CSO POPS Fanfare Cincinnati - January/February 2023

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9 Central to the Orchestra’s Diversity, Equity and Inclusion (DE&I) plan is the support of dedicated community partners. Read about two of these partnerships on pp. 9–11.

12 Indoor fireworks are in store Jan. 21–22, when the Cincinnati Pops presents its Tchaikovsky Spectacular Principal Pops Guest Conductor Damon Gupton shares his excitement about all things Tchaikovsky, especially the 1812 Overture, on pp. 12–13. 20 “…it’s always a joy to share the stage with actors, singers and chorus. It’s also very Cincinnatian, this sense of adventure in playing with things out of their usual box,” says Music Director Louis Langrée. Find out how a “theatrical vision” gives new context to familiar works in the CSO’s Jan–Feb concerts, pp. 20–25.

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BOARD OF DIRECTORS

Officers

Dianne Rosenberg, Chair

Robert W. McDonald, Immediate Past Chair

Sue McPartlin, Treasurer and Vice-Chair of Finance Usha C. Vance, Secretary

Timothy Giglio and Gerron L. McKnight, Esq., Vice-Chairs of Volunteerism

Anne E. Mulder, Vice-Chair of Community Engagement

Charla B. Weiss, Vice-Chair of Institutional Advancement

Melanie Healey, Vice-Chair of Leadership Development

Directors

Dorie Akers

Heather Apple

Michael P. Bergan

Kate C. Brown

Ralph P. Brown, DVM Trish Bryan*

Otto M. Budig, Jr.*

Andria Carter

Melanie M. Chavez

Michael L. Cioffi

Andrea Costa

Adrian Cunningham Gabe Davis

Kelly M. Dehan

Alberto J. Espay, M.D. Dr. Maria Espinola

Mrs. Charles Fleischmann III*

Lawrence Hamby Delores Hargrove-Young

Francie S. Hiltz*

Joseph W. Hirschhorn*

Brad Hunkler

Lisa Diane Kelly

Edna Keown

Patrick G. Kirk, M.D.

Florence Koetters

Jonathan Kregor

Peter E. Landgren

John Lanni

Shannon Lawson Spencer Liles*

Edyth B. Lindner* Will Lindner

Timothy Maloney Holly Mazzocca

James P. Minutolo

Laura Mitchell John A. Moore

Jennifer J. Morales

Theodore Nelson

Lisa Lennon Norman

Bradford E. Phillips, III

Aik Khai Pung

James B. Reynolds*

Jack Rouse*

Lisa M. Sampson

Patrick Schleker

Digi France Schueler

Valarie Sheppard

Stephanie A. Smith

Albert Smitherman

Kari Ullman

David R. Valz

Randolph L. Wadsworth, Jr.*

Daniel Wachter

*Director Emeritus

BOARD OF DIRECTORS DIVERSITY, EQUITY & INCLUSION (DE&I) COMMITTEE and COMMUNITY ADVISORY COUNCIL

In May 2020 the realities of systemic inequity, injustice and racism in America were once again laid bare by the murder of George Floyd. That summer, the CSO created a 10-point DEI Action Plan to prioritize the Orchestra’s work to better represent and serve the entirety of the Cincinnati community. Action items included the continued amplification of BIPOC artists on stage and in education programs; a review of hiring and compensation practices; organization-wide implicit bias training; increased mentorship opportunities; and the creation of a standing CSO Community Advisory Council (CAC) to strengthen ties to the community. We thank our many partners on the CAC and on our standing DE&I committee who are helping us with this important work.

CSO Board of Directors

DE&I Committee

Charla B. Weiss, Lead

Heather Apple

Ralph Brown

Adrian Cunningham Maria Espinola Delores Hargrove-Young

Lisa Kelly

David Kirk* Gerron McKnight

Lisa Lennon Norman Jack Rouse

Lisa Sampson

Stephanie Smith

*Community Volunteer

Primary Staff Liaison: Harold Brown

Other Staff Members: Tiffany Cooper, Kyle Wynk-Sivashankar

Community Advisory Council

Desire Bennett, Design Impact

Daniel Betts, Cincinnati Recreation Commission

Jackie Taggart Boyd, Cincinnati Convention and Visitors Bureau/CincyUSA

Alexis Kidd, Seven Hills Neighborhood Houses

Christopher Miller, National Underground Railroad Freedom Center

Joele Newman, Peaslee Neighborhood Center

Candra Reeves, Urban League of Greater Southwestern Ohio

Leslie Rich, Ioby

John P. Scott, Community Engagement Partners

Billy Thomas, Cincy Nice

Staff: Tiffany Cooper, Harold Brown

Multicultural Awareness Council

Susan Carlson

Andria Carter

Piper Davis Dara Fairman

Kori Hill

Alverna Jenkins

Beverley Lamb

Carlos Garcia Leon

Aurelia “Candie” Simmons

Jaime Sharpe

Quiera Levy Smith

Daphney Thomas

Alford West

Staff: Tiffany Cooper, Harold Brown

We are excited to share what we have planned for you in 2023.

Dear Friends,

Welcome to the New Year and to Music Hall. We’re glad that you’re here with us.

With each new year, it is natural for us to reflect on the previous one and make resolutions for the year ahead. We set personal goals and make plans to reach those goals. The time bank returns to full, and we decide how best to use that time. An institution like ours is no different. The turning of the page in the calendar encourages us to take stock of what we have accomplished together and look forward to the remainder of the season and much more. We are excited to share what we have planned for you in 2023.

In this issue of Fanfare Magazine, we provide behind-the-scenes glimpses of our January and February concerts and feature people and partnerships that help advance the work we do in the community. In Ken Smith’s story, we hear from Music Director Louis Langrée, guest conductor Thomas Søndergård, and violinist Randall Goosby for an overview of upcoming CSO concerts and their unique insights into the theatricality of performing music on stage. In the sidebar, Director of Concert Theatre Works Bill Barclay discusses his recreation of Peer Gynt, which showcases dynamic interplay between orchestra, chorus and actors in a creative distillation of Edvard Grieg’s score to Henrik Ibsen’s play. And, we celebrate Lunar New Year with special performances of Chen Qigang’s The Five Elements and Zhou Tian’s The Palace of Nine Perfections, along with music by Ravel and by Liszt, featuring pianist and friend Jean-Yves Thibaudet. In Erica Reid’s story, we hear from Cincinnati Pops Principal Guest Conductor Damon Gupton about his music and film career and uncover his personal affinity for the music of Tchaikovsky. This issue also includes feature stories about our partnership with the National Underground Railroad Freedom Center, our Diversity Fellowship program, special profiles on our new musicians and assistant conductors, and more.

We are one of only a handful of 52-week orchestras in America, and our calendar is full of performances and activity that would not be possible without the unwavering support of our Board of Directors, musicians, staff, volunteers, community partners, and you, our audience. It takes a community of people who believe in our mission to seek and share inspiration in order to dream big, make plans, take action, and share in music together. Thank you for joining us on our journey. We wish you all the best in this New Year.

gratitude, Jonathan Martin

©Roger Mastroianni

With

COMING UP AT MUSIC HALL

FEB 2023

Sing-A-Long-A SOUND OF MUSIC

FEB 26 SUN 1 pm & 7 pm†

John Morris Russell host

†Brought to you by the Cincinnati Pops; does not include the Cincinnati Pops Orchestra

MAR 2023

DEATH & TRANSFIGURATION

MAR 4 & 5 SAT 7:30 pm; SUN 2 pm*

Louis Langrée conductor

Elizabeth Freimuth horn

R. STRAUSS Horn Concerto No. 1

Samuel ADAMS Variations [World Premiere, CSO Co-Commission]

R. STRAUSS Death and Transfiguration

Film In Concert MARVEL’S BLACK PANTHER

MAR 10–12 FRI & SAT 7:30 pm; SUN 2 pm

©2019 All Rights Reserved, ©Marvel

THE MERMAID

MAR 17 & 18 FRI & SAT 7:30 pm

Kevin John Edusei conductor

Simone Lamsma violin

F. MENDELSSOHN Die schöne Melusine (“The Fair Melusine”)

E. KORNGOLD Violin Concerto A.v. ZEMLINSKY Die Seejungfrau (“The Mermaid”)

BEETHOVEN’S FIFTH

MAR 24–26 FRI 11 am; SAT 7:30 pm; SUN 2 pm

Anna Rakitina conductor

Sterling Elliott cello

A. DVOŘÁK Cello Concerto

Richard AYRES No. 52, I.Saying Goodbye L.v. BEETHOVEN Symphony No. 5

Lollipops Concert SHERLOCK HOLMES AND THE CASE OF THE MISSING MAESTRO

MAR 25 SAT 10:30 am

Concert Sponsor: Cincinnati Symphony Club

CSO PROOF: SURREALIST EL TROPICAL

MAR 29 & 30 WED & THU 8 pm

Rosie Herrera Dance Theatre

Rosie Herrera choreographer

Clyde Scott video and production designer

Luke Kritzeck lighting and production designer

APR 2023

SHOSTAKOVICH SYMPHONY NO. 5

APR 7 & 8 FRI & SAT 7:30 pm

Louis Langrée conductor

Stephen Hough piano

Daníel BJARNASON New Work, Part I [US Premiere, CSO Co-Commission]

S. RACHMANINOFF Piano Concerto No. 1

D. SHOSTAKOVICH Symphony No. 5

CLASSICAL ROOTS

APR 14 FRI 7:30 pm*

John Morris Russell conductor

Classical Roots Community Choir

Artist Sponsor: Jeffrey & Jody Lazarow and Janie & Peter Schwartz Family Fund

PICTURES AT AN EXHIBITION

APR 15 & 16 SAT 7:30 pm; SUN 2 pm

Ramón Tebar conductor

Steven Banks saxophone

N. RIMSKY-KORSAKOV Russian Easter Overture

Billy CHILDS Saxophone Concerto [CSO Co-Commission]

M. MUSSORGSKY Pictures at an Exhibition (arr. Ravel)

MAHLER SYMPHONY NO. 7

APR 21 & 22 FRI 11 am; SAT 7:30 pm

Matthias Pintscher conductor

G. MAHLER Symphony No. 7

Concert Sponsor: Peter Landgren and Judith Schonbach Landgren

CSO CHAMBER PLAYERS

APR 21 FRI 7:30 pm, Wilks Studio

BEN FOLDS

APR 25 TUE 7:30 pm

Ben Folds singer-songwriter-pianist

RAGTIME In Concert

APR 28-30 FRI & SAT 7:30 pm; SUN 2 pm

John Morris Russell conductor

MAY 2023

SAINT-SAËNS ORGAN SYMPHONY

MAY 5-7 FRI & SAT 7:30 pm; SUN 2 pm

Louis Langrée conductor

Víkingur Ólafsson piano

Friday & Saturday

H. BERLIOZ Overture to Lesfrancs-juges (“The Judges of the Secret Court”)

M. RAVEL Concertoin G Major for Piano and Orchestra

C. SAINT-SAËNS Symphony No. 3, Organ

Sunday

H. BERLIOZ Overture to Lesfrancs-juges (“The Judges of the Secret Court”)

H. BERLIOZ “Marche des Gardes ” from Les francs-juges (“The Judges of the Secret Court”)

C. SAINT-SAËNS Danse macabre

C. SAINT-SAËNS Symphony No. 3, Organ

AN AMERICAN IN PARIS

MAY 12 & 13 FRI 11 am; SAT 7:30 pm

Louis Langrée conductor Courtney Bryan piano and composer

D. MILHAUD La création du monde (“The Creation of the World”)

Courtney BRYAN Piano Concerto [World Premiere (orchestral version), CSO Co-Commission]

E. “Duke” ELLINGTON Night Creature

G. GERSHWIN An American in Paris (ed. Clague)

Presenting Sponsor: HORAN

CSO CHAMBER PLAYERS

MAY 12 FRI 7:30 pm, Wilks Studio

FOR A FULL LIST OF UPCOMING EVENTS AND ADDITIONAL INFO VISIT CINCINNATISYMPHONY.ORG

Louis Langrée Music Director • John Morris Russell Cincinnati Pops Conductor

* For more info on our livestreams visit cincinnatisymphony.org/ live

Music Hall | 1241 Elm St | Cincinnati, OH | 45202

WE BELIEVE

—

Representation and visibility matter. As we strive to be the most relevant orchestra in America, we begin with these statements that recognize historical problems in our Organization and industry and define our hopes for the future.

