliant way of depicting humor, ideas, and nuances through Kurt Weill’s musical style. He had only just fled Berlin for Paris in 1933 and this is his imaginary fantastical version of the United States; of this young woman sent out into the world to make money by her greedy exploitative family. It’s almost 100 years old but it’s still so fresh. The work includes so many different musical styles: foxtrots, a church choral, barbershop quartet, tangoes, and lots of wit. And that wit is really what led me to the Stravinsky.

I’ve heard that in your limited spare time, you’re learning to fly helicopters! Yes! I’ve had to stop due to the pandemic, but I look forward to getting back into that whenever it happens. There’s something really special about flying. It’s exhilarating and humbling, and sort of life-affirming being able to lift oneself above where we normally are and look down and have a birds-eye view. As musicians, we spend so much time on forensic detail — and we must, it’s so important – but keeping an eye on the bigger visual architecture is so freeing, really.

That would be the Stravinsky Circus Polka? Yes, the piece was written for Ringling Bros. and Barnum & Bailey Circus, for elephants to dance to – which is incredibly preposterous! There’s a certain theatricality to the circus that works really well with the Kurt Weill piece. Which leaves us with Ravel’s Piano Concerto and Jessie Montgomery’s Strum. The Ravel has a strong jazz influence, which linked so well to both the Weill and the Stravinsky. And I’m very much looking forward to working with Stewart Goodyear, I think this will be a really great meeting of musical minds. I’ve known Jessie Montgomery’s pieces for a while and I’ve conducted Strum in numerous places — I just love it! It’s just what it sounds like, the string players spend quite a lot of time strumming their instruments rather like a banjo. I thought it linked in well to the dichotomy of the classical being influenced by more popular styles of a particular time.

Conductor Jessica Cottis

Learn more about Jessica Cottis’s debut performance at

charlottesymphony.org spotlight: In Person with Jessica Cottis 15

March 18 & 19 |

Belk Theater

The saga continues at Belk Theater as Star Wars and your Charlotte Symphony join forces for The Empire Strikes Back in Concert, featuring the iconic movie on the big screen with John Williams’s legendary score performed live!

704.972.2000 | charlottesymphony.org

ABOUT US

Celebrating its 90th anniversary in the 2021-22 season, the Charlotte Symphony (CSO) is committed to uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences. A cornerstone of Charlotte’s arts and cultural landscape, the CSO performs around 150 concerts annually in addition to robust community engagement and education efforts. Led by internationally renowned Music Director Christopher Warren-Green, the Symphony upholds the highest artistic integrity and takes bold steps to engage the community through music. The CSO employs 62 professional full time musicians, performs throughout the community, and offers significant educational programming aimed at serving areas of our community with the greatest need. Core programming runs September to May and includes Classical, Pops, Movie, and Family series, plus other special performances with notable soloists. We also serve as the soundtrack to our community’s ballet and opera productions. We perform everywhere from community parks and schools to breweries, places of worship, and senior care centers. We are deeply committed to the notion that music, accessible to all and experienced in many forms, enriches and unifies our community.

Christopher Warren-Green music director

Now in his twelfth season with the Charlotte Symphony, Music Director Christopher Warren-Green also serves as Music Director of the London Chamber Orchestra. Key engagements have included the Philadelphia and Minnesota Orchestras; Detroit, Houston, St Louis, Toronto, Milwaukee, Seattle and Vancouver symphony orchestras; Washington’s National Symphony Orchestra; the Philharmonia, London Philharmonic, Royal Liverpool Philharmonic, and Royal Scottish National orchestras. 2021–22 marks Warren-Green’s final season as Music Director of Charlotte Symphony, after which he will become Conductor Laureate and Artistic Adviser. Highlights this season include an all-English program celebrating the orchestra’s 90th birthday and Beethoven’s Symphony No. 9. A product of community music education, Warren-Green plays a key role in the CSO’s educational efforts including the Youth Orchestras and Project Harmony.

about us 17

PROGRAM NOTES JESSIE MONTGOMERY born: December 8, 1981 in New York City

Strum composed: 2006

premiere: April 2006; revision in February 2012

American musician Jessie Montgomery is celebrated for her work as a violinist, composer, and educator. Montgomery has been a member of the Providence String Quartet, PUBLIQuartet, the Catalyst Quartet, and Yo-Yo Ma’s Silkroad Ensemble. Since 1999, Jessie Montgomery has been active in numerous roles with The Sphinx Organization, devoted to supporting the work of gifted young African American

and Latino string players. Montgomery’s compositions have been commissioned and performed by the Albany Symphony, the Joyce Foundation, the Orpheus Chamber Orchestra, the Young People’s Chorus of NY, Dance Theater of Harlem, the Muir Quartet, and the Saint Paul Chamber Orchestra.

JessieMontgomery.com

Strum is the culminating result of several versions of a string quintet I wrote in 2006. It was originally written for the Providence String Quartet and guests of Community MusicWorks Players, then arranged for string quartet in 2008 with several small revisions. In 2012 the piece underwent its final revisions with a rewrite of both the introduction and the ending for the Catalyst Quartet in a performance celebrating the 15th annual Sphinx Competition. Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration. - Jessie Montgomery

Notes on the Program by Ken Meltzer 18 program notes

PROGRAM NOTES MAURICE RAVEL born: March 7, 1875 in Ciboure, France died: December 28, 1937 in Paris, France

Piano Concerto in G Major composed: 1931 premiere: January 14, 1932 in Paris In 1928, Maurice Ravel embarked upon a four-month tour of the United States and Canada. Ravel traveled across the North American continent, appearing as pianist and conductor in twenty-five cities. Ravel enjoyed a glowing reception from the American people. For example, Ravel was in attendance for a January 7, 1928 Carnegie Hall concert by Serge Koussevitsky and the Boston Symphony Orchestra. The program featured three Ravel works. The audience summoned Ravel to the stage with a standing ovation. “You know, this doesn’t happen to me in Paris,” Ravel wistfully commented. While in America, Ravel had the opportunity to meet such musicians as George Gershwin and Paul Whiteman. Ravel and Gershwin traveled to Harlem on several occasions to listen to jazz. Ravel was greatly impressed by what he called “the national music of the United States.” Ravel completed his Piano Concerto in G in the fall of 1931. Ravel originally intended to be the soloist in the Concerto’s world premiere, but was prevented by illness. The composer did, however, conduct the January 14, 1932 premiere with pianist Marguerite Long (who also played the first performance of Ravel’s Le tombeau de Couperin).

