CSO Sibelius Symphony No. 5 - program 02-03-23

February 3 & 4 Knight Theater

Vinay Parameswaran, conductor Alexandra Smither, soprano

Welcome to your CSO!

I’m delighted to welcome you back to another exciting month at the Charlotte Symphony! As we begin the celebration of Black History Month, it feels important to reflect on the immense contributions of Black composers and performers in orchestral music. Throughout February, we will be sharing notable performances of works by Black composers, the history of Black pioneers in classical music, and information about the Black composers and artists of today who are enriching the classical music scene and inspiring countless future musicians.

I invite you to visit our website to learn more about how we are showcasing the music of Black composers and artists in our programming this season, including in a recently announced concert at Johnson C. Smith University on March 21 that showcases the music programs of JCSU side by side with the Charlotte Symphony.

We also continue to share the joy of music with children in communities across the region through our many education and community engagement programs. We believe that music has the power to change lives, and we are committed to making sure that everyone has access to exceptional performances and educational resources.

I hope you will join us in celebrating Black History Month by experiencing the music and stories of these important figures in the world of classical music. It is our goal to make the Charlotte Symphony a welcoming and inclusive space for our entire community. I look forward to seeing you at the Symphony.!

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, February 3, 2023 at 7:30pm

Saturday, February 4, 2023 at 7:30pm

Knight Theater at Levine Center for the Arts

Vinay Parameswaran, conductor

Alexandra Smither, soprano

GABRIELLA SMITH (b. 1991)

Field Guide

BENJAMIN BRITTEN (1913-1976)

Les Illuminations, Op. 18

I. Fanfare: Maestoso (poco presto)

II. Villes: Allegro energico

IIIa. Phrase: Lento ed estatico

IIIb. Antique: Allegretto, un poco mosso

IV. Royauté: Allegro maestoso

V. Marine: Allegro con brio

VI. Interlude: Moderato ma comodo

VII. Being Beauteous: Lento ma comodo

VIII. Parade: Alla marcia

IX. Départ: Largo mesto

Alexandra Smither, soprano

INTERMISSION

WILLIAM GRANT STILL (1895-1978)

Poem for Orchestra

JEAN SIBELIUS (1865-1957)

Symphony No. 5 in E-Flat major, Op. 82

I. Tempo molto moderato

II. Andante mosso, quasi allegretto

III. Allegro molto - Misterioso

concert duration: approximately 1 hour, 40 minutes. There will be one 20-minute intermission.

This weekend’s concerts are made possible in part by the generosity of Mark & Judith Brodsky

Vinay Parameswaran

guest conductor

Internationally recognised for his energetic presence, imaginative programming, and compelling musicianship, Vinay Parameswaran is one of the most exciting and versatile young conductors on the podium today.

Highlights of the 2022/23 season include Parameswaran’s debut with the Charlotte Symphony and return appearances with the Nashville Symphony and Rochester Philharmonic orchestras. He also conducts a series of education concerts with the Chicago Symphony. In the 2021/22 season, Parameswaran concluded five seasons with the Cleveland Orchestra, where he was Assistant Conductor from 2018/19 and promoted to Associate Conductor in 2021. During this period, he conducted many concerts each season at Severance Hall, Blossom Music Festival, and on tour. As Music Director, he led the Cleveland Orchestra Youth Orchestra on an acclaimed four-city European tour that included a performance at the Musikverein in Vienna.

Prior to his time with the Cleveland Orchestra, Parameswaran was the Associate Conductor of the Nashville Symphony for three seasons and led over 150 performances, which included his subscription debut with the Orchestra in 2016/17, conducting works by Gabriella Smith, Grieg, and Prokofiev. Other highlights have included debuts with the Pittsburgh Symphony, Detroit Symphony, National Symphony Orchestra, Louisville Orchestra, North Carolina Symphony, Grant Park Orchestra, Milwaukee Symphony, and Jacksonville Symphony.

Equally at home in symphonic and operatic repertoire, and in the recording studio, Parameswaran has led performances of Mozart’s The Magic Flute and Donizetti’s The Elixir of Love with Curtis Opera Theater. In Cleveland, he has assisted Franz Welser-Möst on productions of Verdi’s Otello, Janáček’s The Cunning Little Vixen, Wagner’s Tristan und Isolde and Strauss’ Ariadne auf Naxos. With the Curtis Ensemble 20/21 and violinists Jaime Laredo and Jennifer

Koh, Parameswaran recorded the album Two x Four, featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne. In 2020/21, Parameswaran recorded a selection of concerts with the Cleveland Orchestra for the Orchestra’s digital streaming platform.

Parameswaran was a Conducting Fellow at the Tanglewood Music Center, and has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. Parameswaran was a recipient of a Career Assistance Award by the Solti Foundation U.S. in May 2021.

A native of the San Francisco Bay Area, Parameswaran graduated with honours from Brown University with a Bachelor of Arts in music and political science. At Brown, he began his conducting studies with Paul Phillips. He received an Artist Diploma in conducting from the Curtis Institute of Music, where he studied with renowned pedagogue Otto-Werner Mueller as the Albert M. Greenfield Fellow.