We are committed to diversity, equity and inclusion

Our commitment to diversity, equity and inclusion is catalyzed by systemic injustice and inequality perpetuated by individuals and institutions. We believe that reflecting our community and the world around us at every level—on stage, behind-the-scenes, and in neighborhoods throughout the region—is essential to the CSO’s present and future.

We honor the land and Indigenous peoples

We acknowledge that Cincinnati Music Hall occupies land that has been the traditional land of the Hopewell, Adena, Myaamia (Miami), Shawandasse Tula (Shawanwaki/Shawnee), and Wahzhazhe Manzhan (Osage) peoples, who have continuously lived upon this land since time immemorial. We honor past, present and future Indigenous peoples.

music lives within us all regardless of who

we are or where we come from. We believe that music is a pathway to igniting our passions, discovering what moves us, deepening our curiosity and connecting us to our worldand to each other.

Relationships: A Bridge Between Communities

by TYLER M. SECOR

Community engagement is about developing relationships for the sake of the relationship…it’s about creating a space where we can coexist together to the mutual benefit of all of us.”

—Tiffany Cooper

The Cincinnati Symphony Orchestra adopted a new 10-year strategic plan in 2019. At the core of this plan is a set of goals and objectives to further the CSO’s existing Diversity, Equity & Inclusion (DE&I) initiatives. In 2020, following the racial unrest and society’s desperate need to change the systemic inequity, injustice and racism of our culture, the CSO accelerated and prioritized its DE&I work.

This work is not a centralized effort by one department, but an organization-wide effort to change the status quo. The creators of the 2019 strategic plan and the 2020 DE&I Action Plan recognized that the CSO could not engage in this work without the support of dedicated community partners who would advise at all levels of the Organization, to ensure that the Orchestra would meet its vision of being the most relevant orchestra in America.

Central to the Orchestra’s work in the community is the dedicated staff of the community engagement team. When the Director of Community Engagement and Diversity, Tiffany Cooper, and the Community Engagement Manager, Amanda Franklin, met with me to discuss the CSO’s ongoing efforts to engage with various community organizations for this story, the conversation quickly turned to developing a better understanding of what “community engagement” means and how that work manifests.

“Community engagement is about developing relationships for the sake of the relationship,” stated Cooper. “It should never be transactional. But it’s about creating a space where we can coexist together to the mutual benefit of all of us.”

Engagement with the community is not a new phenomenon at the CSO; instead, it stretches back to the 1989–90 season with the formation of the CSO Outreach Initiative Committee, which was soon renamed the Multicultural Awareness Council (MAC). MAC’s founding and ongoing

DJ Sherman DJ-ing before the Cincinnati Pops concert featuring Hip Hop artist Common. Credit: JP Leong

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mission is to increase participation of AfricanAmerican and Latine communities into all facets of the CSO.

MAC has established and advised on numerous new programs and initiatives that continue to this day, many of which are based on relationships developed by MAC members. MAC’s relationship with African-American churches resulted in the creation of Classical Roots: Linking Cultures through Music, a CSO Sound Discoveries: Music for the Community program best known today as “Classical Roots.”

The Nouveau Program, founded in 2007 and co-presented by MAC, formed a partnership between young African American string students and area African American churches.

“Our current community engagement efforts were not developed in a bubble,” remarked Cooper. “MAC has been building relationships with the African American community for 30-plus years; what we do now is an extension of those relationships.”

Over the last several seasons, the community engagement team has nurtured new relationships with organizations such as the National Underground Railroad Freedom Center and Elementz.

The National Underground Railroad Freedom Center (NURFC) opened in August 2004 on the banks of the Ohio River in downtown Cincinnati, the great natural barrier that separated the slave states of the South from the free states of the North. The NURFC illuminates the true meaning of inclusive freedom by presenting permanent and special exhibits that inspire, public programming that provokes dialogue and action, and educational resources that equip modern abolitionists.

“The NURFC serves as the Black cultural hub of the city and the incubator where everyone goes for important cultural events,” stated Cooper. A relationship with a cultural hub organization provides a lens into what other events are happening throughout the city and ensures

that the CSO is amplifying and working with community members, and not having competing events or programs.

“Christopher Miller, senior director of education and community engagement at NURFC, and I became close colleagues,” stated Cooper (Miller also serves on the CSO’s Community Advisory Council). “We were talking about how the CSO and NURFC could find a regular cadence by which to collaborate that would be mutually beneficial.”

The CSO and NURFC have collaborated on numerous events, but most recently for NURFC’s Fifth Third Community Days. The Fifth Third Foundation has made possible free admission to the Freedom Center on the fifth and third Sundays of each month. To help amplify these free days, the CSO musicians have played free concerts in the Harriet Tubman Theater on several of these Sundays.

Elementz is Cincinnati’s premier Hip Hop Cultural Arts Center. The Center was founded in 2002 as a direct response to the killing of Timothy Thomas, a young black man, and the social unrest in Over-the-Rhine that followed. Elementz was created to give voice to young people in the urban core and to disrupt the status quo, encouraging positive change in the community through civic engagement. Elementz embraces and leverages the richness of Hip Hop Culture to continue to help young people be catalysts of change and to engage in creative futures. They work to intentionally Preserve, Protect and Advance Hip Hop as art, culture and a global economic and creative force, while helping young people prepare for the creative workforce by providing academic and social-emotional support as well as exposures to generate opportunities for future success.

Elementz provides educational opportunities around DJ-ing, poetry and creative writing, music production and dance. Members also have the ability to book studio time for creative projects.

Members of Elementz have been part of a number of CSO events, but Hip Hop artist Common’s appearance with the Cincinnati Pops in October 2022 provided a natural opportunity to collaborate with Elementz.

Before the concert, an Elementz dance crew, along with DJ Sherman, turned the foyer of Music Hall into a Hip Hop performance space, which set the tone for the entire concert and also showcased the enormous talent of Cincinnati’s Hip Hop community.

These types of ongoing collaborations help to “build relationships with very important cultural organizations in our city that continue to help us think in more meaningful ways about the relevancy of our work,” said Cooper.

Members of the Cincinnati Symphony Orchestra performing at the National Underground Freedom Center in November 2022. Credit: Tyler Secor

Indoor Fireworks: Tchaikovsky Spectacular

by ERICA REID

While Tchaikovsky is an important composer with an astounding legacy, Gupton suggests Tchaikovsky Spectacular is as much about, in his words, “having a good time.”

Odds are you have heard the tail end of Piotr Ilyich Tchaikovsky’s 1812 Overture. The unforgettable rhythms of its explosive climax are a popular choice for Independence Day celebrations and have played a prominent role in pop culture, ranging from The Muppet Show to V for Vendetta. And the Cincinnati Pops made a legendary recording with Telarc in 1979 that included the use of actual military cannons—the state-of-the-art digital recording of the cannons was so effective that the album was famously capable of destroying audio equipment when played at full volume (the album even carried a warning, “Caution! Digital Cannons…are recorded at a very high level. Lower levels are recommended for initial playback until a safe level can be determined for your equipment”).

However, even though 1812 (whose proper title is actually The Year 1812, Solemn Overture) is what music lovers might call a “warhorse,” there is still a decent chance that your listening experience is incomplete. “Not often do you get to do the 1812 in its complete form, so that’s unique,” says Pops Principal Guest Conductor Damon Gupton, who will lead the Orchestra in Tchaikovsky Spectacular January 28–29 [the January 27 performance will be led by CSO Assistant Conductor Samuel Lee]. “Not to mention there’s some tricky stuff in the 1812 Overture. People, I think they sleep on that a little bit,” he says, laughing. “The middle section that is often cut can be gnarly. Some nice, gnarly keys in that piece.”

Pops Principal Guest Conductor Damon Gupton conducts the Cincinnati Pops in October 2022 for the one-night-only concert featuring Common. Credit: JP Leong

The audience’s recognition won’t end with the 15-minute Overture, either. “This is a program that’s appropriate for everyone,” says Gupton. “If you’ve never been to Music Hall, this is a great introduction to what the Orchestra can do, because some of the tunes will definitely be familiar.” Along with classical music newcomers, who will find this a welcoming, family-friendly concert, Gupton is also excited to attract “people who love to hear this Orchestra play.”

To that end, Gupton and the Pops have packed the Spectacular with Tchaikovsky’s greatest hits, including suites from his exceedingly popular and enduring ballets, Swan Lake and The Sleeping Beauty. These timeless stories are cultural touchpoints, and Tchaikovsky’s vivid and achingly beautiful music helps ensure these fairytales will continue to move us for centuries to come.

Tucked between the sizzling fireworks and romantic gestures of the Tchaikovsky Spectacular are quiet, but no less powerful and poignant, moments. The program includes selections from Tchaikovsky’s chamber pieces such as the Andante cantabile movement from his First String Quartet and, as Gupton explains, “a little piece that I like from Album for the Young.” While this sweet “Morning Prayer” was originally written for piano, the Pops will perform a lovely orchestration for strings.

Audiences will also enjoy an all-too-rare chance to see Damon Gupton on the podium, as the Pops’ Principal Guest Conductor keeps a packed schedule. Outside of his engagements with the Cincinnati Pops, this season Gupton will also conduct the music of John Williams with the New Jersey and Dallas symphony orchestras, lead The Philadelphia Orchestra through the score of Marvel Studios’ Black Panther, and provide the narration for Wynton Marsalis’ The Ever Fonky Lowdown with the Juilliard Jazz Orchestra. All this is on top of the acting work that keeps him traveling to New York, Los Angeles, and beyond! At the time of this writing, Gupton is shooting episodes of Law and Order, working on the second season of the Showtime series Your Honor, and anticipating the release of the Apple TV+ series The Big Door Prize, in which he is a cast member. (If you can’t wait, another of Gupton’s recent projects for Apple TV+, the Samuel L. Jackson vehicle The Last Days of Ptolemy Grey, is currently available for streaming.)

It’s safe to say that Gupton knows his way around all things theatrical, making him an ideal bandleader for the Tchaikovsky Spectacular. Gupton considers the Spectacular an opportunity for joy as a new year begins. “I think it is very important that orchestras play good, solid music that people like to hear,” he says. “I think the things we’ve been through, and are going through, in this current climate and the last two years, warrant people coming to the concert hall and having a good time and enjoying the fantastical world of certain composers.” While Tchaikovsky is an important composer with an astounding legacy, Gupton suggests Tchaikovsky Spectacular is as much about, in his words, “having a good time.”

“And I’m all for that too,” he adds with a smile.

From top: Cover art from the CD rerelease of the 1978 Cincinnati Symphony Orchestra recording of Tchaikovsky’s 1812 Overture The CD liner note warning about the digital cannons. A picture (from the CD liner notes) of one of the cannons used in the 1979 recording of the 1812 Overture.

Meet the Orchestra’s New Assistant Conductors

by MEGHAN ISAACS

Coincidentally, both Samuel and Daniel both dreamed of being conductors from a young age, although each took a slightly different career path before landing back in the world of orchestral conducting. Both also consider their relationships with the members of the Orchestra as one of mutual learning and inspiration.

SAMUEL LEE

Originally from Seoul, South Korea, Samuel Lee was born into a musical family. His mother was a singer, and he had two musical aunts— one a pianist and the other a viola professor. The women plotted for Samuel to grow up

to become a conductor and for his cousin to become a composer. (Their dreams for their children came true, as Samuel’s cousin is working as a composer in Chicago.) Samuel’s aunts started teaching him piano and violin when he was four years old, and he later took to the viola as his primary instrument.

Samuel’s musical education continued throughout his youth, and he moved to Berlin to further his viola studies with Tabea Zimmermann. Through his studies, he met his colleagues in the Novus String Quartet, with whom he played for ten years.

“When I was young my dream was to become a conductor, but I ended up doing advanced studies in viola performance. After graduating, I wanted to start my career over again, this time with a major in conducting,” said Samuel. While studying conducting, he also worked as a viola professor and conductor at Bach Music High School in Berlin.

Looking for more conducting experience, he found the CSO’s Assistant Conductor position online, applied, and was invited to audition. Not only is this Samuel’s first job in the U.S., but it was also his very first time auditioning as a conductor.