In an interview, Ravel acknowledged that the jazz he so enjoyed in the United States influenced the G-Major Concerto. Ravel queried: “What is being written today without the influence of jazz? It is not the only influence, however; in the concerto one also finds bass accompaniments from the time of Bach, a melody that recalls Mozart, the Mozart of the Clarinet Quintet, which by the way is the most beautiful piece he wrote.” Of course, the success of the G-Major Concerto is the product of Ravel’s genius at synthesizing various and potentially disparate influences into an engaging, unified, and individual work. The Concerto in G Major is in three movements. The first movement (Allegramente) opens with the soloist accompanying a vivacious piccolo melody, apparently based upon a Basque folk tune. Ravel introduces several additional themes, notably a descending blues passage. The inspiration for the Concerto’s slow-tempo second movement (Adagio assai) was its counterpart in Mozart’s Clarinet Quintet, K. 581 (1789). The virtuoso finale (Presto) is the Concerto’s most overtly jazzinfluenced movement.

program notes 19

PROGRAM NOTES IGOR STRAVINSKY born: June 17, 1882 in Lomonosov, Russia died: April 6, 1971 in New York City

Circus Polka for a Young Elephant composed: 1942

premiere: April 9, 1942 in New York

Igor Stravinsky’s Circus Polka was the product of a commission by Ringling Bros. and Barnum & Bailey Circus to choreographer George Balanchine. The Ringlings wanted Balanchine to stage a ballet featuring the Circus’s elephants. Balanchine contacted his friend Igor Stravinsky with a proposal that he compose the ballet’s music: Balanchine: “I wonder if you’d like to do a little ballet with me.” Stravinsky: “For whom?”

Stravinsky composed the Circus Polka in just a few days. David Raskin arranged Stravinsky’s piano version for circus band. The premiere took place at New York’s Madison Square Garden on April 9, 1942, featuring a troupe of fifty elephants and fifty human dancers. Two years later, Stravinsky created his own orchestration of Circus Polka. He conducted the Boston Symphony Orchestra in that version’s premiere on January 13, 1944, in a concert at Harvard University’s Sanders Theater.

Balanchine: “For some elephants.” Stravinsky: “How old?” Balanchine: “Very young.” (after a pause) Stravinsky: “All right. If they are very young elephants, I will do it.”

George Balanchine in 1942

20 program notes

Bertolt Brecht in 1954

Lotte Lenya in 1930

PROGRAM NOTES KURT WEILL born: March 2, 1900 in Dessau, Germany died: April 3, 1950 in New York City

The Seven Deadly Sins Ballet Chanté · text by Bertolt Brecht composed: 1933 premiere: June 7, 1933 in Paris The Berlin Reichstag fire of February 27, 1933 precipitated the Nazis’ seizure of power in Germany. Jewish composer Kurt Weill understood that he was in grave peril, and fled Berlin on March 21. Arriving in Paris, Weill received a proposal from choreographer George Balanchine’s newly-formed company, Les Ballets 1933: English philanthropist Edward James had offered to finance the company’s entire first season, on the condition that they stage a new work starring his wife, dancer Tilly Losch — who happened to bear a striking resemblance to Weill’s wife, singer Lotte Lenya. It was agreed that the piece would combine dancing and singing, with the heroine embodied by two performers: Lenya and Losch. Weill invited Bertolt Brech, his collaborator on The Threepenny Opera (1928) and Rise & Fall of the City of Mahagonny (1929), to write the text. It appears that artistic differences arose among the various creative forces. Brecht, a Marxist, viewed the work’s narrative as a biting critique of capitalism. Others in the company contemplated a psychological drama. Weill convinced Brecht that the work as completed would satisfy the writer’s vision. Between April 16 and May 4, 1933, Weill composed the piano score of Der Sieben Todsünden (The Seven Deadly Sins).

The premiere took place in June 1933 at the Théâtre des Champs-Élysées. Critical and audience reaction was divided. Jean Cocteau (Weill’s original choice for librettist) admired the performance, and Weill’s achievement: “the two women were astonishing, stirring up a superhuman air around themselves. Tender and cruel, that is the tempo of your work in which I have dwelt for the last two days. I embrace you.” For Weill’s part, he viewed The Seven Deadly Sins as “the finest score I’ve written up to now.” It proved to be Weill’s final collaboration with Brecht. Weill’s score is a brilliant fusion of a stunning range of musical genres, both classical and popular, juxtaposing serious and parodic expression. The Seven Deadly Sins relates the adventures of the sisters Anna I (singer) and Anna II (dancer). The two (who, it’s hinted, may be the same person) leave their home in Louisiana for a 7-year journey across seven cities, raising money to build a house for their family. That family, which serves as a Greek chorus throughout the work, is portrayed by a male quartet (the father and one brother are sung by tenors, the second brother by a baritone, while the mother is a bass). In each city, the sisters encounter a scenario illustrative of one of the Seven Deadly Sins. Full text and translations start next page. program notes 21

TEXT & TRANSLATIONS Die sieben Todsünden

The Seven Deadly Sins

Original German Text by BERTOLT BRECHT

English Translation by W.H. AUDEN & CHESTER KALLMAN

PROLOG

PROLOGUE

ANNA I Meine Schwester und ich stammen aus Louisiana Wo die Wasser des Missisippi undterm Monde fließen Wie Sie aus den Liedern erfaren können. Dorthin wollen wir zurückkehren Lieber heute als morgen.

ANNA I So my sister and I left Louisiana where the moon on the Mississippi is a shining ever like you always hear in the songs of Dixie. We look forward to our homecoming — and the sooner the better.

ANNA II Lieber heute als morgen!

ANNA II And the sooner the better.

ANNA I Wir sind aufgebrochen vor vier Wochen nach den großen Städten, unser Glück zu versuchen. In sieben Jahren haben wir’s geschafft, dann kehren wir zurück.

ANNA I It’s a month already since we started for the great big cities where you go to make money. In seven years our fortune will be made, and then we can go back.

ANNA II Aber lieber schon in sechs!

ANNA II In six would be nicer.

ANNA I Denn auf uns warten unsre Eltern und zwei Brüder in Louisiana, ihnen schicken wir das Geld, das wir verdienen, und von dem Gelde soll gebaut werden ein kleines Haus am Mississippi in Louisiana. Nicht wahr, Anna?

ANNA I Our Mom and Dad and both our brothers wait in old Louisiana, and we’ll send them all our money as we make it. For all the money’s got to go to build a little home, down by the Mississippi in Louisiana. Right, Anna?

ANNA II Ja, Anna.

ANNA II Right, Anna.