Alexandra Smither

soprano

An adventurous performer and one of the CBC’s 2017 “30 Young Hot Classical Musicians Under 30”, Canadian soprano Alexandra Smither is a fresh fixture on the worldwide stage. Her “sunny, cloudless top” and “silky, light, soprano” are an organic fit in staple repertoire of Mozart and Monteverdi. Ms. Smither’s signature rapport with new music shows her as “an extraordinarily adept soprano, one who can shriek, gurgle, cackle, mutter, gesture, and declaim as well as sing beautifully” (The Threepenny Blog). During the 2021-2022 season, Ms. Smither sings Iphigenia #1 in Wayne Shorter and esperanza spalding’s new opera Iphigenia at MASSMoCA, ArtsEmerson, The Kennedy Center, Cal Performances at UC Berkeley, and The Broad Stage in Los Angeles as well as her debut with California Symphony as the soloist in Katherine Balch’s Illuminate and a return to Ars Lyrica to sing Belinda in Dido and Aeneas.

Ms. Smither’s 2020-2021 season saw her debut with Tapestry Opera in a workshop of Brian Current and Liza Balkan’s Gould’s Wall. A welcome presence at Houston Grand Opera, she covered all seven von Trapp children in their spring 2021 event, My Favorite Things: Songs from The Sound of Music.

In 2019, Ms. Smither debuted with the Boston Symphony, and earned rave reviews in her role debut as Susanna in Against the Grain Theatre’s contemporary adaptation of Mozart’s Le nozze di Figaro, Figaro’s Wedding.

In recent seasons, Ms. Smither has cemented her place as an interpreter and champion of even the most intricate new music scores. In 2018 she made her New York debut at the Baryshnikov Arts Centre, performing Luciano Berio’s Sequenza III to enthusiastic reviews. Her impactful 2017 debut with Houston Grand Opera as Younger Alyce in Tom Cipullo’s Glory Denied, was followed by her return to HGO as Diana in their acclaimed mariachi opera, Cruzar la cara de la Luna. Ms. Smither is a two-time Fellow at the Tanglewood Festival, where she debuted at Seiji Ozawa Hall for Schubert’s

“Der Hirt auf dem Felsen” with Emanuel Ax and Bill Hudgins; her time at Tanglewood also included Berg’s Sieben frühe Lieder, Oliver Knussen’s Where the Wild Things Are, the world premiere of Theo Chandler’s “Two Taylor Songs”, and performances under the batons of John Harbison and Thomas Adès. In 2017, Ms. Smither was the Grand Prize winner at the Eckhardt-Gramatté Competition, earning wins for first prize and the prize for best performance of the year’s commissioned work, “Malfunctionlieder” by Canadian composer and turntablist Nicole Lizée.

When she’s not singing, Ms. Smither is a volunteer for West Street Recovery, a non-profit organization working to rebuild homes damaged by disasters, and an organizer with Stop TxDOT I-45, which opposes the expansion of Houston’s I-45 freeway.

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.

SAM SPARROW Clarinet

Member of CSO since 2017 hometown: Durham, NC

FUN FACTS

• I am a NC native from Durham, NC and received my Bachelor of Music in Clarinet Performance from the Manhattan School of Music.

• I grew up on a small sheep farm with many other animals (including a llama) and used to exhibit sheep in the NC State Fair!

• I love a good adrenaline rush! I’m a big rollercoaster fan, and rode the world’s largest free-fall swing a few years ago in New Zealand!

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

2022 was a huge year for the Charlotte Symphony. Thank you for making our favorite moments possible and for being a part of our CSO family. Let’s take a look back!

JANUARY

Jessica Cottis makes her debut conducting the Charlotte Symphony premiere of Kurt Weill’s witty and theatrical The Seven Deadly Sins

FEBRUARY

The CSO launches its Youth Ensemble, a training ensemble designed to bridge early music education with the Youth Orchestras.

MARCH

The Symphony celebrates its 90th birthday with a concert featuring Vaughan Williams’s Dona Nobis Pacem, dedicated to the people of Ukraine, and launches a digital archive, honoring the CSO’s storied history.

APRIL

The CSO welcomes Atlanta-based Orchestra Noir for a sold-out performance of R&B and hip-hop hits of the ’90s performed side by side with Beethoven.

MAY

In his final concert as Music Director, Christopher Warren-Green leads the Charlotte Symphony and Charlotte Master Chorale in one of the greatest works of all time – Beethoven’s Symphony No. 9.

JUNE

The Charlotte Symphony’s iconic Summer Pops Series returns to Symphony Park for the first time since 2019.

JULY

Resident Conductor Christopher James Lees leads the CSO in an exciting program of patriotic music at Village Park in Kannapolis, one of the Symphony’s many free concerts for the community.

AUGUST

The Charlotte Symphony Orchestra reaches a two-year agreement with its musicians, creating stability for the Symphony and allowing for a more innovative, united, and diverse organization that reflects our community.

SEPTEMBER

After two years of virtual and hybrid instruction, Project Harmony returns to inperson instruction.

OCTOBER

Just in time for Halloween, the Charlotte Symphony presents Jordan Peele’s groundbreaking social thriller Get Out, with Michael Abels’ award-winning score performed live to the complete film.

NOVEMBER

The Charlotte Symphony welcomes superstar vocalist and multi-instrumentalist Rhiannon Giddens to the stage for the CSO’s 2022 Annual Gala.