The best conducting advice Samuel has received so far? Trust the musicians; trust your colleagues. In following this advice, Samuel often finds inspiration from his colleagues in the orchestra. “Many conductors think we have to

The CSO welcomes two new Assistant Conductors to the podium this season. Samuel Lee and Daniel Wiley will assist Music Director Louis Langrée and Cincinnati Pops Conductor John Morris Russell, as well as help lead various educational and community engagement activities throughout the season.

Samuel Lee

give all the information and control the orchestra, but so often the sound and musical ideas start from the orchestra itself.”

As Samuel settles into the lifestyle and culture of the U.S., Cincinnati Pops Conductor John Morris Russell has been introducing him to some favorite Cincinnati pastimes, including Reds baseball, Graeter’s ice cream and Skyline Chili. Because of his work with the Pops, Samuel has also been discovering American pop music, and he loves it.

When not working or exploring Cincinnati, Samuel can be found spending time with friends, watching movies (particularly old classic films), and reading books. He also has a long list of places in the U.S. he wants to visit when he gets the opportunity, including Hawaii, Alaska and Niagara Falls.

DANIEL WILEY

Invited by his middle school band director, Daniel Wiley first found himself on the conductor’s podium at age 13. After that experience, he knew he wanted to be a conductor, but he didn’t yet know what form that would take.

He went on to pursue an education degree at Boise State University with the goal of becoming a high school band director. During college, he discovered his love for conducting orchestral music, and his career goals shifted accordingly. Upon graduation, he took a job as a junior high choral director for a couple of years before pursuing a master’s degree in orchestral conducting at the University of North Texas. He started his doctoral work there as well, but landing his first job as Associate Conductor of the Windsor Symphony Orchestra put his academic pursuits on pause.

Considering both of Daniel’s parents and both sets of grandparents were teachers, education is in his blood and continues to inform his approach to music. Two things happen when young people attend an orchestra concert, he said. “One, we are fostering a deeper sense of awareness, and by doing so, creating more complete humans that understand the world a little bit better. Two, we are championing other arts and community partners and making authentic connections [between the disciplines].”

During the pandemic, Daniel worked with the Windsor Symphony to create a digital education concert series that ultimately reached 123,000 students across the U.S. and Canada—a point of pride he considers a highlight of his career. For him, the ultimate goal of music education is simply to inspire the next generation to value what classical music can do to enrich their lives.

The best piece of advice Daniel ever received applies both to music and to life: Try not to dwell too long on things. “Conductors can be slightly neurotic and let things fester because we really care, but there’s something to be said about being in the moment. To allow the music (and life, for that matter) to happen without forcing it is certainly something I don’t do perfectly every day, but something I really strive towards in my daily life.”

You may find Daniel in his spare time “flushing his brain” on a run or cooking. Of course, he frequently listens to music, whether it’s what the CSO is performing in a given week, or a mix of classical and other genres. Currently on the playlist? Richard Strauss and Elton John.

Daniel Wiley

Meet Our New Orchestra Musicians, Part II

by MEGHAN ISAACS

This season, Fanfare is highlighting the large “class” of musicians who are beginning their tenures with the CSO. In this month’s profile, we meet Principal Librarian Christina Eaton, violist Dan Wang, violist Emilio Carlo and cellist Isabel Kwon. Three of these four musicians are familiar faces to CSO audiences: Christina was promoted from her previous role as Associate Principal Librarian, and Emilio and Dan are both alumni of the CSO/CCM Diversity Fellowship. Each of these talented additions to the CSO’s roster enjoys a variety of diverse interests outside of their careers, and all are thrilled to be with the CSO this year.

Christina Eaton, Principal Librarian

Christina Eaton’s career as an orchestra librarian happened almost by chance. Originally from Pittsburgh, Christina (whose parents are both musicians) had a violin in her hands by age three. Although she played all through college at the University of Dayton, she didn’t major in music because she did not aspire to a performance career. Instead, she majored in English and, after graduation, landed a job back in Pittsburgh working for an advertising firm—which she hated.

While planning a trip to Washington, D.C., she found herself on the National Symphony Orchestra’s (NSO) website buying concert tickets; while browsing, she wandered onto the “Employment Opportunities” page. She applied for a position as an Assistant Librarian. “Six weeks later, I lived there,” said Christina. “They knew I was green as grass, but figured I was teachable and treated my position like an internship.” She quickly fell in love with the job. Her first two bosses at the NSO, Marcia Farabee and Shelley Friedman, were notable influences for Christina, in the way they modeled orchestra librarianship and maintained work/life balance. After about three years in D.C., she won the job as Head Librarian for the Phoenix Symphony. In 2008, she won the job as Associate Principal Librarian here in Cincinnati, and she embarked on her new role as Principal Librarian at the start of the current season.

For Christina, the excitement of being behind the scenes and working closely with musicians and conductors makes for an engaging career. “It’s cliché, but CSO musicians are such a welcoming group and wonderful to work with. They’re all experts, so I always have someone to ask very specific questions of,” she said.

Another aspect of the job that Christina particularly enjoys is her role as the CSO’s unofficial historian. “The CSO’s long history is really fascinating. It’s amazing to take a step back and see that I’m a link in the chain here. You can pull a set of orchestra parts off the shelf and see the handwriting of a previous librarian or musicians who have been here,” she said.

In her spare time, you’ll find Christina in her kitchen either baking or canning. A regular Findlay Market shopper, she has standing orders with some of the farmers and merchants to fuel her hobby.

Christina Eaton

As Christina takes on her new role, she reflects on the team that makes it happen. “We have an outstanding library team here, including the Assistant and Associate Principal librarians, Chorus and Youth Orchestra librarians, and five dedicated volunteers. The library would not be functioning if not for this full team!”

Dan Wang, viola

Dan Wang’s path to the CSO started with playing the violin in her hometown of Shenyang, China. After studying at the Hong Kong Academy for the Performing Arts, she continued working on her master’s degree in violin at CCM. After considering again what she wanted to do, she spent one year on a DMA degree in violin before taking a break. During the break, she made the decision to switch to the viola. “I have always loved the sound of viola. It expresses the feelings of our hearts more directly than any other instrument,” Dan said.

In 2017, two years after taking up the viola, she became a CSO/CCM Diversity Fellow. “I think the Fellowship is the best thing that happened to me in my career,” said Dan. “[During the Fellowship] I could get a lot of support from mentors in the program and take lessons from different people who gave me valuable suggestions,” she said.

The support from the program, especially the mock auditions available to her as part of the Fellowship, strengthened her musicianship. In 2019, she won a job with the Dallas Symphony Orchestra, where she stayed before returning to Cincinnati at the start of the current CSO season.

Dan’s biggest cheerleader along the way has been her mom. “She loves music very much. She’s the person that guided me into a music career, and she’s always supporting me,” she said.

While preparing for the pressure of auditions, the best advice Dan received was simple: be yourself. “I’m a person who overthinks a lot, and sometimes it’s not good for me. My advice to others is to never give up, and just focus on the audition,” she said.

When not working or practicing, Dan enjoys time with her family and her two dogs. She also loves cooking, especially Chinese food and spicy food. She considers Cincinnati her home and is happy to be back.

Emilio Carlo, viola

Emilio Carlo grew up in the Bronx, where his grandfather owned a record shop and where Emilio heard and learned to love all kinds of music, particularly R&B and salsa. He learned to play Latin percussion instruments, and his great uncle (who was a famous singer in Puerto Rico) taught Emilio some music as well. Those early influences ensured music would always be part of Emilio’s life.

When he was a teenager, Emilio moved to PG County, Maryland (PG is the oft-used short form for Prince George’s), where he discovered the viola. He initially wanted to try jazz (his cousin is a jazz trumpeter), but playing brass or wind instruments would have been very difficult since he was about to be fitted for orthodontia; he was also discouraged from his next choice, upright bass, due to its size. “All that was left was viola or violin. It kind of just stuck from there,” said Emilio. He earned his undergraduate degree at the University of Cincinnati CollegeConservatory of Music (CCM), then became part of the first class of the CSO/CCM Diversity Fellowship.

Dan Wang

Emilio Carlo

Emilio says his time as a Fellow propelled his career by helping him learn to function within a section. “It gave me a ‘fall on my face free’ card,” he said. After the Fellowship, he stayed in Cincinnati freelancing for a year, followed by time spent with the Nashville and New World symphony orchestras before returning to Cincinnati.

Emilio’s mother has been his strongest influence and cheerleader. “She has always been that voice of reason and encouragement when I felt like everything was falling apart,” he said.

He has also found support from his colleagues, particularly Joanne Wojtowicz (his mentor with the Diversity Fellowship), Zoya Leybin (violinist with the Nashville Symphony), and Titus Underwood (Principal Oboist of the Nashville Symphony).

When he’s not practicing, you’ll find Emilio outside with his dog, Ghost. He’s also been building on his grandfather’s record collection. And of course, he loves to eat. His current favorite restaurant is Mazunte, though he was also recently introduced to Sebastian Bakehouse. “It was the first time I ate something and literally just stopped what I was doing and screamed, ‘This is amazing!’”

Isabel Kwon, cello

From her early days growing up in Michigan Isabel Kwon shew she “couldn’t stop [herself] from going into music.” The strong music community in her hometown supported her, and Isabel found herself among cello teachers who all put humanity first. “They emphasized being a good, caring person and a part of the community first, and after that came being a good musician,” she said. “That kind of warm environment made me want to continue in music.”

In addition to her new position with the CSO, Isabel is also pursuing her doctorate in cello performance (with minors in music theory and arts administration) through Indiana University. Her professor, Eric Kim, is a former Principal Cellist of the CSO. “It’s fun to talk to people in the CSO who remember him. I wish I could have seen him in those days!” said Isabel.

Aside from Kim and her other cello teachers, one of the most influential figures in Isabel’s life has been her best friend, the violinist, entrepreneur and television commentator Sumire Hirotsuru, whom she met in her days studying at Juilliard. “She taught me not to be afraid to go for goals or dreams, even if there’s not always a clear path.”

A big part of Isabel’s life as a cellist is her passion for tango. A distant relative, who also happens to play cello and went to Juilliard, has a husband who is a bandoneon player. They invited Isabel to the Stowe Tango Music Festival in Vermont, and she fell in love with the genre. She enjoys the excitement and appreciation the audiences show and how they often get up and dance during tango performances. “In the future, I really want to bring tango into the major orchestra scene, while keeping it as authentic as possible to the Argentinian tango,” said Isabel.

Besides playing pick-up tango concerts with her friends, Isabel spends her free time cooking, baking and practicing her latte art. She loves living near the natural beauty Cincinnati offers. “I live in Mount Adams, and driving into the city you see the sun hitting the buildings on the hills. You can choose to be both rural and urban depending on where you go.”

Isabel Kwon

A Theatrical Vision: New Contexts for Familiar Works

by KEN SMITH

Credit: Mark Lyons

“Sometimes we forget what music means. It’s not simply about dramatic intensity, or beautiful melodies. We need to be nourished not just by the music’s beauty but also by its meaning and context.”

—Louis Langrée

Despite the pitfalls of the past few seasons, the Covid-19 pandemic gave us plenty of room for contemplation.

For Louis Langrée, much of his recent time is still spent pondering music he’s long planned to bring to the podium. “Sometimes we forget what music means,” he says. “It’s not simply about dramatic intensity, or beautiful melodies. We need to be nourished not just by the music’s beauty but also by its meaning and context.”

Now that he officially divides his time between the symphonic world as CSO Music Director and the opera house as director (since early November 2021) of Paris’s Opéra-Comique, Langrée has particularly devoted his thoughts to some upcoming CSO programs where the music has moved from the dramatic to the concert stage. The most evident example, he says, is the “concert-staged” production of Edvard Grieg’s music from Peer Gynt reunited with Henrik Ibsen’s original storyline, originally scheduled for the 2020–21 season and finally appearing at Music Hall on January 13 and 14.

“I must say, it’s always a joy to share the stage with actors, singers and chorus. It’s also very Cincinnatian, this sense of adventure in playing with things out of their usual box,” says Langrée, comparing the event to the CSO’s 2017 multimedia staging of Maeterlinck’s play Pelléas et Mélisande with Faure’s incidental music.

Not only does the music gain new dramatic strength when supported by a theatrical vision, it also tweaks the context of music we thought

Louis Langrée conducts the CSO in Christopher Rouse’s Sixth Symphony, September 2022. Credit: JP Leong

we knew.