ANNA I Meine Schwester ist schön, ich bin praktisch. Sie ist etwas verrückt, ich bin bei Verstand. Wir sind eigentlich nicht zwei Personen, Sondern nur eine einzige. Wir heißen beide Anna,

ANNA I She’s the one with the looks. I’m realistic. She’s just a little mad, my head is on straight. You may think that you can see two people, But in fact you see only one. And both of us are Anna.

22 text & translations

TEXT & TRANSLATIONS Wir haben eine Vergangenheit und eine Zukunft, Ein Herz und ein Sparkassenbuch, Und jede tut nur, was für die andre gut ist. Nicht wahr, Anna?

Together we’ve but a single past, a single future, one heart and one savings account, and we only do what is best for each other. Right, Anna?

ANNA II Ja, Anna.

ANNA II Right, Anna.

I. FAULHEIT

I. SLOTH

DIE FAMILIE Hoffentlich nimmt sich unsre Anna auch zusammen.

THE FAMILY Will she now? Will our Anna pull herself together?

(Müßiggang ist aller Laster Anfang.)

(Lazy bones are for the Devil’s stockpot.)

Sie war ja immer etwas eigen und bequem. Und wenn man die nicht aus dem Bett herauswarf, dann stand das laule Stück nicht auf am Morgen.

For she was always quite a one for the armchair. Unless you came and hauled her off the mattress, the lazy slut would lie in bed all morning.

(Müßiggang ist aller Laster Anfang.)

(Lazy bones are for the Devil’s stockpot.)

Anderseits ist ja unsre Anna ein sehr aufmärksames Kind. Sie war immer folgsam und den Eltern treu ergeben.

Otherwise, Anna is, we must admit, a most respectful child. Did what she was told and showed affection for her parents.

(Müßiggang ist aller Laster Anfang.)

(Lazy bones are for the Devil’s stockpot.)

Und so wird sie es, wir wollen hoffen. Nicht am nöt’gen Fleiße fehlen lassen in der Fremde.

This is what we told her when she left home. Think of us and mind you keep your nose to the grindstone.

(Müßiggang ist aller Laster Anfang.)

(Lazy bones are for the Devil’s stockpot.)

Der Herr erleuchte unsre Kinder, daß sie den Weg erkennen, der zum Wohlstand führt. Er gebe ihnen die Kraft und die Freudigkeit, daß sie nicht sündigen gegen die Gesetze, die da reich und glücklich machen.

O Lord, look down upon our daughter. Show her the way that leads the good to Thy reward. In all her doings preserve her and comfort her. Incline her heart to observe all Thy commandments, that her works on earth may prosper.

Kurt Weill and Lotte Lenya in 1935, photographed by Louise Dahl-Wolf

text & translations 23

TEXT & TRANSLATIONS II. STOLZ

II. PRIDE

ANNA I Als wir aber ausgestattet waren, Wäsche hatten, Kleider und Hüte. Fanden wir auch bald eine Stelle in einem Kabarett als Tänzerin, und zwar in Memphis, der zweiten Stadt unsrer Reise.

ANNA I So we saved up, bought ourselves an outfit, nighties, nylons, beautiful dresses. Soon we found a job that was going. A job as Dancer in a Cabaret. A job in Memphis, the second big town we came to.

Ach, es war nicht leicht für Anna. Kleider und Hüte machen ein Mädchen hoffärtig. Wenn die Tiger trinkend sich im Wasser erblicken, werden sie oft gefährlich!

Oh, how hard it was for Anna. Beautiful clothes can make a good girl particular — when the drinking tigress meets herself in the pool; she’s apt to become a menace.

Also wollte sie eine Künstlerin sein und wollte Kunst machen in dem Kabarett, in Memphis, der zweiten Stadt unsrer Reise. Und das war nicht, was dort die Leute wollen.

She began talking about Art (of all things). About the Art (if you please) of Cabaret. In Memphis, the second big town we came to. It wasn’t Art that sort of people came for.

Denn diese Leute zahlen und wollen, Daß man etwas herzeigt für ihr Geld. Und wenn da eine ihre Blöße versteckt wie’nen faulen Fisch, Kann sie auf keinen Beifall rechnen.

That sort of people came for something else. And when a man has paid for his evening, he expects a good show in return. So if you cover up your bosom and thighs like you had a rash, don’t be surprised to see them yawning.

Also sagte ich meiner Schwester Anna: “Stolz ist etwas für die reichen Leute! Tu was man von dir verlangt und nicht was du willst, daß sie von dir verlangen.”

So I told my Art loving sister Anna, “Leave your pride to those who can well afford it. Do what you are asked to do and not what you want, for that isn’t what is wanted.”

ANNA I Manchen Abend hatt’ ich meine Mühe, ihr den Hochmut abzugewöhnen. Manchmal brachte ich sie zu Bette, tröstete sie und sagte ihr: “Denk an das kleine Haus in Louisiana!”

ANNA I (simultaneously with Family) Oh, but I had trouble, I can tell you with her fancy, pigheaded notions. Many night I sat by her bedside, holding her hand and saying this: “Think of your home in Louisiana.”

DIE FAMILIE Der Herr erleuchte unsre Kinder, daß sie den Weg erkennen, der zum Wohlstand führt. Wer über sich selber den Sieg erringt, der erringt auch den Lohn.

THE FAMILY (simultaneously with Anna I) O Lord, look down upon our daughter, show her the way that leads the good to Thy reward. Who fights the good fight and all self subdues, wins the Palm, gains the Crown.

24 text & translations

TEXT & TRANSLATIONS III. ZORN

III. WRATH

DIE FAMILIE Das geht nicht vorwärts! Was die da schicken, Das sind keine Summen, mit denen man ein Haus baut. Die verfressen alles selber. Denen muß man mal den Kopf waschen, sonst geht das nicht vorwärts, denn was die dummen Tiere schicken, das sind doch wirklich keine Summen, mit denen man ein kleines Haus baut.

THE FAMILY We’re at a standstill. What she’s been sending, it’s not any money a man can build a home with. She’s as giddy as a cyclone. All the profits go for her pleasure. Won’t she settle down to business, won’t she ever learn to save something? For what the featherbrain is sending is not any kind of money a man can build a little home with.

ANNA I Jetzt geht es vorwärts! Wir sind schon in Los Angeles. Und den Statisten stehen alle Türen offen. Wenn wir uns jetzt zusammennehmen und jeden Fehltritt vermeiden, dann geht es unaufhaltsam weiter nach oben.

ANNA I We’re making progress. We have come to Los Angeles. And every door is open here to welcome extras. We only need a bit of practice avoiding possible faux pas, and what can stop us going straight to the top then!

DIE FAMILIE Der Herr erleuchte unsre Kinder, daß sie den Weg erkennen, der zum Wohlstand führt.