DECEMBER

Awe-inspiring acrobatics and feats of strength take place above the musicians of the Charlotte Symphony while they perform for three packed houses at Cirque de Noël.

Visit the Charlotte Symphony’s blog to view the full year in review.

GABRIELLA SMITH

born: December 26, 1991 in Berkeley, California

“In the past few years, I have become obsessed with making field recordings everywhere I go. It began with my desire to record the unfolding and trajectory of the dawn choruses I remember hearing every early Sunday morning as a teenager on the drive out to Point Reyes Bird Observatory, where I would volunteer as a bird bander. It would always start just as we drove past Lagunitas Creek, about thirty minutes before sunrise, and we’d turn off the music and roll down the windows and let in the glorious cacophony and cold morning air. Since then I have recorded dawn choruses and many other natural and human-produced soundscapes around the world, while backpacking in the Sierras, Cascades, and Andes, in temperate and tropical rainforest, in desert, in coastal scrub, in oceans, tide pools, bays, lakes, and glacial streams, recording underwater sounds with my hydrophone, and in the streets and parks and subways of the cities I have spent time in. I envisioned Field Guide as a collage inspired by these various recordings, my improvisations with them on violin and voice, and experiments processing them electronically. Many thanks to the Cabrillo Festival for commissioning this piece in honor of John Adams’ 70th birthday. John, I dedicate this piece to you in celebration of your birthday and especially in gratitude for the many ways you and your music have inspired me over the years.”

—Gabriella Smith

premiere: August 12, 2017 in Santa Cruz, California

Field Guide (2017)

BENJAMIN BRITTEN

born: November 22, 1913 in Lowestoft, England died: December 4, 1976 in Aldeburgh, England

Les Illuminations

Opus 18 (1939)

premiere: January 30, 1940 in London

In 1939, composer Benjamin Britten and tenor Peter Pears left England for the United States. Britten was disappointed with the English public’s lack of acceptance of his works. Further, Britten, a committed pacifist, was distraught over the cloud of war that was enveloping Europe. Poet W.H. Auden, whom Britten greatly admired, advised the young composer that America could provide an artistic and political haven. When Aaron Copland learned of the news, he wrote to Britten: “Dear Benjie, How perfectly extraordinary to think of you here on this side of the water! I can’t get used to the idea — but I will.”

After Britten arrived in the US, he began to experience grave doubts about his decision. Copland encouraged him to remain in America: “You owe it to England to stay here. After all, anyone can shoot a gun — but how many can write music like you?” But eventually, Britten’s love for his native land proved too strong. Britten and Pears returned to England in the spring of 1942. However, during his relatively brief American stay, Britten composed several important works, including his song cycles Les illuminations (1939) and Seven Sonnets of Michelangelo (1940), the Sinfonia da requiem (1940), his first String Quartet (1941) and, in collaboration with W.H. Auden, his first opera, Paul Bunyan (1941).

It was Auden who suggested to Britten that he consider composing a work based upon Arthur Rimbaud’s (18541891) collection of poems, published under the title Les Illuminations. Britten began the work in England, in the spring of 1939. That October, after his move to the United States, Britten completed Les Illuminations, scored for high voice and strings.

In a 1940 program note, Britten offered the following description:

(Rimbaud’s) short life as a poet was an erratic and turbulent one, generally near starvation and often homeless, sometimes with his friend Verlaine, sometimes alone, and much of it was set in the most sordid surroundings, in Paris, Brussels, and London; but throughout it, the boy’s inspiration remained radiant and intense. The word ‘Illuminations’ suggests both the vision of a mystic and a brightly coloured picture …. The composer has taken seven of these poems, six in prose and one in verse, and has made them into a cycle. In Les Illuminations Britten, still in his mid-20s, demonstrates many of the qualities associated with his musical voice. The brilliant writing for string orchestra (previously showcased in the 1937 Variations on a Theme of Frank Bridge, Opus 10) is characteristic of Britten’s mastery in instrumental writing. The sensitive, expressive vocal settings of Rimbaud’s poetry attended Britten’s song, operatic, and oratorio works. And throughout, there is a powerful sense of a composer’s autobiographical expression.

Les Illuminations is adapted from the suite of prose poems by the French poet Arthur Rimbaud (18541891), written c. 1873-5 during his tempestuous relationship with fellow poet Paul Verlaine. The work was published in 1886 without Rimbaud’s knowledge: by then, he had abandoned writing and was living as a trader in the Horn of Africa.

Britten dedicated Les Illuminations to Anglo-Swiss soprano Sophie Wyss (1897 – 1983), who also performed in the work’s premiere. Wyss also sang the premiere of Britten’s orchestral song cycle Our Hunting Fathers (1936).

Les Illuminations

Text by Arthur Rimbaud (1854–91)

FANFARE

J’ai seul la clef de cette parade sauvage.

VILLES

Ce sont des villes! C’est un peuple pour qui se sont montés ces Alleghanys et ces Libans de rêve!

[Ce sont des villes!] Des chalets de cristal et de bois se meuvent sur des rails et des poulies invisibles. Les vieux cratères ceints de colosses et de palmiers de cuivre rugissent mélodieusement dans les feux.