Audiences will probably be surprised to

hear the May Festival Chorus featured during In the Hall of the Mountain King, Langrée says. The production’s director Bill Barclay adds, “We usually think of Morning Mood as a classic Norwegian landscape, but actually Grieg was portraying a sunrise in the Sahara desert.” (See sidebar on Barclay’s production.) Tying the evening together will be Finnish violinist Pekka Kuusisto, who, after playing (and whistling!) though Icelandic composer Daníel Bjarnason’s highly theatrical Violin Concerto, returns in costume as a roving Hardanger fiddle player in Peer Gynt

Guest conductor Thomas Søndergård followed a comparable algorithm in matching composers for his CSO debut on January 6 and 7. Already knowing that Britten’s Violin Concerto with soloist Augustin Hadelich was on the program, Søndergård decided to open with On the Cliffs of Cornwall, the Prelude to Act II of Ethel Smyth’s opera The Wreckers. “I once paired Smyth and Britten on a Pride program in Copenhagen,” he says. “For that concert, it was Cornwall and Britten’s Young Apollo, but his Violin Concerto was written around the same time and the two pieces are quite similar.” From there, Søndergård moved on to Sibelius’s Symphony No. 2, which

he compares to Britten in spirit. “Both Britten and Sibelius were brave in using simple melodies and dance-like rhythms,” he says. “They both remained connected to the child within themselves and were able to bring out the child in each of us.”

A rather different bit of recontextualized theatricality turns up in Langrée’s program on January 21 and 22, which ends with Prokoviev’s Symphony No. 3 and opens with Julia Perry’s Homunculus C.F., a piece for harp, keyboards and percussion that Langrée discovered during the pandemic and performed previously with CSO musicians only in an audience-less livestream concert. “A piece with so much atmosphere and drama needs an audience,” says Langrée, who has made championing the music of Akron-born Perry a personal mission.

The piece’s title, Latin for “little men,” reveals the music’s “Faustian dimension,” Langrée says, alluding to a scene in Goethe’s drama where Faust’s apprentice brings Homunculus to life through alchemy. “You don’t need to know any of this, just like you don’t need to analyze the piece’s structure, to see how the music directly impacts an audience,” he adds. “How is it possible that Varèse’s Ionisation is rightly acknowledged as a masterpiece while Julia Perry’s music disappeared completely?”

Between Perry’s percussive impulses and Prokoviev’s Third Symphony—largely reworking

Above: A video still from the 2020 CSO livestream of Julia Perry’s Homunculus C.F. led by Louis Langrée. Left: Thomas Søndergård (©Andy Buchanan)

music from the Russian master’s long-neglected opera The Fiery Angel—comes Tchaikovsky’s Violin Concerto, a perennial favorite with concert audiences that will almost certainly be colored by the theatrical trappings of the rest of the program, Langrée says.

Violinist Randall Goosby, who picked up the Tchaikovsky concerto this season for the first time in nearly a decade, fully embraces that sense of rediscovery. “Being bookended by two such theatrically charged works will certainly urge me to support the spirit of the evening,” he says. “There’s already so much drama and excitement in the Tchaikovsky, that creating any more of a theatrical atmosphere will have audiences grabbing the edge of their seats.”

The season’s spirit of rediscovery continues right through the CSO’s Lunar New Year tribute on February 3 and 4, beginning with a reunion of sorts with Zhou Tian, whose Concerto for Orchestra (commissioned and recorded by the CSO) was nominated for two Grammy Awards in 2018. Balancing Zhou’s The Palace of Nine Perfections, the program also features The Five Elements, an early work by Langrée’s Beijing-born

fellow Parisian Chen Qigang. “They share, in very different languages, a similar orchestral color,” says Langrée, who conducted Chen’s Elements in Paris, Brussels and Detroit, but has not led the work since coming to Cincinnati in 2013.

“Everywhere I performed this music, audiences were intrigued and mesmerized,” he says. “You can really feel the Chinese flavor, and yet Qigang was also the final student of Olivier Messiaen, one of the 20th century’s great composers and himself a great lover of Asian cultures.” Working from a similar orchestral palette, Langrée fills the rest of the evening with Ravel’s Rapsodie espagnole (“a similar l’invitation au voyage,” he says, “despite different destinations”) and Liszt’s Second Piano Concerto, with soloist Jean-Yves Thibaudet, bringing a compatible range of musical colors.

“Any successful program comes from bringing different people together, for different reasons, under different circumstances,” Langrée adds. “For some people, this program will mark an occasion to celebrate their culture and their New Year holiday. For many others, it will be a chance to discover musical works they don’t know.”

Violinist Randall Goosby. Credit: Kaupo Kikkas

Zhou Tian after the world premiere of his Concerto for Orchestra by the CSO in May 2016, Louis Langrée conducting. Credit: AJ Waltz

Bill Barclay discusses how

reshaped

Peer Gynt for the modern concert hall

by KEN SMITH

Back in 1876, Peer Gynt marked an historic collaboration between two of Norway’s most illustrious artists, but in practical terms the marriage didn’t last. Edvard Grieg’s music went on to become a wordless favorite on the concert stage, while most revivals of Henrik Ibsen’s play do away with Grieg’s score altogether. Writer/composer Bill Barclay cites the cause of divorce as “irreconcilable differences.”

“No one today would dare to do Ibsen and Grieg together the way the play first premiered,” says Barclay, whose staging mediates an artistic reconciliation. “Ibsen’s story is febrile, long, massively unedited. It would take nearly five hours and require forces that no theatre would support. Our version, on the other hand, fits on the second half of a concert program.”

First commissioned by the Boston Symphony Orchestra, Barclay’s staging starts with the music—not just Grieg’s two concert suites but also additional incidental music rediscovered in the 1980s—then judiciously adds bits of Ibsen’s text to relate the story, theatrically seasoned with staging, lights, costumes and a bit of puppetry.

“I call this ‘concert-theatre,’ because we put music and theatre on equal footing,” he explains. “When music is subservient to theatre, there’s a class system with actors above the musicians. When drama is subservient to the music, as with

opera, everything serves the score but you’re not locked into the story the way you are with a great movie or play. Here, the actors retreat when the music is front and center, and when the orchestra slips into incidental music the actors enter and color the story in real time.”

Originally a popular dramatic poem, Peer Gynt has always suffered as a play script, Barclay says. “At its heart, this is an unstageable tale spanning some 60 years and encompassing the greatest hits of Norwegian folklore,” he says. “There are dramatic gems and fabulous comic impulses, but there’s no way to realistically portray hundreds of child trolls and an underground monster. But putting this in the concert hall, where the protagonist is definitely the orchestra and chorus, we have to use our imagination anyway.”

Although Ibsen’s play has seen a resurgence in recent years, it rarely uses Grieg’s original score—usually because those productions find a modern archetype for Ibsen’s capitalistic, selfaggrandizing title character. “Most directors want to free themselves from the 19th-century formula that Ibsen and Grieg created,” he says. “If you have a contemporary setting, you’re probably going to use rock, or electronic dance music, or even

country. You might use Grieg’s music ironically—throw in bits of In the Hall of the Mountain King—but if you reconceive Peer as, say, a rock and roll star, you’re probably not going to reach for Anitra’s Dance.”

For Barclay, though, the original partnership is mostly the point. “By rewriting Ibsen’s work myself, I can condense the story points to establish the setting Grieg was trying to portray,” Barclay says. “I think it’s possible to recreate the incredible collaboration between these two titanic figures, using as much of the original material as possible, but distilled and reshaped to fit our needs in the concert hall today.”

From above: Barclay’s Peer Gynt from the premiere at Boston Symphony Orchestra (©Robert Torres). Henrik Ibsen, portrait by Henrik Olrik, 1879. Barclay’s Peer Gynt from the most recent performance at Milwaukee Symphony Orchestra (©Jake Hill).

he

Grieg’s

Why We Give, Part I

by TYLER M. SECOR

From full concerts at Music Hall to small pop-up performances in local neighborhoods and everything in between, our generous and dedicated donors, sponsors and concertgoers make it all possible. Over the next several issues, we will share the special stories behind why our donors give to the Cincinnati Symphony Orchestra and Cincinnati Pops. As you will read, each reason is different, but their passion for this Orchestra is a constant. Our donors and their inspiring stories will ensure that the unique sound of the Cincinnati Symphony Orchestra and Cincinnati Pops will always resound.

You can join our family of donors online at cincinnatisymphony.org/donate or by contacting the Philanthropy Department at 513.744.3271.

MICHAEL AND KATHY RADEMACHER

“Should we tell him the story of our first date?” asks Kathy as we spoke via Zoom in early November.

“Sure, go ahead,” consented Mike.

Well, that first date story is quite remarkable, but let’s first set the scene.

that three generations of our family in the Glee Club,” said Kathy. As a lifelong Cincinnatian, Mike remembers going to Music Hall for the Young People’s Concerts when he was a young boy, and his parents had Pops tickets for over 35 years.

Kathy learned to play piano at a young age and still plays today. “Music has been a constant in my life,” reflected Kathy.

With such deep connections to music, perhaps the story of their first date is not so surprising.

“Well, on our first date in May 1982, Mike took me to a May Festival concert with the Cincinnati Symphony Orchestra at Music Hall,” reminisced Kathy. “I was sold from that moment forward.”

They celebrate 39 years of marriage this year so, needless to say, the first date was a success. But, that first date at Music Hall forever cemented music as an integral part of their lives and relationship.

Mike and Kathy met while working on their undergraduate degrees at Miami University (Oxford, OH). Kathy’s family had a long history of attending Miami University and participating in the Miami University Men’s Glee Club. “My dad, his three brothers, Mike, and our nephew, Kyle, all sang in the Glee Club, so we like to consider

“The arts in Cincinnati is one of the best things about this city,” said Mike. “Every weekend Kathy and I are either at Music Hall or at another arts event in the city. We feel it is our social obligation to give to the Orchestra because it has given us so much.”

“The musicians give their heart and soul and are passionate about their work,” said Kathy. “It is an absolute pleasure to give to the Orchestra.

Michael and Kathy Rademacher, March 2022. Credit: Claudia Hershner

We give what we can because we love the music and we want the music to be around for everyone to love, too. Cincinnati is blessed to have so much talent.”

What keeps Mike and Kathy coming back year after year and concert after concert?

For Kathy it is the depth of the music. “When the music starts, it is like I am transported to another plane. The beauty of the music and the comfortable and welcoming environment allow me to sink into the music.”

For Mike it is the ritual of the concert experience, the social experience, and the wonder that is Music Hall. “I know when we come to the CSO it is going to be a great concert. I like to be there early, listen to the pre-concert talk, see the people, and be part of the history and energy of Music Hall.”

KATHY GROTE

“In 1979, when I was 22 years old, I attended an outdoor parks concert in Norwood,” remembered Kathy as we met at Music Hall following an open Pops rehearsal. “A buffet had been arranged after the concert and that is where I met Robert Howes, who played viola in the Orchestra.” This meeting sparked a lifelong friendship between Kathy and Robert.

Part of Robert and Kathy’s friendship was that “Robert brought me to concerts and I fell in love with the music and the Orchestra,” declared Kathy. Pretty soon, Kathy became a subscriber, but still frequently attended concerts with Robert. Kathy also started to become friends with other Orchestra members as Robert brought her backstage. Her love for all things CSO grew.

“In 1995, I was reading about the new assistant conductor the Orchestra had hired,” recalled Kathy. Shortly thereafter a new couple moved in across the street from Kathy. “I saw a guy walking to his car in the neighborhood and thought to myself ‘isn’t that the new assistant conductor?’” As it turns out John Morris Russell (JMR) and his wife Thea Tjepkema were Kathy’s new neighbors.

John was the guest celebrity at a Cincinnati Zoo event that Kathy attended. “I walked over and introduced myself,” said Kathy. “I told them all about my experiences with the Orchestra and

how I was looking forward to seeing them at Music Hall.” A chance meeting with a member of the Orchestra family began another lifelong friendship for Kathy.

Kathy and Thea’s friendship extended beyond the walls of Music Hall. “Thea and I would often ride the bus home together from work,” recalled Kathy. It wasn’t long until a deep and meaningful relationship developed between the two.

What keeps Kathy coming back year after year and concert after concert?

With Kathy’s friendships extending to the musicians and artistic leaders on stage, she feels “like I am a huge part of the symphony and its community,” said Kathy. “I cannot imagine my life without the CSO.”