THE FAMILY O Lord, look down upon our daughter, show her the way that leads the Good to Thy reward.

ANNA I Wer dem Unrecht in den Arm fällt, den will man nirgends haben, und wer über die Roheit in Zorn gerät, der lasse sich gleich begraben. Wer keine Gemeinheit duldet, wie soll der geduldet werden? Wer da nichts verschuldet, der sühnt auf Erden.

ANNA I If you take offence at Injustice, Mister Big will show he’s offended. If a curse or a blow can enrage you so, your usefulness here is ended. Then mind what the Good Book tells us when it says “Resist not evil!” Unforgiving anger is from the Devil.

Und so hab’ ich meiner Schwester den Zorn abgewöhnt in Los Angeles, der dritten Stadt der Reise, und die offene Mißbilligung des Unrechts, die so sehr geahndet wird. Immer sagte ich ihr: “Halte dich zurück, Anna, denn du weißt, wohin die Unbeherrschtheit führt.” Und sie gab mir recht und sagte:

It took time to teach my sister that wrath would not do in Los Angeles, the third big town we came to, where her open disapproval of injustice was so widely disapproved. I forever told her “Practice self control, Anna, for you know how much it costs you if you don’t!” And she understood and answered:

ANNA II “lch weiß es, Anna.”

ANNA II “Yes, I know, Anna.” text & translations 25

TEXT & TRANSLATIONS IV. VÖLLEREI

IV. GLUTTONY

DIE FAMILIE Da ist ein Brief aus Philadelphia: Anna geht es gut. Sie verdient jetzt endlich. Sie hat einen Kontrakt als Solotänzerin. Danach darf sie nicht mehr essen, was sie will und wann sie will. Das wird schwer sein für unsre Anna, denn sie ist doch so sehr verfressen. Ach, wenn sie sich da nur an den Kontrakt hält! Denn die wollen kein Nilpferd in Philadelphia.

THE FAMILY We’ve gotten word from Philadelphia, Anna’s doing well making lots of money. Her contract has been signed to do a solo turn. It forbids her ever eating when or what she likes to eat. Those are hard terms for little Anna who has always been very greedy. Oh, if only she does not break her contract! There’s no market for hippos in Philadelphia.

Sie wird jeden Tag gewogen. Wehe, wenn sie ein Gramm zunimmt, denn die stehen auf dem Standpunkt: 52 Kilo haben wir erworben, 52 Kilo ist sie wert. Und was mehr ist, ist vom Übel.

Every single day they weigh her. Gaining half an ounce means trouble. They have principles to stand by: “It’s a hundred and eighteen that you were signed for.” Gaining half an ounce means trouble. More than that would surely mean disaster.

Aber Anna ist ja sehr verständig, sie wird sorgen, daß Kontrakt Kontrakt ist. Sie wird sagen: Essen kannst du schließlich in Louisiana, Anna. Hörnchen! Schnitzel! Spargel! Hühnchen! Und die kleinen gelben Honigkuchen!

But our Anna is not all that stupid. And she knows a contract is a contract. So she’ll reason: After all, you still can eat like little Anna in Louisiana. Crab meat! Pork chops, sweet corn, chicken! And those golden biscuits spread with honey!

Denk an unser Haus in Louisiana! Sieh, es wächst schon, Stock- um Stockwerk wächst es! Darum halte an dich. Halte an dich, Anna! denn die Freßsucht ist vom Übel.

Think of our house in Louisiana! Look! It’s growing! More and more it needs you! Therefore curb your craving. Stop it Anna! Stop it at once! Gluttons never go to heaven.

V. UNZUCHT

V. LUST

ANNA I Und wir fanden einen Mann in Boston. Der bezahlte gut, und zwar aus Liebe. Und ich hatte meine Not mit Anna, denn auch sie liebte, aber einen andern, und den bezahlte sie, und auch aus Liebe.

ANNA I Then we met a wealthy man in Boston. And he paid her a lot because he loved her. But I had to keep a watch on Anna who was too loving, but she loved another. And she paid him a lot. Because she loved him.

Ach, ich sagte ihr oft: “Ohne Treue bist du höchstens die Hälfte wert. Man bezahlt doch nicht immer aufs neue, sondern nur für das, was man verehrt! Das kann höchstens eine machen,

So I said: “Cheat the man who protects you and you’ve lost half your value then. He may pay once although he suspects you. But he won’t pay time and time again. You can have your fun with money

26 text & translations

TEXT & TRANSLATIONS die auf niemand angewiesen ist. Eine andre hat nichts zu lachen, wenn sie einmal ihre Situation vergißt.”

when you’ve no provider you must face. But for girls like us, it’s not funny, if we ever even once forget our place.”

Ich sagte ihr: “Setz dich nicht zwischen zwei Stühle.” Und dann besuchte ich ihn und sagte ihm: “Solche Gefühle Sind für meine Schwester Anna der Ruin. Das kann höchstens eine machen, die auf niemand angewiesen ist. Eine andre hat nichts zu lachen, wenn sie einmal ihre Situation vergißt.”

“Don’t try to sit between two stools,” I told her. Then I went to see her young friend and said: “If you’re kind you won’t hold her, for this love will be your sweetheart’s bitter end. Girls can have their fun with money when the money is their own to give. But for girls like us it’s not funny, if we even once forget the way we live.”

Leider traf ich Fernando noch öfter. Es war gar nichts zwischen uns. Lächerlich! Aber Anna sah uns, und leider Stürzte sie sich gleich auf mich.

But alas, I then saw him quite often. There was nothing going on. Naturally! Until Anna found out and worse luck, blamed the whole affair on me.

DIE FAMILIE Der Herr erleuchte unsre Kinder, daß sie den Weg erkennen, der zum Wohlstand führt. Daß sie nicht sündigen gegen die Gesetze,\ die da reich und glücklich machen.

THE FAMILY O Lord, look down upon our daughter, show her the way that leads the Good to Thy reward. Incline her heart to observe all Thy commandments, that her works on earth may prosper.

ANNA I Und sie zeigt ihren kleinen weißen Hintern, mehr wert als eine kleine Fabrik, zeigt ihn gratis den Gaffern und Straßenkindern, der Welt profanen Blick. Das gibt immer solche Sachen, wenn man sich ein einz’ges Mal vergißt! Das kann höchstens mal eine machen, die auf keinen Menschen angewiesen ist.

ANNA I Now she shows off her little round white fanny, worth twice a little Texas motel. And for nothing the pool room can stare at Annie, as though she’d nothing to sell. That’s why most girls don’t get rich for they go wrong when they forget their place. You’re not free to buy what you itch for when you’ve got a good provider you must face.