[Ce sont des villes!] Des cortèges de Mabs en robes rousses, opalines, montent des ravines. Là-haut, les pieds dans la cascade et les ronces, les cerfs tettent Diane. Les Bacchantes des banlieues sanglotent et la lune brûle et hurle. Vénus entre dans les cavernes des forgerons et des ermites. Des groupes de beffrois chantent les idées des peuples. Des châteaux bâtis en os sort la musique inconnue.

[Ce sont des villes! Ce sont des villes!]

Le paradis des orages s’effondre. Les sauvages dansent sans cesse la fête de la nuit. [Ce sont des villes!]

Quels bons bras, quelle belle heure me rendront cette région d’où viennent mes sommeils et mes moindres mouvements?

FANFARE

I alone have the key to this savage parade.

CITIES

These are cities! This is a people for whom arose these Alleghenies and Lebanons from dreams! [These are cities!] Chalets of crystal and wood move on invisible rails and pulleys. Old craters encircled by colossuses and copper palm-trees, roar melodiously in the fires.

[These are cities!] Processions of Mabs in russet, opaline gowns climb the ravines. Farther up, with their feet in the waterfall and the brambles, stags suckle Diana. The Bacchantes of the suburbs sob, and the moon burns and howls. Venus enters into the caverns of blacksmiths and hermits. Groups of belfries sing the ideas of the people. Unknown music pours forth from castles built of bone.

[These are cities! These are cities!]

The paradise of storms collapses. Savages ceaselessly dance out the festival of the night. [These are cities!]

What lovely arms, what beautiful hour will give me back that region from where my sleep and my slightest movements come?

PHRASE

J’ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes d’or d’étoile à étoile, et je danse.

ANTIQUE

Gracieux fils de Pan! Autour de ton front couronné de fleurettes et de baies, tes yeux, des boules précieuses, remuent. Tachées de lies brunes, tes joues se creusent. Tes crocs luisent. Ta poitrine ressemble à une cithare, des tintements circulent dans tes bras blonds. Ton cœur bat dans ce ventre où dort le double sexe. Promène-toi, la nuit en mouvant doucement cette cuisse, cette seconde cuisse et cette jambe de gauche.

ROYAUTÉ

Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur la place publique: “Mes amis, je veux qu’elle soit reine!” “Je veux être reine!” Elle riait et tremblait. Il parlait aux amis de révélation, d’épreuve terminée. Ils se pâmaient l’un contre l’autre.

En effet ils furent rois toute une matinée où les tentures carminées se relevèrent sur les maisons, et tout l’après-midi, où ils s’avancèrent du côté des jardins de palmes.

PHRASE

I stretched some cord from steeple to steeple; some garlands from window to window; some chains of gold from star to star, and I dance.

ANTIQUE

Gracious son of Pan! Around your forehead crowned with tiny flowers and berries, your eyes — precious globes — stir. Stained by brown lees, your cheeks grow gaunt. Your fangs gleam. Your bosom resembles a zither, ringing sounds circulate between your blond arms. Your heart beats in that belly where the double sex sleeps. Walk, the night gently moving that thigh, that second thigh, and that left leg.

ROYALTY

One beautiful morning, in the land of a very gentle people, a superb man and woman cried out in the public square, “Friends, I want her to be queen!” “I want to be queen!” She laughed and trembled. He spoke to his friends of revelation, of hard trials finished. They swooned, one against the other.

In effect, they were kings for a whole morning as crimson hangings were raised on the houses, and all afternoon as they advanced towards the gardens of palms.

MARINE

Les chars d’argent et de cuivre — Les proues d’acier et d’argent — Battent l’écume — Soulèvent les souches des ronces. Les courants de la lande, Et les ornières immenses du reflux, Filent circulairement vers l’est, Vers les piliers de la forêt — Vers les fûts de la jetée, Dont l’angle est heurté par des tourbillons de lumière.

INTERLUDE

J’ai seul la clef de cette parade sauvage.

BEING BEAUTEOUS

Devant une neige un Être de Beauté de haute taille. Des sifflements de mort et des cercles de musique sourde font monter, s’élargir et trembler comme un spectre ce corps adoré: des blessures écarlates et noires éclatent dans les chaires superbes. Les couleurs propres de la vie se foncent, dansent, et se dégagent autour de la Vision, sur le chantier. Et les frissons s’élèvent et grondent, et la saveur forcenée de ces effets se chargeant avec les sifflements mortels et les rauques musiques que le monde, loin derrière nous, lance sur notre mère de beauté — elle recule, elle se dresse. O! nos os sont revêtus d’un nouveau corps amoureux.

Ô la face cendrée, l’écusson de crin, les bras de cristal! le canon sur lequel je dois m’abattre à travers la mêlée des arbres et de l’air léger!

MARINE SCENE

Chariots of silver and copper —

Prows of steel and silver — Beat the foam —

Heave up the roots of bramble, The currents of the heath, And the immense ruts of the ebb-tide, Flowing in circles towards the east, Towards the pillars of the forest — Towards the posts of the jetty, Whose angle is struck by the turbulent whirlpool of light.

INTERLUDE

I alone have the key to this savage parade.

BEING BEAUTEOUS

Against snow, a Being of Beauty of heightened size. The hissing of death and circles of muted music make this adored body rise, enlarge and tremble like a specter 1 : wounds of scarlet and black burst in the superb flesh. The proper colors of life darken, dance, and emerge around the Vision, on the site. And shivers rise and rumble, and the frenetic flavor of these effects, charged with the mortal hissing and raucous music that the world, far behind us, hurls on our mother of beauty — she recoils, she rises up. Oh! Our bones are dressed once more in a new loving body.