Kathy has donated what she could throughout her life, but she was particularly grateful to be able to underwrite one of the solo fanfares the Orchestra commissioned at the beginning of the Covid-19 pandemic. Georgia Stitt’s Fanfare for the Ups and Downs was made possible by

Kathy’s generosity. Principal Clarinet Christopher Pell played Stitt’s fanfare for the July 4, 2020 livestream, the first livestream presented by the Pops after the 2020 pandemic shutdown.

“There is something special about knowing that you helped to bring a piece of music into existence,” remarked Kathy. “I was delighted to see this fanfare as part of the Pops livestream.”

As we spoke, you could see on Kathy’s face and hear in her voice the love and admiration she has for the Orchestra and the musicians. “I love classical music,” Kathy remarked, “and for me, Cincinnati has the best orchestra in the world.”

Kathy Grote, John Morris Russell and Thea Tjepkema, March 2019.

Credit: Claudia Hershner

Forging a New Path

by CSO STAFF

In American orchestras, most orchestra musicians are white. This lack of diversity on stage represents, perhaps, the single greatest challenge that exists in the classical arts. The problem isn’t necessarily a scarcity in available musicians of color, but deficiencies in the existing pathways to the professional level. The Cincinnati Symphony Orchestra and University of Cincinnati College-Conservatory of Music (CSO/CCM) Diversity Fellowship is forging a new path by eliminating barriers to professional experiences, educational opportunities and access to funding.

“The lack of diversity on stage is a systemic issue that requires a systemic approach,” explained President & CEO of the CSO Jonathan Martin. “We recognize this, and the CSO/CCM Diversity Fellowship, while serving to open doors for the Fellows, has also catalyzed the development of deeper DE&I strategies and programs at the CSO.”

“Representation and visibility matter,” said Harold Brown, The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer. “In addition to being outstandingly talented musicians, the people on stage need to reflect the people in our community. When we see ourselves on stage, then we can see ourselves in the audience, our children can see themselves as future musicians, we see ourselves on the Board, we see ourselves as subscribers and donors. Diversity on stage does not just benefit the Orchestra, it benefits the whole organization and community.”

One of the first programs of its type, the CSO/CCM Diversity Fellowship was created in 2015 to amplify and support string players from populations historically underrepresented in American orchestras. Fellows receive a specialized two-year graduate degree-level education that offers traditional conservatory training through CCM alongside professional development and mainstage performance opportunities with the CSO. Each Fellow receives full-tuition scholarship support, a $10,000 per year graduate stipend, and a one-time Graduate School Dean’s Excellence Award of $3,000. Each Fellow also receives compensation of $8,000 per season while performing with the CSO. To date, 28 musicians have participated in the Fellowship program.

“Learning what it feels like to sit in a professional orchestra, to critically listen and contribute to the total sound of the ensemble, cannot be replicated. It is lived experience that prepares our Fellows for their next steps, and we are dedicated to providing that experience for future cohorts,” said Carol Dary Dunevant, CSO Director of Learning, who manages the Fellowship program.

“I applied to 11 different colleges, and this was the only one I applied to that provided education and professional experience,” recalls Luis Arturo Celis Avila, a bassist and 2021–22 Diversity Fellow. “The professional experience we receive with the Fellowship is incomparable. We are simply ahead when we graduate because we have performed with the CSO.”

Since the Fellowship’s inception, 11 Diversity Fellows have won auditions with orchestras in the United States. For the current 2022–23 season, Emilio Carlo, Luis Arturo Celis Avila and Dan Wang won positions with the CSO; Denielle Wilson with

“It is our honor to support the CSO/ CCM Diversity Fellowship program. We have a great passion for music and music’s ability to transform lives, and we can see the transformation through the Diversity Fellowship program.”

—Scott Weiss and Dr. Charla Weiss

Luis Arturo Celis Avila, Diversity Fellowship alumnus and new CSO bassist.

the Atlanta Symphony Orchestra; and Magdiell Antequera with Artis-Naples.

Success isn’t only measured by those Fellows who win orchestral musician positions. Fellows have also pursued careers offstage in administrative and education positions.

“The network I developed through the Fellowship program workshops led me to my first job after graduation,” said Alexis Shambley, a violinist and 2018–20 Diversity Fellow. “I became a teaching artist at MyCincinnati, a free music program in Price Hill for students beginning in third grade. Now I have branched into orchestral administration as a member of the CSO marketing department.”

Blake-Anthony Johnson (2016–17) and Ian Saunders (2017–19) have also transitioned into administrative and education roles, respectively. Johnson currently serves as the President and CEO of the Chicago Sinfonietta, becoming the first African American executive to guide a nationally renowned orchestra. His work focuses on providing access and public service to all people through community and education-based initiatives. Saunders recently joined the String Training Education Program (STEP) as its artistic director after serving as the Dean of artistic and social change at the Longy School of Music. In his new role, he aims to expand education efforts in the development of young musicians.

“We recognize that professional careers can evolve in many different ways,” said Martin. “We

are proud of each and every one of our Diversity Fellows for their musicianship and dedication to accelerating change in the industry, on and off the stage.”

The successes of the Fellowship have not gone unnoticed by the industry nor the Cincinnati community.

From the program’s inception, The Mellon Foundation has been the lead funder and partner for the CSO/CCM Diversity Fellowship and has recently renewed its commitment to funding the program through 2026. Beginning with the 2022–23 season, Scott Weiss and Dr. Charla Weiss, CSO Board Member and Chair of CSO Board’s Diversity and Inclusion Committee, will join The Mellon Foundation to support the program in ways that complement the foundation’s grant.

The Weisses believe in the mission of the Orchestra and they want to break down the barriers that hold back audiences and musicians alike. Their goal is to have “an Orchestra for everyone.”

“It is our honor to support the CSO/CCM Diversity Fellowship program,” said Dr. Charla Weiss. “We have a great passion for music and music’s ability to transform lives, and we can see the transformation through the Diversity Fellowship program. We are thrilled to play a part in helping orchestras reflect the people and vibrancy of the communities in which they serve.”

Dr. Charla Weiss speaking at the 2022 Artist’s Circle donor event. Credit: Claudia Hershner

LOUIS LANGRÉE, Music Director

Louise Dieterle Nippert & Louis Nippert Chair

JOHN MORRIS RUSSELL, Cincinnati Pops Conductor

Louise Dieterle Nippert & Louis Nippert Chair

Matthias Pintscher, CSO Creative Partner

Damon Gupton, Pops Principal Guest Conductor

Samuel Lee, Assistant Conductor Ashley and Barbara Ford Chair Daniel Wiley, Assistant Conductor Ashley and Barbara Ford Chair

FIRST VIOLINS

Stefani Matsuo

Concertmaster

Anna Sinton Taft Chair

Felicity James

Associate Concertmaster

Tom & Dee Stegman Chair

Philip Marten

First Assistant Concertmaster

James M. Ewell Chair++

Eric Bates

Second Assistant Concertmaster

Serge Shababian Chair

Kathryn Woolley

Nicholas Tsimaras–

Peter G. Courlas Chair++

Anna Reider

Dianne & J. David Rosenberg Chair

Mauricio Aguiar§

Anne G. & Robert W. Dorsey Chair

Minyoung Baik

James Braid

Marc Bohlke Chair given by Katrin & Manfred Bohlke

Michelle Edgar Dugan

Donald & Margaret Robinson Chair

Rebecca Kruger Fryxell

Clifford J. Goosmann & Andrea M. Wilson Chair

Gerald Itzkoff

Jean Ten Have Chair

Sylvia Mitchell

Jo Ann & Paul Ward Chair

Charles Morey†

Luo-Jia Wu

SECOND VIOLINS

Gabriel Pegis

Principal

Al Levinson Chair

Yang Liu*

Harold B. & Betty Justice Chair

Scott Mozlin**

Henry Meyer Chair

Kun Dong

Cheryl Benedict

Evin Blomberg§

Rachel Charbel

Ida Ringling North Chair

Chika Kinderman

Hyesun Park

Paul Patterson

Charles Gausmann Chair++

Stacey Woolley

Brenda & Ralph Taylor Chair++

VIOLAS

Christian Colberg

Principal

Louise D. & Louis Nippert Chair

Christopher Fischer

Acting Associate Principal

Grace M. Allen Chair

Julian Wilkison**

Rebecca Barnes§

Emilio Carlo†

Stephen Fryxell

Melinda & Irwin Simon Chair

Caterina Longhi

Gabriel Napoli

Denisse Rodriguez-Rivera

Dan Wang

Joanne Wojtowicz

CELLOS

Ilya Finkelshteyn

Principal

Irene & John J. Emery Chair

Daniel Culnan* Ona Hixson Dater Chair

Norman Johns**

Karl & Roberta Schlachter Family Chair Daniel Kaler§ Marvin Kolodzik & Linda S. Gallaher Chair for Cello Isabel Kwon†

Hiro Matsuo

Laura Kimble McLellan Chair++

Theodore Nelson

Peter G. Courlas–Nicholas Tsimaras Chair++

Alan Rafferty Ruth F. Rosevear Chair

BASSES

Owen Lee Principal Mary Alice Heekin Burke Chair++ James Lambert* Thomas Vanden Eynden Chair

Stephen Jones**

Trish & Rick Bryan Chair Boris Astafiev§ Luis Arturo Celis Avila Gerald Torres Rick Vizachero

HARP

Gillian Benet Sella Principal Cynthia & Frank Stewart Chair

FLUTES

Randolph Bowman Principal Charles Frederic Goss Chair Henrik Heide*† Haley Bangs Jane & David Ellis Chair

PICCOLO

Rebecca Tutunick Patricia Gross Linnemann Chair

OBOES

Dwight Parry Principal

Josephine I. & David J. Joseph, Jr. Chair

Lon Bussell* Stephen P. McKean Chair Emily Beare

ENGLISH HORN

Christopher Philpotts

Principal Alberta & Dr. Maurice Marsh Chair++

CLARINETS

Christopher Pell Principal

Emma Margaret & Irving D. Goldman Chair

Joseph Morris* Associate Principal and E-flat Clarinet Robert E. & Fay Boeh Chair++ Ixi Chen

Vicky & Rick Reynolds Chair in Honor of William A. Friedlander

BASS CLARINET

Ronald Aufmann

BASSOONS

Christopher Sales Principal

Emalee Schavel Chair++ Martin Garcia* Hugh Michie

CONTRABASSOON Jennifer Monroe

FRENCH HORNS

Elizabeth Freimuth Principal

Mary M. & Charles F. Yeiser Chair [OPEN]*

Ellen A. & Richard C. Berghamer Chair

Molly Norcross** Acting Associate Principal Sweeney Family Chair in memory of Donald C. Sweeney Lisa Conway Susanne & Philip O. Geier, Jr. Chair Duane Dugger Mary & Joseph S. Stern, Jr. Chair Charles Bell

TRUMPETS

Robert Sullivan Principal Rawson Chair Douglas Lindsay* Jackie & Roy Sweeney Family Chair Steven Pride

Otto M. Budig Family Foundation Chair++ Christopher Kiradjieff

TROMBONES

Cristian Ganicenco Principal Dorothy & John Hermanies Chair

Joseph Rodriguez** Second/Assistant Principal Trombone

BASS TROMBONE

Peter Norton

TUBA Christopher Olka Principal Ashley & Barbara Ford Chair

TIMPANI

Patrick Schleker

Principal Matthew & Peg Woodside Chair

Joseph Bricker* Morleen & Jack Rouse Chair

PERCUSSION

David Fishlock

Principal Susan S. & William A. Friedlander Chair Michael Culligan* Joseph Bricker * Morleen & Jack Rouse Chair Marc Wolfley+

KEYBOARDS

Michael Chertock James P. Thornton Chair Julie Spangler+ James P. Thornton Chair

CSO/CCM DIVERSITY

FELLOWS

Tyler McKisson, viola Luis Parra, cello Samantha Powell, cello

LIBRARIANS

Christina Eaton

Principal Librarian Lois Klein Jolson Chair

Elizabeth Dunning Acting Associate Principal Librarian Cara Benner Interim Assistant Librarian

STAGE MANAGERS

Brian P. Schott

Phillip T. Sheridan Daniel Schultz Andrew Sheridan

§ Begins the alphabetical listing of players who participate in a system of rotated seating within the string section.