DIE FAMILIE Wer über sich selber den Sieg erringt, Der erringt auch den Lohn.

THE FAMILY Who fights the good fight and all self subdues, wins the Palm, gains the Crown.

ANNA I Ach, war das schwierig, alles einzurenken, Abschied zu nehmen von Fernando. Und sich bei Edward zu entschuldigen, und die langen Nächte, wo ich meine Schwester weinen hörte und sagen:

ANNA I It wasn’t easy putting that in order: Saying goodbye to young Fernando. Then back to Edward to apologize. Then the endless nights I heard my sister sobbing bitterly and repeating:

ANNA II “Es ist richtig so, Anna, aber so schwer.”

ANNA II It’s right like this, Anna, but so hard! text & translations 27

TEXT & TRANSLATIONS VI. HABSUCHT

VI. GREED

DIE FAMILIE Wie hier in der Zeitung steht, ist Anna schon in Baltimore, und um sie schießen sich allerhand leute tot. Da wird sie viel Geld verdienen, wenn so was in der Zeitung steht. Das ist gut, das macht einen Namen und hilft einem Mädchen vorwärts.

THE FAMILY Anna, so the papers say, now set up in Baltimore. Lots of folk seem to be shooting themselves for her. She must be near to the top, and raking it in, to get in the news like that. Well, so far, so good: to be talked about helps a young girl up the ladder.

Wenn sie da nur nicht zu gierig ist, sonst macht man sich nichts mehr aus ihr. Sonst macht man bald einen großen Bogen um sie.

Let her beware of overdoing it! Some people might think she was mean. Folk shy away from a girl who’s said to be mean.

Wer seine Habsucht zeigt, um den wird ein Bogen gemacht. Mit Fingern zeigt man auf ihn, dessen Geiz ohne Maßen ist. Wenn die eine Hand nimmt, muß die andere geben. Nehmen für Geben, so muß es heißen, Pfund für Pfund! So heißt das Gesetz!

Folk give a wide berth to those who grab all they can get. Point unfriendly fingers at those whose greed goes beyond all bounds. In the measure you give, you will surely be given. And as you do, so will you be done by. Fair is fair! All must keep this law.

Darum hoften wir, daß unsere Anna auch so vernünftig ist und den Leuten nicht ihr letztes Hemd wegnimmt und ihr letztes Geld. Nackte Habsucht gilt nicht als Empfehlung.

We sincerely hope our smart little Anna also has common sense. And will let them keep a shirt or two when she lets them go for good. Shameless hoarders earn themselves a bad name.

VII. NEID

VII. ENVY

ANNA I Und die letzte Stadt der Reise war San Francisco. Alles ging gut, aber Anna war oft müde und beneidete jeden, der seine Tage zubringen durfte in Trägheit. Nicht zu kaufen und stolz in Zorn geratend über jede Roheit, hingegeben seinen Trieben, ein Glücklicher! Liebend nur den Geliebten und offen nehmend, was immer er braucht.

ANNA I And the last big town we came to was San Francisco. Life there was fine, only Anna felt so tired and grew envious of others: of those who pass the time at their ease and in comfort; those too proud to be bought; of those whose wrath is kindled by injustice; those who act upon their impulses happily; lovers true to their loved ones; and those who take what they need without shame.

Und ich sagte meiner armen Schwester, als sie neidisch auf die andern sah: “Schwester, wir alle sind frei geboren

Whereupon I told my poor tired sister when I saw how much she envied them: “Sister, from birth we may write our own story,

28 text & translations

TEXT & TRANSLATIONS und wie es uns gefält, können wir gehen im Licht. Also gehen aufrecht im Triumphe die Toren, aber wohin sie gehn, das wissen sie nicht. Schwester, folg mir und verzicht auf die Freuden, nach denen es dich wie die andern verlangt. Ach, Überlaß sie den törichten Leuten, denen es nicht vor dem Ende bangt!

and anything we choose we are permitted to do. But the proud and insolent who strut in their glory, little they guess the fate they’re swaggering to. Sister, be strong! You must learn to say ‘No’ to the joys of this world, for this world is a snare. Only the fools in this world will let go, who don’t care a damn, will be made to care.

Iß nicht und trink nicht und sei nicht träge, die Strafe bedenk, die auf Liebe steht. Bedenk, was geschicht, wenn du tätst, was dir läge, nütze sie nicht, nütze die Jugend nicht, denn sie vergeht.

Don’t let the flesh and its longings get you. Remember the price that a lover must pay and say to yourself when temptations beset you — what is the use? Beauty will perish and youth pass away.

Schwester, folg mir, du wirst sehen, am Ende gehst im Triumph du aus allem hervor. Sie aber stehen, o schreckliche Wende, zitternd im Nichts vor verschlossenem Tor.”

Sister, you know, when our life here is over: Those who were good, go to bliss unalloyed. Those who were bad are rejected forever, gnashing their teeth in a gibbering void.”

DIE FAMILIE Wer über sich selber den Sieg erringt, der erringt auch den Lohn.

THE FAMILY Who fights the good fight and all self subdues, wins the Palm, gains the Crown.

EPILOG

EPILOGUE

ANNA I Darauf kehrten wir zurück nach Louisiana, wo die Wasser des Mississippi unterm Monde fließen. Sieben Jahre waren wir in den Städten, unser Glück zu versuchen. Jetzt haben wir’s geschafft. Jetzt steht es da, unser kleines Haus in Louisiana. Jetzt kehren wir zurück in unser kleines Haus am Mississippi-Fluß in Louisiana. Nicht wahr, Anna?

ANNA I Now we’re coming back to you in Louisiana, where the moon on the Mississippi is a shining ever. Seven years we’ve been away in the big towns where you go to make money; and now our fortune’s made and now you’re there, little home in old Louisiana. We’re coming back to you, to our little home beside the Mississippi in Louisiana. Right, Anna?

ANNA II Ja, Anna.

ANNA II Right, Anna!