Oh, the ashen face, the shield of horsehair, the arms of crystal! the cannon on which I must strike through the melee of trees and the light air!

PARADE

Des drôles très solides. Plusieurs ont exploité vos mondes. Sans besoins, et peu pressés de mettre en œuvre leurs brillantes facultés et leur expérience de vos consciences. Quels hommes mûrs! Des yeux hébétés à la façon de la nuit d’été, rouges et noirs, tricolores, d’acier piqué d’étoiles d’or; des faciès déformés, plombés, blêmis, incendiés; des enrouements folâtres! La démarche cruelle des oripeaux! Il y a quelques jeunes.

Ô le plus violent Paradis de la grimace enragée !

Chinois, Hottentots, bohémiens, niais, hyènes, Molochs, vieilles démences, démons sinistres, ils mêlent les tours populaires, maternels, avec les poses et les tendresses bestiales. Ils interpréteraient des pièces nouvelles et des chansons « bonnes filles ». Maîtres jongleurs, ils transforment le lieu et les personnes, et usent de la comédie magnétique...

J’ai seul la clef de cette parade sauvage

DÉPART

Assez vu. La vision s’est rencontrée à tous les airs.

Assez eu. Rumeurs des Villes, le soir, et au soleil, et toujours.

Assez connu. Les arrêts de la vie.

O Rumeurs et Visions! Départ dans l’affection et le bruit neufs!

PARADE

Some very ‘solid’ jesters. Several have exploited your worlds. Without needs, and in no hurry to put to work their brilliant faculties and their experience of your consciences. What mature men! Eyes dazed, fashioned like a summer night, red and black, tricolored, steel studded with golden stars; features deformed, leaden, pallid, incendiary; hoarse-throated frolickers! The cruel swagger of rags! There are a few young ones.

Oh the most violent paradise of the enraged grimace!

Chinese, Hottentots, bohemians, naïve deniers, hyenas, Molochs, old insanities, sinister demons, they mingle populist, maternal tricks with bestial poses and tenderness. They would interpret new pieces and “nice girl” songs. Master jugglers, they transform places and people and use magnetic comedy...

I alone have the key to this wild parade.

DEPARTURE

Enough seen. The vision has been encountered under all skies.

Enough had. Sounds of cities, at evening, in the sun, and always.

Enough known. The stopping of life.

Oh Sounds and Visions! Depart into new affection and noise.

WILLIAM GRANT STILL

born: May 11, 1895 in Woodville, Mississippi died: December 3, 1978 in Los Angeles, California

Poem for Orchestra (1944)

William Grant Still, often referred to as the “Dean of AfricanAmerican Composers,” was born in Woodville, Mississippi. He studied at Wilberforce College and the Oberlin Conservatory. Still worked with W.C. Handy, and studied privately with George Whitefield Chadwick and Edgar Varèse. He composed successfully in a wide variety of genres, including symphonies, operas, sacred musical, assorted instrumental works, and popular songs, as well as television and film scores. William Grant Still also conducted, and created arrangements of spirituals.

The Kulas American Composers’ Fund commissioned Still’s Poem for Orchestra for the Cleveland Orchestra. The premiere took place on December 7, 1944, with Rudolf Ringwall conducting. On April 4, 1946 at Carnegie Hall, the New York Philharmonic and Music Director Artur Rodziński performed the New York premiere of Still’s Poem in a concert that also featured the celebrated African-American contralto Marian Anderson, singing music by Mahler and Donizetti, as well as spirituals.

According to Still’s wife, pianist, and writer Verna Arvey, the Poem for Orchestra was “inspired by the concept of a world being reborn spiritually after a period of darkness and desolation.” The work’s journey from its agitated opening to resplendent closing pages culminates in a final chord that suggests that challenges nonetheless remain.

premiere: December 7, 1944 in Cleveland, Ohio

JEAN SIBELIUS

born: December 8, 1865 in Hämeenlinna, Finland died: September 20, 1957 in Järvenpää, Finland

Symphony No. 5 in E-flat Major

Opus 82 (1915, rev. 1916, 1919)

premiere: December 8, 1915 in Helsinki, Finland

The Symphony No. 5 is Jean Sibelius’s most important largescale work from World War I. The start of composition was in close proximity to the outbreak of the conflict (although Sibelius may have been contemplating the work as early as 1912). Sibelius completed the first version of his Fifth Symphony in time for its premiere in Helsinki on December 8, 1915. The composer led the concert, given in honor of his fiftieth birthday. Sibelius revised the score of his Fifth Symphony the following year. However, it was not until 1919 that Sibelius penned the familiar third, final version of his Symphony No. 5.

It’s not surprising that the period during which Sibelius composed the Fifth Symphony often found him in a reflective, somber mood. A few months after the outbreak of war, he wrote: “My heart sings, full of sadness—the shadows lengthen.” Without question, Sibelius’s Fifth Symphony has moments of gloom and conflict. However, like another famous Symphony No. 5 — Ludwig van Beethoven’s C-minor, Opus 67 (1808) — the struggle depicted in the Sibelius Fifth culminates in triumph.