* Associate Principal

** Assistant Principal

† One-year appointment

+ Cincinnati Pops rhythm section

++ CSO endowment only

~ Funded by the Andrew W. Mellon Foundation

LOUIS LANGRÉE, Music Director

Louise Dieterle Nippert & Louis Nippert Chair

Louis Langrée has been Music Director of the Cincinnati Symphony Orchestra since 2013, Music Director of the Mostly Mozart Festival at Lincoln Center since 2003, and was appointed Director of Théâtre national de l’Opéra Comique in Paris in November 2021. Two of his Cincinnati recordings were Grammy nominated for Best Orchestral Performance: Transatlantic, with works by Varèse, Gershwin and Stravinsky; and Concertos for Orchestra, featuring world premieres by Sebastian Currier, Thierry Escaich and Zhou Tian. On stage, his Pelléas et Mélisande trilogy contrasted settings by Fauré, Debussy and Schoenberg. A multi-season Beethoven [R]evolution cycle has paired the symphonies with world premieres, as well as recreation of the legendary 1808 Akademie. During the Covid pandemic, Langrée was a catalyst for the Orchestra’s return to the stage in the fall of 2020 with a series of digitally streamed concerts.

Between the start of his tenure and the conclusion of the CSO’s 2022–23 season, Langrée and the CSO will have commissioned or cocommissioned 42 new orchestral works and he will have conducted 32 premieres from a wide range of composers, including Julia Adolphe, Daníel Bjarnason, Jennifer Higdon, Jonathan Bailey Holland, Kinds of Kings, David Lang, Missy Mazzoli, Nico Muhly, André Previn, Caroline Shaw and Julia Wolfe, and the world premiere of Christopher Rouse’s Symphony No. 6, Rouse’s final opus.

He has guest conducted the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, LA Philharmonic, New York Philharmonic, Philadelphia Orchestra, Budapest Festival Orchestra, NHK Symphony, Orchestre National de France and Leipzig Gewandhaus, as well as Orchestre des Champs-Elysées and Freiburg Baroque. He frequently conducts at the leading opera houses, including Vienna Staatsoper, Teatro alla Scala, Royal Opera House Covent Garden, Lyric Opera of Chicago and Bavarian Staatsoper, and at festivals including Glyndebourne, Aix-enProvence, BBC Proms, Edinburgh International and Hong Kong Arts.

A native of Alsace, France, he is an Chevalier de la Légion d’Honneur and Officier des Arts et des Lettres, and he is an Honorary Member of the Confrérie Saint-Étienne d’Alsace, an Alsatian winemakers’ brotherhood dating to the 14th century.

JOHN MORRIS RUSSELL

Cincinnati Pops Conductor

Louise Dieterle Nippert & Louis Nippert Chair

A master of American musical style, Grammynominated conductor John Morris Russell, a.k.a. “JMR,” has devoted himself to redefining the American orchestral experience. In his 11th year as conductor of the Cincinnati Pops Orchestra, Russell continues to reinvigorate the musical scene throughout Cincinnati and across the continent with the wide range and diversity of his work as a conductor, collaborator and educator. As Music Director of the Hilton Head Symphony Orchestra in South Carolina Russell leads the prestigious Hilton Head International Piano Competition, and as Principal Pops Conductor of the Buffalo Philharmonic Orchestra he follows in the footsteps of Marvin Hamlisch and Doc Severinsen. Guest conducting engagements have included many of the most distinguished orchestras in North America: the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, Boston Pops, National Symphony, and the orchestras of Toronto, Vancouver, Dallas, Detroit and Pittsburgh.

With the Cincinnati Pops, Russell leads sold-out performances at Music Hall, concerts throughout the region, and domestic and international tours— including Florida in 2014 and China/Taiwan in 2017. His visionary leadership at the Pops created the “American Originals Project,” which has garnered both critical and popular acclaim in two landmark recordings: American Originals (the music of Stephen Foster) as well as American Originals: 1918. In 2020 the American Originals Project: The Cincinnati Sound, featuring Late Night with David Letterman musical director Paul Shaffer, celebrated the beginnings of bluegrass, country, rockabilly, soul and funk immortalized in recordings produced in the Queen City. Russell’s other recordings with The Pops include Home for the Holidays, Superheroes, Carnival of the Animals and Voyage Recent collaborations with artists around the world include Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Common, Garrick Ohlsson, Brian Stokes Mitchell, Jon Kimura Parker, Ann Hampton Callaway, Michael McDonald, Cho-Liang Lin, Sutton Foster, George Takei, Megan Hilty, Ranky Tanky, Steve Martin, Katharine McPhee, Brian Wilson, Cynthia Erivo and Leslie Odom, Jr.

MATTHIAS PINTSCHER

CSO Creative Partner

The 2022–23 season is Matthias Pintscher’s final season as Music Director of the Ensemble intercontemporain (EIC), the world’s foremost contemporary music ensemble, founded in 1980 by Pierre Boulez. In his decade-long artistic leadership of the EIC, Pintscher continued and expanded the cultivation of new work by emerging composers of the 21st century, alongside performances of iconic works by the pillars of the avant-garde of the 20th century.

As a conductor, Pintscher maintains relationships with several of the world’s most distinguished orchestras, among them the Bavarian Radio Symphony Orchestra, the Los Angeles Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, and the BBC Scottish Symphony Orchestra. As guest conductor in Europe, he makes debut appearances this season with the Wiener Symphoniker and Gürzenich Orchester of Cologne, and he returns to the Royal Concertgebouw, BRSO, BBC Scottish SO, Barcelona Symphony, and Berlin’s Boulez Ensemble. In North America, he makes prominent debuts with the Philadelphia Orchestra and Kansas City Symphony, in addition to regular visits to the Cincinnati Symphony and repeat guest engagements with the Detroit Symphony, Baltimore Symphony, Los Angeles Philharmonic and New World Symphony. Pintscher has also conducted several opera productions for the Berliner Staatsoper, Wiener Staatsoper, and the Théatre du Châtelet in Paris. He returns to the Berliner Staatsoper in 2023 for Der fliegende Holländer

Pintscher is well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world. In August 2021, he was the focus of the Suntory Hall Summer Festival—a weeklong celebration of his works with the Tokyo Symphony Orchestra, as well as a residency by the EIC with symphonic and chamber music performances. His newest work, Assonanza, a violin concerto written for Leila Josefowicz, was premiered in January 2022 with the Cincinnati Symphony. Another 2021–22 world premiere was neharot (“rivers”), a co-commission of Suntory Hall, Staatskapelle Dresden, Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande and Los Angeles Philharmonic. matthiaspintscher.com

DAMON GUPTON Pops Principal Guest Conductor

Damon Gupton is the first-ever Principal Guest Conductor of the Cincinnati Pops. A native of Detroit, he served as American Conducting Fellow of the Houston Symphony and held the post of assistant conductor of the Kansas City Symphony. His conducting appearances include the Boston Pops, Orchestra of St. Luke’s, Detroit Symphony, San Francisco Symphony, Atlanta Symphony, Baltimore Symphony, National Symphony Orchestra, Toledo Symphony, Fort Worth Symphony, Florida Orchestra, San Diego Symphony, Long Beach Symphony, San Antonio Symphony, Princeton Symphony, Orchestre Philharmonique de Monte Carlo, NHK Orchestra of Tokyo, Orquesta Filarmonica de UNAM, Charlottesville Symphony, Brass Band of Battle Creek, New York University Steinhardt Orchestra, Kinhaven Music School Orchestra, Vermont Music Festival Orchestra, Michigan Youth Arts Festival Honors Orchestra, Brevard Sinfonia, and Sphinx Symphony as part of the 12th annual Sphinx Competition. He led the Sphinx Chamber Orchestra on two national tours with performances at Carnegie Hall and conducted the finals of the Seventh Cliburn International Amateur Piano Competition and the 2021 Classic FM Live at Royal Albert Hall with Chineke!.

Gupton received his Bachelor of Music Education degree from the University of Michigan, where he delivered the commencement address to the School of Music, Theatre and Dance in 2015. He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. Awards include the Robert J. Harth Conducting Prize and The Aspen Conducting Prize. He is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society and a winner of the Third International Eduardo Mata Conducting Competition.

An accomplished actor and graduate of the Drama Division of the Juilliard School, Gupton has had roles in television, film and on stage, most recently in series regular roles on the upcoming Big Door Prize for Apple TV, as well as The Last Days of Ptolemy Grey starring Samuel L. Jackson. damongupton.com

For full-length biographies, visit cincinnatisymphony.org/about/artistic-leadership

©Franck Ferville

©Damu Malik

CSO JAN 6–7: Sibelius Symphony No. 2

THOMAS SØNDERGÅRD, conductor

Danish conductor Thomas Søndergård is the current Music Director of the Royal Scottish National Orchestra (RSNO), following six seasons as Principal Guest Conductor. Søndergård succeeds Osmo Vänskä as Music Director of the Minnesota Orchestra, becoming Music Director Designate from the 2022–23 season and assuming the full Music Director role from 2023–24. Between 2012 and 2018, he served as Principal Conductor of BBC National Orchestra of Wales (BBC NOW), after stepping down as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra.

The 2022–23 season sees returns to Edinburgh International Festival and the BBC Proms with the RSNO. Plans for the RSNO main season include a full Brahms symphony cycle, Britten’s War Requiem and further European touring. Søndergård makes extensive guest appearances in the U.S. this season and, on the operatic stage, following his Reumert Award-winning appearance for Die Walküre, he will return to Royal Danish Opera to conduct Strauss’ Elektra. Also in his native Denmark, he returns to the Danish National Symphony Orchestra to conduct the world premiere of Rune Glerup’s Violin Concerto with Isabelle Faust.

In January 2022, Søndergård was decorated with a prestigious Royal Order of Chivalry—the Order of Dannebrog (Ridder af Dannebrogordenen) by Her Majesty Margrethe II, Queen of Denmark. thomassondergard.com

AUGUSTIN HADELICH, violin

Named Musical America’s 2018 “Instrumentalist of the Year,” Augustin Hadelich’s 2022–23 season highlights include return engagements with the Philadelphia Orchestra and Boston Symphony, as well as the U.S. premiere of a new violin concerto, written for him by Irish composer Donnacha Dennehy, with the Oregon Symphony in the fall.

Augustin Hadelich has appeared with virtually every major orchestra in North America, and his worldwide presence has been rapidly rising with recent appearances with the Berlin Philharmonic, Hamburg Elbphilharmonie, Royal Concertgebouw Orchestra, London Philharmonic, as well as numerous engagements in the Far East, South America and Australia.

Among his numerous recordings, Hadelich’s recording with the Seattle Symphony of Dutilleux’s Violin Concerto, L’Arbre des songes, was the winner of a 2016 Grammy Award for “Best Classical Instrumental Solo.”

Born in Italy, the son of German parents, Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff.

Augustin Hadelich is on the violin faculty of Yale School of Music at Yale University. He plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust. augustinhadelich.com

CSO JAN 13–14: Peer Gynt in Concert PEKKA KUUSISTO, violin

Violinist, conductor and composer Pekka Kuusisto is Artistic Director of the Norwegian Chamber Orchestra and Principal Guest Conductor and Artistic Co-Director of the Helsinki Philharmonic Orchestra from the 2023–24 season. He is also Artistic Partner with the Mahler Chamber Orchestra, a Collaborative Partner of the San Francisco Symphony, and Artistic Best Friend of Die Deutsche Kammerphilharmonie Bremen.

In the 2022–23 season, Kuusisto debuted with Berliner Philharmoniker and performs with the Tokyo Metropolitan Symphony Orchestra. He returns to orchestras such as The Cleveland Orchestra, the San Francisco and Cincinnati symphony orchestras, as well as Gürzenich-Orchester Köln and Mahler Chamber Orchestra. He also debuts as a conductor with the Philharmonia, Gothenburg, and City of Birmingham symphony orchestras. He is also Artist-in-Residence for Sinfonieorchester Basel, with whom he appears as conductor, soloist and recitalist.

©Bjarke Johansen

©Suxiao Yang

©Kaapo Kamu

In 2022, Kuusisto released his first album as conductor, the Stravinsky and Beethoven Concerti (Warner), and as soloist performing the world premiere recording of Adès’ Märchentänze for violin and orchestra (Ondine). In 2021, Kuusisto and the Norwegian Chamber Orchestra presented the album First Light (Pentatone).