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Mr. & Mrs. Robert R. Rollins, Jr. Bette Roth Glenn Sherrill Mr. Ron G. Sherrill Nancy E. Simpson Marsha & Robert L. Stickler Mrs. H. Dickson Stowe Dr. Mark R. Swanson Deborah J. Cox & Bob Szymkiewicz Dr. John A. Thompson, Jr. & Dr. Lee Rocamora James H. Trexler & Kelly Zellars Dr. Cynthia H. Tyson Drs. Iris Cheng & Daniel Uri Paul & Susan Vadnais Ms. Dana Vestal Ellen & Jimmie Wade Mary Claire & Dan Wall Edgar & Karen Whitener Dr. Shanté Williams supporters 31

SUPPORTERS PATRON CIRCLE $1,500 – $2,499

Marcia Adams Ross & Michele Annable Dan & Barbara Austell Merilyn & Craig Baldwin Katherine M. Belk Erskine & Crandall Bowles Mary & Charles Bowman Mr. Donald Butler Jane & Larry Cain Ms. Catherine P. Carstarphen Dr. W. Gerald Cochran & Mr. Timothy D. Grudger James Crosthwaite Gwin Dalton Mr. R. Stuart Dickson Elizabeth Betty Eaton Arlene H. Elisha Ms. Anne Marie Forbes Timothy & Kara Gallagher Katherine G. Hall Mr. & Mrs. Benjamin F. Hill, Jr. Gene & Helen Katz Ms. Nadine Melka Cricket Weston & David Molinaro Michael & Debbie O’Hara Caroline Olzinski Arvind & Helen Patil Mr. Vincent Phillips & Mr. Paul Pope John & Wilma Pinter John & Susan Rae Jane Perry Shoemaker Mr. & Mrs. Pope A. Shuford Dr. Bernard Reen III & Ms. Teresa Starr Richard R. Taylor Mr. & Mrs. Hans Teich Tillie S. Tice Daniel & Kathleen Troy Vera Watson Grant Webb Mrs. Eugenia N. White Michael & Kathy White Deems Wilson Floyd Wisner & Glenda Colman

32 supporters

$1,000 – $1,499

Anonymous Mrs. Kathleen Allison Larry Anderson Ann L. Armstrong Sharon Baker & Peter Moore Mr. & Mrs. Lincoln A. Baxter Morgan Beggs Shirley W. Benfield Richard & Christie Benoit Donald H. & Barbara K. Bernstein Family Foundation Ms. Melody Birmingham Joye D. Blount & Jessie J. Knight Jr. Ms. Brett Blumenthal & Mr. David Wax Dr. & Mrs. George Bohmfalk Marilyn & Herb Bonkovsky Frannie & Herb Browne Ralph Canfield Ms. Elizabeth Carr David M. Cody Mr. Mark Copeland Ann F. Copeland Dr. & Mrs. Mark Couture Sarah & Larry Dagenhart Christopher & Elizabeth Daly Dan & Jeannette Davis Ralph & Troyann Dougherty Bob & Judy Erb Trae & Kate Fletcher Lucy Quintilliano & Leonard Fumi Mr. Mark Gibbs Carol & Joseph Gigler Dan & Linda Gordon Carleen & Jim Grossman Joyce & Ed Hamilton Angela & Michael Helms Anne J. Henderson Mr. & Mrs. Jon Hunt Paul & Linda Ibsen Lea & Stuart Johnson Vickie & Eugene Johnson Rebecca & Lex Jones Mr. & Mrs. Ron Kaufman Joan Kirschner Dr. & Mrs. Jack Kramer Marilyn Kroll Maria Kurtz Jennie Buckner & Steve Landers Ms. LaTanya Lofton Hogue James Lynch

Mr. & Mrs. Yih-Han Ma Dr. & Mrs. Randolph Mahnesmith Richard & Anna Marriott Leslie & Michael Marsicano Holly & Christopher Maurer Mr. & Mrs. Richard A. McCracken Nydia McCrohan Eric Miller Thomas & Susan Mitchell Susan D. Montgomery Tom & Sally Moore Eugene P. Kueny & Don C. Niehus Mr. & Mrs. E. O. Oakley Karen L. Oldham Anita & Gale Pendergraph Mr. & Mrs. Rodney C. Pitts Dr. William Porter & Peggy Davis Haywood & Sabine Rankin Rita & Thomas Robinson Mrs. Gail C. Salmon Katy & Raleigh Shoemaker Parker & Stephen Shuford Molly & Conrad Sloan Dr. & Mrs. Henry L. Smith II Mr. Murray Somerville Morris & Patricia Spearman Mr. Clark Starnes Robert & Maxine Stein Kathryn Stewart Mrs. Phyllis Stokes Al & Alice Sudduth Ann & Wellford Tabor Mr. & Mrs. James Traylor Mr. & Mrs. C. L. Trenkelbach Sarah S. Tull Mrs. William K. Van Allen Craig & Gail Van Der Veer Mr. & Mrs. Michael Van Glish Bill & Rita Vandiver Dr. & Mrs. Bill Chu & Jin Wang Linda & Craig Weisbruch Peter White Jenny Widmer John Drew Witherington Peter & Betty Ann Wittenberg Ms. Judith Wood Mr. & Mrs. John A. Yakob Mrs. Anne Yudell

SUPPORTERS $500 – $999

Michael & Lee Abbott Doug & Lynda Abel Leigh & Rhonda Armistead Mr. Manuel Arrese Mauro Atalla JWD Atchison Charles G. Farrar & Marcia Avedon Mr. Jeff Ballast William & Linda Bantz Mrs. Natascha A. Bechtler Matthew Beck & Chadwick Smith Bob & Cathy Becker John & Katherine Beltz Ben Benoit Ms. Kristine E. Benshoff Robert Black Stuart Blackmon Lawton & Janette Blandford Betsy & Scott Bodien Mr. Nicholas Bonevac Mr. & Mrs. John Bradley Ms. Marianne Bragg James Broadstone Aram & Scott Bryan Mr. Ronald Bryson Mr. Charles Budd Ms. Nancy Butzek Greg & Mary Lou Cagle Barbara F. Caine Maggie Callen Ms. Lisa Callen Susan C. Carr Dianne & Jan Cates Joe & Janet Cauley Young & Kana Chin Mr. Brent Clevenger Richard & Kay Cline Ron & Shirley Coffman Paul & Anne Colavita Mr. Thomas E. Collins, Jr. Dr. & Mrs. Charles E. Cook Mr. Kilian Cooley Sondra Cooney Martin & Leslie Cooper Mrs. Carolyn Cooper Mr. & Mrs. Alpo F. Crane Ellen M. Crowley Marylin Culp & Gene Le Beau Ragnhild Daasvand Rufus Dalton