In September of 1915, shortly after he began work on the Fifth Symphony, Sibelius wrote in his diary: “In a deep dell again. But I already begin dimly to see the mountain I shall surely ascend…God opens his door for a moment and his orchestra plays the Fifth Symphony.” Jean Sibelius died in the evening of September 20, 1957, at the age of 91. At the moment of his passing, a concert was taking place in Helsinki. Conductor Sir Malcolm Sargent and the orchestra were performing the music of Sibelius — his Symphony No. 5.

The opening movement of the Sibelius Fifth (Tempo molto moderato; Allegro moderato; Presto) is based upon four principal themes. Rather than immediately proceed to the traditional development section, Sibelius first offers a varied second exposition of the principal themes, followed by a

(continued next page)

mysterious development section. A quicksilver episode in 3/4 time serves the dual function of the opening movement’s rather free recapitulation and the work’s scherzo. The coda gathers impressive momentum, bringing the opening movement to a rousing close. The slow-tempo second movement (Andante mosso, quasi allegretto) is a theme and set of variations, some of which offer hints of the ensuing finale. That final movement (Allegro molto; Misterioso) opens with a flurry of activity in the strings. This ultimately gives way to a majestic theme, introduced by the horns. The two themes return throughout in music notable for its energy and inexorable momentum. In the closing measures, the second theme reigns supreme until the work’s stunning conclusion — six hammer blow chords.

1915 photograph of Jean Sibelius and wife Aino relaxing at Ainola, their home near Lake Tuusula, north of Helsinki.

We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund. This list reflects gifts received between July 1, 2021 through January 1, 2023

BENEFACTOR CIRCLE

$100,000+

Anonymous

Catherine & Wilton Connor

$50,000 – $99,999

Roberta H. Cochran

Ellen M. Fitzsimmons & Greg Rogowski

$25,000 – $49,999

Anonymous

Joan & Mick Ankrom

Richard & Ruth Ault

Dr. Milton & Arlene Berkman Philanthropic Fund

Mark & Judith Brodsky

DG Brungard Foundation

Linda & Bill Farthing

John & Maria Huson

$15,000 – $24,999

Ralph S. Grier

Richard Krumdieck

Betty P. & Jeffrey J. Lee

DeDe & Alex McKinnon

$10,000 – $14,999

Anonymous (3)

Francisco & Jeannette Alvarado

Katharine & Frank Bragg

Mr. & Mrs. R. Alfred Brand III

Lynne & Colby Cathey

Margarita & Nick Clements

Christoph & Robin Feddersen

Karen Fox

Janet M. Haack

Chris & Susan Kearney

Ginger Kelly

Douglas Young

Jane & Hugh McColl

Patricia & Thrus Morton

Patrick J. O’Leary

Richard J. Osborne

Paul & Kathy Reichs

Carolyn Shaw

John & Andromeda Williams

Debbie & Pat Phillips

Judy & Derek Raghavan

Ann & Fritz Rehkopf

Page & Ed Kizer

Ms. Nina Lesavoy

Susan & Loy McKeithen

Alex & Ulrike Miles

Robert Norville

Mr. & Mrs. Jerry Richardson

M.A. Rogers

Mike Rutledge

Thomas & Sherry Skains

Richard & Lisa Worf

For more information on how to make a gift to the CSO Annual Fund, please contact Libby Currier, Annual Fund Manager, at 704.714.5137 or lcurrierl@charlottesymphony.org

CIRCLE

In Memory of Tess Verbesey

Kevin & Jill Walker

Floyd Wisner & Glenda Colman

$3,500 – $4,999

Wedge & Debbie Abels

Philipp J. Bischoff

Jan & Bob Busch

Judith Carpenter

Brian & Morgan Cromwell

Joan & Parker Foley

H. Clay Furches

Richard I. McHenry & Cynthia L. Caldwell

Mr. & Mrs. Paul McIntosh

Elizabeth J. McLaughlin

Chuck Miller & Marcy Thailer

Mr. Glenn Mincey & Mrs. Macie Mincey

Tony & Linda Pace

Edgar & Karen Whitener

$2,500 – $3,499

Anonymous (3)

Julian Andretta

Mrs. Harriet B. Barnhardt

Bill & Georgia Belk

Cathy Bessant & John Clay

Ms. Melody Birmingham

Si & Michael Blake

Mr. & Mrs. Alan Blumenthal

Dr. & Mrs. O. Robert Boehm

Twig & Barbara Branch

Ann Thomas Colley

Dorothy & Mike Connor

Melissa Cornwell

Alfred & Amy Dawson

Peter De Arcangelis

Phil & Mary Delk

Cheryl DeMaio

Peggy & Charles Dickerson

Mrs. Carolyn Faison

Alex & Patty Funderburg

Timothy & Kara Gallagher

Harvey & Cindy Gantt

Mr. Billy L. Gerhart, in memory of Judith Gerhart

Todd & Andrea Griffith

& David Snyder

Ms. Andrea J. Stevenson

Kevin Taylor

Drs. Jennifer Sullivan & Matthew Sullivan

Chris & Jim Teat

Drs. Chris & Lillian Teigland

Judith & Gary Toman

Mr. & Mrs. C.L. Trenkelbach

Suzie & Nick Trivisonno

Angela & Michael Helms

Ivan Hinrichs

Brian & Juliet Hirsch

Carol A. Hitselberger & Robert Petty

Jim & Peggy Hynes

Shirley & Bob Ivey

David S. Jacobson

Ginger Kemp

(continued next page)

Cotty

Arlene H. Elisha

Mrs. Geraldine S. Emmert

Mr. Peter F. Guild

Katherine G. Hall

Anne J. Henderson

Steven Hershfield & Mary Jo Germain

Mr. & Mrs. Benjamin F. Hill, Jr.