Pekka Kuusisto plays the Antonio Stradivari Golden Period c. 1709 “Scotta” violin, generously loaned by a patron through Tarisio. harrisonparrott.com/artists/pekka-kuusisto

CAMILLA TILLING, soprano

Swedish soprano Camilla Tilling has been performing on the world’s leading opera, concert and recital stages for over two decades while building an impressive discography that includes

Die Schöpfung with Symphonieorchester des Bayerischen Rundfunks, a portrait album of Gluck and Mozart Arias, and numerous recitals on the BIS label dedicated to the Lieder of Schubert and Strauss, among others.

In the 2022–23 season, Tilling gives the premiere of Daniel Nelson’s Chaplin Songs with the Swedish Radio Symphony Orchestra and performs Irgen-Jensens’ Japanischer Frühling alongside Mahler’s Symphony No. 4 with the Karajan-Akademie of Berliner Philharmoniker. She joins the Atlanta Symphony Orchestra for Bach’s St. Matthew Passion, Washington’s National Symphony Orchestra for Beethoven’s Symphony No. 9, and the Oregon Symphony Orchestra for Osvaldo Golijov’s Three Songs. A consummate recitalist, Camilla Tilling presents her new program “Jenny Lind: Love and Lieder” at Spivey Hall, Oxford Lieder Festival, Gothenburg Opera and Schloss Elmau.

Tilling was a soloist in Bernard Haitink’s historic final concert with Radio Filharmonish Orkest at Amsterdam’s Concertgebouw, and she has toured extensively in Peter Sellars’ stagings of Bach’s St. Matthew Passion and St. John Passion with Berliner Philharmoniker and Sir Simon Rattle. harrisonparrott.com/artists/camilla-tilling

MAY FESTIVAL CHORUS

Robert Porco, Director

Matthew Swanson, Associate Director of Choruses

Heather MacPhail, Accompanist Christin Sears, Conducting Fellow Kathryn Zajac Albertson, Chorus Manager

Bryce Newcomer, Chorus Librarian

The May Festival Chorus has earned acclaim locally, nationally and internationally for its musicality, vast range of repertoire, and sheer power of sound. The Chorus of 130 avocational singers is the core artistic element of the Cincinnati May Festival as well as the official chorus of the Cincinnati Symphony Orchestra (CSO) and the Cincinnati Pops.

The May Festival Chorus has strengthened its national and international presence through numerous PBS broadcasts of live concerts and several award-winning recordings, many in collaboration with the Cincinnati Symphony Orchestra and Cincinnati Pops. Most recently, a live recording of Robert Nathaniel Dett’s The Ordering of Moses featuring Music Director Laureate James Conlon conducting the Chorus and the CSO at Carnegie Hall was released to critical acclaim in 2016 (Bridge Records).

The May Festival Chorus has garnered awards in recognition of its continuing artistic excellence and performances throughout the state, including the Spirit of Cincinnati USA Erich Kunzel Queen City Advocate Award from Cincinnati USA Convention and Visitors Bureau and the Irma Lazarus Award from the Ohio Arts Council’s annual Governor’s Awards for the Arts. mayfestival.com/chorus

ROBERT PORCO has been recognized as one of the leading choral musicians in the U.S., and throughout his career he has been an active preparer and conductor of choral and orchestral works, including most of the major choral repertoire, as well as of opera. In 2011 Porco received Chorus America’s “Michael Korn Founders Award for Development of the Professional Choral Art.” In 2016 he led the May Festival Chorus and Cincinnati Symphony Orchestra in a performance of Mendelssohn’s Elijah for Chorus America’s National Conference.

©Maria Östling

©Roger Mastroianni

Porco’s conducting career has spanned geographic venues and has included performances in the Edinburgh Festival; Taipei, Taiwan; Lucerne, Switzerland; Tel Aviv and Jerusalem, Israel; and Reykjavik, Iceland; and at the May Festival, Tanglewood Music Festival, Berkshire Music Festival, Blossom Festival and Grant Park Festival. He has been a guest conductor at the May Festival and with the Cincinnati Symphony Orchestra and The Cleveland Orchestra, among others.

The 2022–23 season is Robert Porco’s 34th as Director of Choruses.

THE MAY FESTIVAL CHORUS, Peer Gynt

Sopranos

Natalie Badinghaus

Tracy Bailey

Laurel Boisclair Ellsworth

Caitlyn Byers

Joanna Chapman

Renee Cifuentes

Ally Clifton

Kathy Dietrich

Jennifer Dobson

Rachel Dummermuth

Melissa Haas

Gaynelle Hardwick

Dana Harms

Mary Wynn Haupt

Sara Hook

Alexandra Kesman

Lisa Koressel

Judith C. LaChance

Hilary Landwehr

Julia Lawrence

Julia Marchese

Audrey Markovich

Alison Peeno

Justine Alexandra Samuel

Noelle Scheper

Julia H. Schieve

Mary Ann Sprague

Patricia Wilkens

Samantha Zeiger

Altos

Robin Bierschenk

Kathy Falcon

Sally Vickery Harper

Spence B. Ingerson

Karolyn L. Johnsen

Jenifer Klostermeier

Julie Laskey

Katherine Loomis

Elaine P. Lustig

Kathy Mank

Teri McKibben

Jennifer Moak

Kate Robertson

Christy Roediger

Amanda Schwarz Rosenzweig

Karen Scott-Vosseberg

Sarah Stoutamire

Christine Wands

Robin Rae Wiley

Tenors

Lawrence Adams

Lydia Rose Ball

David Gillespie

Robert Henderson

Fansheng Kong

Elijah Lanham

Kevin Leahy Matthew Leonard Robert Lomax

H. Scott Nesbitt

Jason Ramler

Edward Rosenberry

Adam Shoaff

David W. Skiff

Stephen West Barry Zaslow

Basses

Mark Barnes

Jim Baxter

Andrew L. Bowers

Darren Bryant

Matthew Cheek

Antonio Cruz

Steven L. Dauterman

David Dugan

Steve France

Kim P Icsman

Christopher Kanney

Paul Kostoff

Jim Laskey

D. Stuart Lohrum

John McKibben

James V. Racster

Mitch Radakovich

Joshua Wallace

Mark Weaver

Paul Wessendarp

CONCERT THEATRE WORKS

BILL BARCLAY is artistic director of Concert Theatre Works and Music Before 1800 in New York City. He was director of music at London’s Shakespeare’s Globe from 2012 to 2019, where he produced music for 130 productions and 150 concerts, composing 12 shows including Hamlet Globe-to-Globe, which was performed in 197 countries. Broadway and West End credits as Music Supervisor include Farinelli and the King, Twelfth Night and Richard III, all starring Sir Mark Rylance.

Collaborators in the last year include the National Symphony Orchestra, Cleveland Orchestra, Chicago Symphony Center, Milwaukee Symphony Orchestra, Music of the Baroque, Buffalo Philharmonic Orchestra, Handel & Haydn Society, Gandini Juggling, United Strings of Europe, Chautauqua Institution, Caramoor Festival, Winston-Salem Symphony, Leeds International Concert Series, King’s Place, and the Harlem Chamber Players.

New concert-theatre works next year include Secret Byrd, touring to 15 cities with The Gesualdo Six and Fretwork, and Letters to a Young Poet with the Brodsky Quartet in its 50th year, premiering at the Aldeburgh Festival.

As a composer, Barclay’s original music has been performed for President Obama, the British Royal Family, the Olympic Torch, the United Nations, and refugee camps in Jordan and Calais. He recently created a new Four Seasons Recomposed for Max Richter on period instruments with the puppetry masters Gyre & Gimble. He conducted Soumik Datta’s King of Ghosts on tour with City of London Sinfonia, and the USACH Orchestra in Chile.

His newest concert-theatre work, The Chevalier, will have its UK debut at the London Philharmonic Orchestra next year. concerttheatreworks.com

CALEB MAYO (Peer Gynt) originated the role of Peer with the Boston Symphony Orchestra in 2017. Stage credits include Los Angeles: Hamlet (Inner Circle Theatre), Antigone, The Beaux Stratagem (A Noise Within), Much Ado About Nothing, A Midsummer Night’s Dream (Knightsbridge Theatre); Washington, D C : Cyrano, Henry IV Part 1, Henry IV Part 2, A Midsummer Night’s Dream, The Rivals (The Shakespeare Theatre); Boston: Twelfth Night (Commonwealth Shakespeare Company), To Kill A Mockingbird (Huntington Theatre Company); and Lewiston: Moonshine (The Public Theatre). Film credits include One-Eyed Monster, Plato’s Symposium, The Time Machine, Hoax, The Proposition and 10,000 AD. Television credits include Criminal Minds, and online credits include ftrhstry. He holds a Bachelor of Arts degree in Drama from Vassar College and has studied with the Royal Academy of Dramatic Art, the American Repertory Theatre, Shakespeare & Company, the Rebel Shakespeare Company, and the Beverly Hills Playhouse.

BOBBIE STEINBACH (Åse) is a long-time actor, director and acting coach based in Boston.

She has performed in countless plays and musicals with many local and regional theatre companies, including The Lyric Stage, New Repertory Theatre, Huntington Theatre Company, Commonwealth Shakespeare, Boston Symphony, Greater Boston Stage Company, Michigan Opera Theatre, Cherry County Playhouse and Boston Playwrights’ Theatre. She is a Founding Member of Actors’ Shakespeare Project (ASP), and, as a Resident Actor with ASP, she has trod the boards in 22 of the Bard’s plays, one of which, Timon of Athens, was directed by Bill Barclay. In 2016 the Theatre Communications Guild honored Steinbach with a prestigious two-year Resident Actor Fox Fellowship for Distinguished Achievement, for which she partnered with ASP to develop a company project, I Am Lear, and a solo show, In Bed with the Bard. She is also the 2016 Huntington Theatre Company’s LuntFontanne Fellow and was honored with an Elliot Norton Award for Outstanding Actress for a

trio of performances. She recently added a new credit to her resume as host of All Together Now, streaming on YouTube and Facebook, where she presented and interviewed performing artists, composers and writers from around the world. bobbiesteinbach.com

ROBERT WALSH (The Button Molder) OffBroadway credits include Gloucester Blue (Cherry Lane Theatre), Big Maggie (Douglas Fairbanks Theatre), Penelope (Perry St. Theatre), and company member for Theater of the Open Eye and Riverside Shakespeare Company. In Boston he has been seen in Ah, Wilderness! and Hamlet (Huntington Theatre), Our Town, Mass Appeal, A Midsummer Night’s Dream (Merrimack Rep), Sins of the Mother, The Subject Was Roses (Gloucester Stage), ‘ART’, The Cocktail Hour (New Rep), Next Fall (Speakeasy Stage), and Coriolanus, Macbeth, Henry V (Commonwealth Shakespeare Co.), and King Lear, Henry IV, Titus Andronicus, and Hamlet, among others, for the Actors’ Shakespeare Project, where he was also a founding company member. Walsh’s regional credits include Streamers (Arena Stage), Anna Christie (Stage West), Romeo and Juliet (Portland Stage Co.), Peter Pan (Barter Theatre), and The Children’s Hour (American Stage Festival). Television credits include Body of Proof (ABC), One Life to Live, The Guiding Light and Another World Film appearances include Black Mass, The Spirit of Christmas, Evening; State and Main; Amistad; Eight Men Out; The Spanish Prisoner; In Dreams and Turk 182! For seven years he was the Artistic Director of Gloucester Stage Company and is an Associate Professor of the Practice at Brandeis University. He directed the on-field ceremonies for the 1999 All-Star Game for Major League Baseball.

KORTNEY ADAMS (Ingrid, Anitra, Ensemble) is a native of St. Louis, and has been working as an actor, director and teaching artist in Boston since 2002. Regional credits include A Human Being Died that Night (Sandra Feinstein-Gamm Theatre), Becky’s New Car (Lyric Stage Co. of Boston), Two Gentlemen of Verona (Commonwealth Shakespeare Company), Pippi Longstocking and Aladdin (Wheelock Family Theatre), Voyeurs de Venus (Company One), Doubt (Gloucester Stage Co.), After Mrs. Rochester (IRNE for Best Supporting Actress, Wellesley Summer Theatre), Young Nerds of Color, Harriet Jacobs, and the world premiere of From Orchids to Octopi (Underground Railway Theater), and the role of Barbara Demarco in the long-running hit Shear Madness. Recent films include The Makeover, R.I.P.D., The Proposal and On Broadway. Adams is the Education Manager for Central Square Theater and the Managing Director of Theatre Espresso, which uses Theatre in Education to introduce young people to issues of social justice and the law.