Peter De Arcangelis Jon Merkert & Bernadette Donovan-Merkert Cheryl Drake-Bowers Claude Duet Ms. Helen Edwards Rebecca Elliott Mrs. Geraldine S. Emmert Dr. & Mrs. J. Murray Fadial Doug Faris Dr. Rezvan Rafi & Dr. Saeed Fatenejad Tom & Gail Fennimore Lawrence W. Fetner, Jr. Betsy & Jeff Freeman Christopher Friesen Mr. & Mrs. Eugene H. Frost George Gabel Dr. John & Eileen Gardella Stephen C. & Jean S. Geller Mr. & Mrs. Kodwo Ghartey-Tagoe Mr. & Mrs. Pete Gherardi Jenn & Taylor Gherardi Sara E. Gibson Donna Gibson Tom & Tracey Gillespie Sarah Goad Mr. Walter H. Goodwin, Esq. Ms. Cynthia Greenlee Mr. & Mrs. Raymond Groth Ms. Tara Harris Mr. & Mrs. Lowrance Harry Mr. & Mrs. Michael D. Heafner Logan & Jennifer Henderson Roger K. Hill Mr. Jesse Hite Dr. Susan Hungness Joan Irwin Mrs. Jean Jackson Ms. Joann B. Johnson Tim & Kathryn Johnson Pete & Phyllis Johnson E. Joann Jones Dick & Nancy Karr Steven & Mary Kesselman Shawn King Nancy H. Kiser Donna & Douglas Knowlton John & Ardis Koch David & Francine Kors Theodore & Dorothy Kramer Mr. Alan Kronovet & Ms. Cary J. Bernstein

Jonathan Lamb Tom & Mary Last Mr. & Mrs. Michael Leonowicz Jerome & Barbara Levin Mr. Michael Lewandowski Mr. George Linfors Donald Liotta Mr. Agus Loekman Lucinda Nisbet Lucas Staci & Matthew Marino Jill Maxwell Jeanne McCarthy Veronica McComb Juliette & Joseph McLelland Tom & Sandy Meckley Mr. & Mrs. Kiran H. Mehta Roy H. Michaux Tim Black & Debbie Miller Anne & Brad Mitchell Kirsten Morris Gary & Fran Morrison In Memory of Patricia Nims Sara & Tom Nolan Dr. & Mrs. Michael E. Norman Mrs. Carmen Odom Nancy Olah & Bill Pace Christopher Parides Rachel Parsons Pamela Pearson & Charles Peach Gwen Peterson & Tom Hodge Janet & Rick Pfeiffer Mr. John H. Pickett Barbara M. Pooley Mr. & Mrs. Steve M. Proffitt Dr. & Mrs. James E. Pugh Jeanine & Naeem Qasim Dr. & Mrs. R. Pinkney Rankin, Jr. Morry Alter & Joan Rasmussen Jane Ratteree Brendan Reen Casey Rentch Mr. Jay Reynolds Ms. Lynn Rogers Ms. Margaret Rogers & Mr. John R. Willis Robert & Christine Rydel John Schroeder, in honor of Patty McArthur Harriet Seabrook Mr. & Mrs. William Seifert Robert Semrad Miles & Madeleine Shanley supporters 33

SUPPORTERS Mr. Andrew Silliker Michael Silverman Lori & Eric Sklut Mr. Alan Slonim Ms. Judy Smith Julia J. Souther Ken Spielfogel & Richard Withem Bill & Mary Staton Mr. & Mrs. Larry Stern Mr. Michael Steuerwald William & Catherine Stone Sam & Martha Stowe Dr. & Mrs. Thomas Stubbs Wesley & Claudia Sturges Mr. & Mrs. Warren W. Sturm Faye F. Sultan & Kenneth Essex George & Brenda Sweet Martha Swetka John & Margaret Switzer Ms. Sarah Teague Nancy & Dick Thigpen Frances & Bill Thompson Ms. Catherine E. Thompson & Mr. Martin Hunter Gary & Pennie Thrower Denise Tidball Tim Timson Brent & Claire Trexler Sarah & Tim Turner James & Melanie Twyne Greg & Sandy Vlahos Mr. Erik Weghorst Qiuming Wei Mr. & Mrs. Tom Weidman Barnet & Harriet Weinstock Pam & Steve West Zelda White Dr. Thomas H. White Bryan Wilhelm Mr. & Mrs. Charles Williams Ms. Barbara Yarbrough Dan & Susan Yardley Maureen Young

$250 – $499

AAnonymous Tony & Susan Abbott Mr. & Mrs. Andrew A. Adair, Esq. Anna Akins Ms. Leslie Antoniel Andrew & Karen Antoszyk

34 supporters

Ms. J. C. Armstrong Mr. & Mrs. Arndt Linda Arnold Ms. Barbara J. Avard Mary Lou & Jim Babb Edwin & Cheryl Bagley Judi Bainbridge Mr. & Mrs. Carl Barlow Tanja Bauer Bob & Elise Beaven Curtis Beck Mr. & Mrs. Carl Belk Dr. & Mrs. Michael J. Bell Dr. John L. Bennett & Mr. Eric T. Johnson Ms. Linda Bentley Mortimer & Josephine Cohen Fund Mr. James Biddlecome Mr. & Mrs. Irving Bienstock Megan Blankemeyer List Renee Boger Jeffrey Boghosian Joan Booth Dr. & Mrs. Thor-Erik Borresen Steve Bost Carole Bourret Tara Box Saul & Martha Brenner Mr. & Mrs. Terry Broderick Mary E. Bruno Beth Burke David H. & Barbara J. Burns Mrs. Christina Cantrell Robert & Jo Anne Caruso Mary Case Amy Cathey Catherine Chew Amanda & Kevin Chheda Ms. Catherine Choudary John Clapp Ms. Michele T. Classe Ms. Dorothy Cole Mr. & Mrs. Richard Coonen Neil & Claire Cotty Tom Covington Mr. Todd Croy Mr. John J. Crymes Mr. Michael Curtis Rennie Cuthbertson Virginia A. Davis Mr. & Mrs. Patrick Dennis Norcott Desterre

Charlie & Gwen Diaz April & Joseph Dodge Janice Dodge Mrs. Elyn Dortch Jere & Patsy Drummond Mike Dyer Mr. & Mrs. Clifton E. Edmondson Eleanor C. Edwards Carolyn & Tim Eichenbrenner Gainor Eisenlohr Mr. Martin Ericson Mark & Joan Erwin Richard Fairclough John Alday & Rebecca Fant Ms. Sarah Fatherly Kenny Faulkner Mr. & Mrs. Robert L. Faut The Federico Family James C. Fort Evelyn & Norman Fortson Chakana Fowler Jerry Fox Jeanette Freedman Karen Fuentes Mary & John Gaertner Melisa & Frank Galasso Harvey & Cindy Gantt Alexandra Gautraud Albert Gebhardt Darius & Mariam Ghazi Alan & Ruth Goldberg Mr. & Mrs. Larry Goodgame Bill Gorelick Michael & Jordan Green Dr. Richard Greenberg Mr. Kevin Greene Mr. & Mrs. William Griesmyer Spencer Guthery John Habit Elizabeth Hage Rob Hammock & Caroline Chambre Hammock Mr. Rick Hargis Mr. Bruce Harned Bruce Harned Ms. Bette Harris Mr. Christopher Harris Mr. David Harrison Mr. Charles Haughey Patrick & Johanne Hawk Abigail He