Joan Irwin

Gene & Helen Katz

Dr. & Mrs. Jack Kramer

Anna Marriott

Ms. Rosemarie Marshall & Mr. Lee Wilkins

Jim & Dottie Martin

Cricket Weston & David Molinaro

Eleanor W. Neal

Caroline Olzinski

Mr. Vincent Phillips & Mr. Paul Pope

Torsten & Kim Pilz

John & Wilma Pinter

Larry & Dale Polsky

John & Susan Rae

Mr. & Mrs. Pope A. Shuford

Morris & Patricia Spearman

Robert & Maxine Stein

Ann & Wellford Tabor

Tillie S. Tice

James H. Trexler & Kelly Zellars

Daniel & Kathleen Troy

Mindy & Don Upton

Vera Watson

Grant Webb

Linda & Craig Weisbruch

Mrs. Eugenia N. White

Deems Wilson

Ms. Deborra Wood & Mr. Russell Propst

$1,000 – $1,499

Anonymous (2)

Ashley & Steve Allen

Kathleen & Richard Anderson

JWD Atchison

Mary Lou & Jim Babb

Mr. & Mrs. Lincoln A. Baxter

Morgan Beggs

John & Katherine Beltz

Shirley W. Benfield

Donald H. & Barbara K. Bernstein

Family Foundation

Mr. James Biddlecome

In Memory of Bernadette Zirkuli Biddlecome

Ms. Brett Blumenthal & Mr. David Wax

Carole Bourret

Khary Brown

Herbert Browne

Jane & Larry Cain

Maggie Callen

Ralph & Sam Canfield

Ms. Elizabeth Carr

Bill & Pauline Chinnis

Mr. Mark Copeland & Mrs. Kathleen Goldammer-Copeland

(continued next page)

Hans Teich

Sarah S. Tull

Mrs. William K. Van Allen

Mr. & Mrs. Michael Van Glish

Bill & Rita Vandiver

Dr. & Mrs. Bill Chu & Jin Wang

Pam & Steve West

Peter White

David Wilcox

Bryan Wilhelm

Ms. Judith Wood

Mrs. Anne Yudell

$500 – $999

Anonymous (4)

Michael & Lee Abbott

Mark Abrams & Iris Prandi

Mr. Lester Ackerman & Mr. Layton Campbell

Larry Anderson

Leigh & Rhonda Armistead

Mrs. Natascha A. Bechtler

Bob & Cathy Becker

Dr. John L. Bennett & Mr. Eric T. Johnson

Jeffrey Boghosian

David Bower & Ann Richardson

Ms. Marianne Bragg

James Broadstone

Aram & Scott Bryan

Mr. Charles Budd

Greg & Mary Lou Cagle

Barbara F. Caine

Ms. Lisa Callen

$500 - $999 cont.

Amanda & Kevin Chheda

Hobart B. Cheyne

Ms. Michele T. Classe

Mr. Brent Clevenger

Dr. W. Gerald Cochran & Mr. Timothy D. Gudger

Mr. Thomas E. Collins, Jr.

Dr. & Mrs. Charles E. Cook

Dr. Kilian Cooley

Dr. & Mrs. Mark Couture

Mr. & Mrs. Alpo F. Crane

Ellen M. Crowley

Mrs. Judy Crozier

Craig Selimotic Danforth

Dr. Roy E. DeMeo, Jr. & Ms. Linda A. Evanko

Thomas & Kris Duffy

Virginia Dulaney

Ms. Helen Edwards

Rebecca Elliott

Martin Ericson, Jr.

Dr. & Mrs. J. Murray Fadial

Doug Faris

Tom & Gail Fennimore

Lawrence W. Fetner, Jr.

Robert & Catherine Flynn

Melisa & Frank Galasso

Dr. John & Eileen Gardella

(continued next page)

Qasim

Dr. & Mrs. R. Pinkney Rankin, Jr.

Haywood & Sabine Rankin

Jane & Milburn Ratteree

Brendan Reen

Casey Rentch

Nancy Rutledge & Jim Rutledge

Robert & Christine Rydel

Mr. & Mrs. William Seifert

John Schroeder, in honor of Patty McArthur

Mr. Andrew Silliker

Carol Smith

Dr. & Mrs. Henry L. Smith II

Rebecca & Eric Smith

Scott Smith

John-Palmer Smith

Julia J. Souther

Mr. & Mrs. Larry Stern

Kathryn Stewart

Sam & Martha Stowe

Wesley & Claudia Sturges

George & Brenda Sweet

Ms. Sarah Teague

Tim Timson

Jenny & Ken Tolson

James & Melanie Twyne

Greg & Sandy Vlahos

Lyman Welton

Barnet & Harriet Weinstock

Dr. Thomas H. White

Mr. & Mrs. John A. Yakob

Ms. Barbara Yarbrough

Dan & Susan Yardley

Dr. & Mrs. T. Price Zimmermann

$250 – $499

Anonymous (3)

Paula Andretta

Andrew & Karen Antoszyk

Judi Bainbridge

Dr. & Mrs. Michael J. Bell

Sam & Nancy Bernstein

Ms. Deborah Berry

Mr. & Mrs. Alexander Bierce

Stuart Blackmon

Lawton & Janette Blandford

Megan Blankemeyer List

Ken & Nelle Brown

Mr. Nicholas Bonevac

Steve Bost

David H. & Barbara J. Burns

John Carr

Robert & Jo Anne Caruso

Mary Case

Amy Cathey

Rev. Janice Chalaron

Ms. Catherine Choudary

Gray Clark

Mortimer & Josephine Cohen Fund

Ms. Dorothy Cole

Ron & Shirley Coffman

Tom Covington

Mr. Todd Croy

(continued next page)

Stephanie McGarvey

Eric Miller

Kimberly Moore-Wright

Glenn A. Muegel

David H. Nance & Jennifer Nance

Sara & Tom Nolan

Dr. & Mrs. Michael E. Norman

Dimitris & Jennifer Papageorgiou

Cookie & Jerry Parnell

Rose & Bailey Patrick

Bradley & Sharon Patterson

Mr. Conrad Puckett

Mr. Mason & Dr. Krista Rankin

Stephen & Melissa Ratliff

$250 - $499 cont.

Emily & Brian Reinicker

Dr. Livia Robicsek

Mr. & Mrs. Albert E. Rodgers

Sarah E. Schoedinger

Eileen Scholl

Merle & Judy Schuh

Dr. & Mrs. Marvin Shapiro

Ginny Shaw

Fred H. Smith

James & Ellie Stephens

William & Catherine Stone

Larry Stratemeyer

Charlene Sturgill

Brenda Gail Summers

Ms. Jena M. Summerville

Carrie & Jeffrey Teixeira

Nancy & Dick Thigpen

Gretchen & Jean-Claude Thill

Melissa M. Tolin

Patti Tracey & Chris Hudson

Cynthia Turner

Sarah & Tim Turner

Rebecca Valenstein

Minyan Wang

Jenny & Henry Ward

Ms. Leslie Webster

Mr. Erik Weghorst

Mr. & Mrs. Tom Weidman

Mr. & Mrs. Richard J. Wertheimer

Mrs. Carol Wilson

Allen & Clara Wolfe

Karen & Charles Wolff

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

$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

Dunspaugh-Dalton Foundation, Inc.

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

$2,500 - $4,999

Barnhardt/Thomas Trust

Kathryn Stephenson Pipe Organ Endowment Foundation

Stanly County Community Foundation

Winer Family Foundation

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

Dickson Foundation

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

Moore & VanAllen Park Inc.

$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.

The Encore Society includes individuals who have made provisions for the CSO in their estate plans. We are honored to recognize their support:

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.†

Jim Cochran†

Robin Cochran

Tom Covington

Charles & Peggy Dickerson

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.

Betty & Stanley Livingstone†

† Deceased

Nellie McCrory †

M. Marie Mitchell†

Cricket Weston & David Molinaro

Joan & Richard Morgan

Don C. Niehus

Eva Nove

Richard J. Osborne

Gwen Peterson & Tom Hodge

James Y. Preston†

Mrs. Clayton (Dusty) Pritchett

Ann & Fritz Rehkopf

Elizabeth Waring Reinhard

Nancy W. Rutledge

Mike Rutledge

Harriet Seabrook

Mr. & Mrs. William Seifert

Morris & Patricia Spearman

Bob & Maxine Stein

Dr. Ben C. Taylor III

Mr. & Mrs. Hans Teich

Cordelia G. Thompson

Tim Timson

Jenny & Ken Tolson

Ms. Debora Wood & Mr. Russell Propst

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.

Joshua Weilerstein, conductor Joyce Yang, piano

February 10 & 11 Belk Theater

“Enthusiastic” (LA Times) guest conductor Joshua Weilerstein conducts Brahms’s hauntingly beautiful Symphony No. 4 and Grieg’s stunning Piano Concerto.

SMYTH On the Cliffs of Cornwall

GRIEG Piano Concerto in A minor

BRAHMS Symphony No. 4

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

The Centene Charitable Foundation

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

Nick Clements

Catherine Connor

Mary Delk*

BOARD OF TRUSTEES

Richard Osborne, Chair

Ruth & Richard Ault

Kat Belk

Arlene & Milton Berkman

Jason & Tiffany Bernd

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

Gov. James G. Martin

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

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. 11)

DEVELOPMENT

Shayne Doty, Vice President of Development

Leslie Antoniel, Associate Vice President of Development

Amanda LoCascio, Associate Vice President, Institutional Philanthropy

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

FRANCK SYMPHONY IN D

February 24 & 25 Knight Theater

Mei-Ann Chen, conductor

Calin Ovidiu Lupanu, violin

Bruch’s Violin Concerto is one of the best-loved works of the Romantic period. “Vivid” (San Francisco Classical Voice) guest conductor Mei-Ann Chen leads this program, featuring Concertmaster Calin Lupanu.