SUPPORTERS Mr. Stefan Heinzelmann Mr. & Mrs. Hemenway Dr. Eugene Hermitte Ms. Phyllis Herschenfeld Ms. Cris Hill Barbara Holt Dr. & Mrs. Alexander Horowitz Barbara Horstmann James Horton & Kathy Reardon Lis & James Hoveland Pierce Howard Karin & Robert Hudson Danielle Huffman-Hanni Ben & Christy Hume Peter Humphery & Juliann Bannon Betty Hunter Ow Hunter Nilse Hurwitz Ms. Linda Hutchinson Cynthia B. Irby Mr. Michael Johnson Martha D. Jones Dr. Peter Judge & Ms. Christine Judge Joseph & Patty Kahle Margot Kaiser Mr. George Kaperonis Mr. & Mrs. Harold G. Karn Madhu Katta John J. Kelly, Jr. Carolyn Wells Kibler Suzanne & John Knowles Ms. Carol Koball Mrs. S. Lacy Alejandro Lanza Ms. Wendy Laxton Mr. Rick Lee John J. Locke Dr. & Mrs. Thomas T. Long III Skip & Ginny Long Ms. Suzanne Lowry Mr. Donald Lueder Mr. John Lyon Bob & Mary Anne MacCaughelty Stuart & Allison Malter Bruce & Leigh Marsh Joan W. Martin & Pat Burgess Theodore & Katherine Martinez Mr. Michael Matier Ed & Wendy Matthews Kim & Alan Maxwell Ms. Judy Mayo Guy T. & Meredith Hance McBride

Mr. Glenn McConnell Ms. Ann P. McDermott James & Stephanie McGarvey Dorothy McGavran Mr. & Mrs. James W. McQuiston Mr. Manuel V. Medeiros Ms. Katharina Miles Krivitsky Family Mr. & Mrs. Bruce Moline Sallie & Joe Moody Mr. Fred Morgenstern Ann Morris Ms. Karen Murdock Amy Murphy Jim & Linda Nash Mr. Darrell P. Nelson Jill & Edwin Newman Mary Newsom Carol Nicholson Mr. David Nix Mr. Bruce Norton Mr. William Olson Dr. Samuel L. Orr & Ms. Margaret Errington Mr. Gerald Padbury Ms. Kimberly Padgett Dimitris & Jennifer Papageorgiou Mr. James Parks Cookie & Jerry Parnell Ms. Carolyn Parrington Rose & Bailey Patrick Mr. Robert Paul Paula & Robert Paul Mr. & Mrs. Gerard W. Peer Lisa & Tom Phillips Catherine Philpott Ms. Barbara Pierce Christopher Polk Mr. Brent Prater Ms. Kathleen Prevost Stephen Primost Mr. Conrad Puckett David & Leah Randall Betty Chafin Rash Joann Rautenberg Mrs. Helen Ray Emily & Brian Reinicker Dr. Livia Robicsek Mr. & Mrs. Albert E. Rodgers Mr. Mekel Rogers Stanley & Louise Rose Pamela Rowland

Julie Ruterbories Nancy Rutledge & Jim Rutledge Sarah E. Schoedinger Katherine Schorr Dr. Stephen P. Schultz & Donna Dutton Mr. & Ms. Peter Shankey Dr. & Mrs. Marvin Shapiro John Sherrill Mr. & Mrs. Robert C. Sink David Small Scott Smith Fred H. Smith Carol Smith Craig Snyder Helen S. Solitario Nancy & Richard Stark Ms. Deborah Steiner James & Ellie Stephens Ann Stigall Tim & Mary Stokes Larry Stratemeyer Jack & Mary Kay Szczepek Molly Tarr Cornelius Tate Carrie & Jeffrey Teixeira Mr. Razvan Theodoru & Mrs. Isabelle Cantin Mr. & Mrs. Robert Thomas Robert & Mary Thornberry Nancy & David Townsend Scott Tozier Patti Tracey & Chris Hudson Ms. Nancy Tretsch Luther & Marlyn Wade Hallam Walker Ms. Catherine A. Walton Jenny & Henry Ward Ms. Leslie Webster Mr. & Mrs. Ronald M. Weiner Lyman Welton Mr. & Mrs. Richard J. Wertheimer Mr. & Mrs. James M. White John & Jill White Karla Williams Ms. Mary Lindeman Wilson Ms. Jo Wilson Ms. Carol Wilson Mr. & Mrs. Earnest Winston Mr. & Mrs. Duncan M. Witte Allen & Clara Wolfe Mitchell Wolff Ms. Haojin Wu supporters 35

SPONSORS CORPORATE PARTNERS We are grateful for the following outstanding corporate funders: $100,000 +

$50,000 - $99,999

$20,000 - $49,999

$10,000 - $19,999

$5,000 - $9,999 Duke Energy/Piedmont Natural Gas Kingfisher Capital

For more information, please contact Amanda LoCascio, Director of Corporate Engagement at 704.714.5138 or alocascio@charlottesymphony.org

36 sponsors

SPONSORS GOVERNMENT & FOUNDATION SUPPORT We are grateful for the following outstanding foundation and government funders: $100,000 +

$50,000 - $99,999

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

$20,000 - $49,999

DG Brungard Foundation

Mariam & Robert Hayes Charitable Trust

The Trexler Foundation

$10,000 - $19,999

Blumenthal Foundation Cole Foundation

John S. & James L. Knight Foundation The Maurer Family Foundation

$5,000 - $9,999 AT&T Foundation The George W. & Ruth R. Baxter Foundation The Jack H & Ruth C. Campbell Foundation

The Charlotte Assembly Dunspaugh-Dalton Foundation, Inc. Friends of Fourth Ward

$2,500 - $4,999 Barnhardt/Thomas Trust Springsteen Foundation

Stanly County Community Foundation Winer Family Foundation

For more information, please contact Holly Blackman, Government & Institutional Relations Manager at 704.714.5130 or hblackman@charlottesymphony.org

sponsors 37

CSO Ravel Piano Concerto - program 01-28-22

Articles inside

Concert Program

Program Notes

Artist Biographies

A Message from the President & CEO

About the CSO

Spotlight: In Person with Jessica Cottis