DANIEL BERGER-JONES (Aslak, Begriffenfeldt, Ensemble) is a Bostonbased actor, producer, director and entrepreneur. In the classical music world, he has enjoyed sharing the stage with the Boston Symphony Orchestra (Peer Gynt), Virginia Symphony Orchestra (Florenz’s Antony and Cleopatra), the Boston Pops (Peter and the Wolf), The BYSO (Young Person’s Guide to the Orchestra, Peter and the Wolf), Boston Chamber Symphony, Odyssey Opera, and other small companies and performances which have given equal delight. As a stage actor, he has been in productions with the ART, Huntington, Lyric Stage, Speakeasy Stage, Boston Playwright’s Theatre, Actors’ Shakespeare Project, Shakespeare & Company, and many other small companies. As a cofounder of the Boston Fringe Theatre company Orfeo Group, he enjoyed three Elliot Norton Awards for Best Production by a Fringe Company in five years, starring in five of the group’s critically acclaimed

productions. Currently, he is Executive Director of a non-profit boutique tour company called Cambridge Historical Tours, giving entertaining tours of history, science and art throughout the Greater Boston area. He is the host of the new podcast, A People’s History of Food and Drink, the first season of which is now available wherever podcasts are found.

CAROLINE LAWTON (The Woman in Green, Ensemble) is a Boston-based actor who recently received her master’s degree in Classical Theatre at the Royal Central School of Speech and Drama. Since returning from London, Lawton has been seen on Boston stages in Orlando, The Tale of the Allergist’s Wife (Lyric Stage), Charlotte’s Web and Trumpet of the Swan (Wheelock), Oceanside (Merrimack Rep), Women Who Mapped the Stars (Poets Theatre), Shear Madness (Charles Playhouse) and Reconsidering Hanna(h) (Boston Playwrights), as well as numerous films and commercials. International credits include Frankie and Johnny in the Clair de Lune (Chipping Norton Theatre), A Woman of No Importance (Clandon Park) and Private Thoughts in Public Spaces (CASA Festival). U S theatre credits include Taming of the Shrew (Commonwealth Shakespeare), Arcadia and Comedy of Errors (Publick Theatre), An American Daughter (SpeakEasy Stage), The Underpants (Lyric Stage) and Mr. Sensitivity (NY International Fringe Festival). Film and television credits include Confessions of a Shopaholic, One Night Only, Scotch Hill, Casting About, My Brother Jack, Guiding Light and Castle Rock. When not on stage or leading her double life working in a biotech company in the immunooncology space, Lawton can be found hanging upside down from the ceiling...studying aerial acrobatics at Esh Circus Arts.

RISHER REDDICK (The Dovre King of the Trolls, Mads Moen, Ensemble) cut his teeth as an actor working with many regional theaters, including Shakespeare & Company, The American Repertory Theatre and Actors Shakespeare Project. From 2007 to 2012 Reddick produced, directed, and acted in plays with his theatre company, Orfeo Group, garnering praise from audiences and critics alike and winning three Elliot Norton Awards for outstanding production. As a teacher he has worked with theatre companies and universities across the country and is currently on faculty at UMass Amherst. These days, Reddick works primarily as a director, re-imagining classics and devising new plays both in professional and academic settings. He is currently working on a new project, To the Table, a civic engagement piece using story, song and food to facilitate conversation between community stakeholders, and later this year he will direct an intimate production of Harold Pinter’s Old Times presented in homes throughout New England. Reddick holds a BFA in acting from Boston University and an MFA in directing from Northwestern University.

CRISTINA TODESCO (Scenic Designer) is based in Boston and is a scenic designer working in both theater and film. Theater companies and institutions include Actors Shakespeare Project, Boston Conservatory at Berklee, Company One, Capital Rep, Commonwealth Shakespeare Company, the Culture Project, Huntington Theatre, Merrimack Repertory Theater, New England Conservatory, New Repertory Theater, Olney Theater Center, Poet’s Theater, Shakespeare & Company, Speakeasy Stage Company, Summer Play Festival, Trinity Rep, Wheelock Family Theater, and Williamstown Theater Festival, among many more. She is a frequent collaborator with Sally Taylor and the artists in Taylor’s Consenses, a festival that mines the deep connectivity between art mediums. Todesco has designed for the Boston Symphony Orchestra at Symphony Hall in Boston and at Tanglewood in the Berkshires. For Outstanding Design, she is the recipient of four Elliot Norton Awards and an IRNE Award. She received her MFA in scenic design from Boston University’s School of Theatre Arts, where she currently teaches.

CHARLES SCHOONMAKER (Costume and Puppet Designer) has extensive experience designing costumes for television, theatre, dance and opera. Current projects for Concert Theatre Works include Mendelssohn’s A Midsummer Night’s Dream, Grieg’s Peer Gynt, and The Chevalier For Boston Baroque, his credits include Handel’s Agrippina and Monteverdi’s Il ritorno d’Ulissein patria. Boston Midsummer Opera involvements include The Barber of Seville, Don Pasquale, The Italian Girl in Algiers, Trouble in Tahiti and Bon Appetit. Schoonmaker is the recipient of four Daytime Emmy Awards for his work in television and the IRNE for best costume design for Venus in Fur at the Huntington Theatre in Boston. Additional regional theatre credits include productions at Israeli Stage, Arts Emerson, the Berkshire Theatre Group, Dorset Theatre Festival, Chester Theatre Company, Weston Playhouse, Northern Stage, Bay Street Theatre, Riverside Theatre (FL), and seven seasons as the resident costume designer at Jacob’s Pillow Dance Festival. Other dance credits include The Richmond Ballet, The Atlanta Ballet, Nashville Ballet, BAM Next Wave, Alvin Ailey Dance Theatre, Dance Theatre of Harlem and The Limon Company. Television credits include

All My Children, As the World Turns and Another World. He teaches costume design at Bennington College. charles-schoonmaker.com

MAURA GAHAN (Puppet Co-Designer and Puppet Realization). For more than 20 years, Maura Gahan has studied, created and performed with large and small scale puppets around the world for theater and dance performances, orchestras, parades, festivals, pageants, bicycle shows and schools. Gahan has enjoyed collaborating with dozens of companies and artists, including the Bread and Puppet Theater (full-time member 2007–13), Dance Hegginbotham/Redwing Blackbird Theater, National Symphony Orchestra, Vermont Symphony Orchestra, Robert Ashley/ Steve Paxton, and Ensemble Pi. Gahan is currently an MFA Teaching Fellow in Dance at Bennington College.

NICOLE PIERCE (Dance Choreography) is a choreographer, dancer, performance artist and video maker. She founded and ran EgoArt, Inc., a dance theater company, for which she created more than 30 works. Her work is hailed as “expansive, muscular movement etched with vivid detail.” A classically trained pianist

and teacher, much of her output is musically inspired, leaning on rhythm, texture and innate musicality. She collaborates regularly with painter/sculptor Michael Prettyman, with whom she creates dances for camera using found or invented art environments. Lastly, Pierce is a monologist skirting the line of standup comedy, wherein she uses autobiographical content to tell universal stories.

JUSTIN SEWARD (Production Manager).Before stepping into the role as production manager, Justin Seward worked as props designer for past CTW productions of A Midsummer Night’s Dream and A Soldier’s Tale. He resides in Boston and works full-time as Asst. Props Director for the Huntington Theatre Company, 2013 Regional Theatre Tony Award recipient. Seward also regularly freelances for Antiques Roadshow (Asst. Set Decorator,) the Boston Pops, and Boston Symphony/Tanglewood. He has produced props for various Broadway and off-Broadway productions including The 39 Steps, Porgy and Bess, Sons of the Prophet, All the Way and Finding Neverland. Seward has worked for various companies, including Opera Theatre of St. Louis, Seagle Festival, North Shore Music Theatre

and American Repertory Theatre. He is a proud member of the Society of Properties Artisan Managers. justinsewardprops.com

CSO JAN 21–22: Tchaikovsky & Prokofiev RANDALL GOOSBY, violin

Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible.

Highlights of Goosby’s 2022–23 season include the Philadelphia Orchestra and San Francisco Symphony, and returns to the London Philharmonic Orchestra, Philharmonia Orchestra and Los Angeles Philharmonic, Royal Scottish National Orchestra, and Dallas Symphony Orchestra. Goosby also debuts in South Korea in recital and in Japan with the Orchestra Ensemble Kanazawa. Upcoming

©Kaupo Kikkas

recital appearances include the La Jolla Music Society, Vancouver Recital Series, Philadelphia Chamber Music Society, and the Schubert Club International Series.

June 2021 saw the release of Goosby’s debut album for Decca titled Roots, a celebration of African American music that explores its evolution from the spiritual through to presentday compositions.

Deeply passionate about inspiring and serving others through education, social engagement, and outreach activities, in 2022–23 Goosby will host a residency with the Iris Collective in Memphis with pianist Zhu Wang. Together they will explore how the students’ family history can relate to music and building community collaboration through narrative and performances.

Goosby plays a 1735 Giuseppe Guarneri del Gesu, on generous loan from the Stradivari Society. randallgoosby.com

POPS JAN 27–29: Tchaikovsky Spectacular: 1812 Overture

DAMON GUPTON, conductor (Jan. 28–29)

Visit p. 32 for a biography of Pops Principal Guest Conductor Damon Gupton.

SAMUEL LEE, conductor (Jan. 27)

First prize winner of the BMI International Conducting Competition in Bucharest and the International Conducting Competition in Taipei, Samuel Lee was appointed Assistant Conductor of the Cincinnati Symphony Orchestra, beginning in the 2022–23 season.

In addition to several recent guest conducting engagements throughout Europe and Asia, Lee was a Conducting Fellow with the Cabrillo Festival of Contemporary Music in 2021 and 2022, where he worked with conductors Cristian Măcelaru, Yannick Nézet-Séguin, Octavio MásArocas and Marin Alsop.

Since 2016 Samuel Lee has been the chief conductor of the C.P.E. Bach Musikgymnasium orchestra Berlin. Also an active violist, Lee served as a viola professor at Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy” in Leipzig, Germany until 2022.

From 2009 until 2017, Lee was the violist of Novus String Quartet, and he was the second prize winner of the 61st International Music Competition of ARD Munich and first prize winner of the Salzburg International Mozart Competition.

Lee is an alumnus of Hochschule für Musik “Hanns Eisler” Berlin.

CSO FEB 3–4: Thibaudet Plays Liszt JEAN-YVES THIBAUDET, piano

For more than three decades, Jean-Yves Thibaudet has performed worldwide, recorded more than 50 albums, and built a reputation as one of today’s finest pianists. He plays a range of solo, chamber and orchestral repertoire— from Beethoven through Liszt, Grieg and Saint-Saëns, to Khachaturian and Gershwin, and to Olivier Messiaen, Chen Qigang, James MacMillan, Richard Dubugnon and Aaron Zigman.

Thibaudet is the first-ever Artist-in-Residence at the Colburn School in Los Angeles, where he makes his home. In 2017, the school announced the Jean-Yves Thibaudet Scholarships, funded by members of Colburn’s donor community.

Thibaudet records exclusively for Decca; his extensive catalogue has received two Grammy nominations, two ECHO Awards, the Preis der Deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, and Gramophone awards. His most recent album is 2021’s Carte Blanche.

Among his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012. In 2020, he was named Special Representative for the promotion of French Creative and Cultural Industries in Romania. He is co-artistic advisor, with Gautier Capuçon, of the Festival Musique & Vin au Clos Vougeot. jeanyvesthibaudet.com

FORT WASHINGTON INVESTMENT ADVISORS PROUD PARTNER OF THE CINCINNATI SYMPHONY ORCHESTRA

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Learn how we can work together. fortwashington.com/insights

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FRI JAN 6, 11 am SAT JAN 7, 7:30 pm Music Hall

THOMAS SØNDERGÅRD, conductor AUGUSTIN HADELICH, violin

Ethel SMYTH

“On the Cliffs of Cornwall,” Prelude to Act II of The Wreckers (1858–1944)

Benjamin BRITTEN Concerto No. 1 for Violin and Orchestra, Op. 15 (1913–1976) Moderato con moto Vivace

Passacaglia: Andante lento (un poco meno mosso)

INTERMISSION

Jean SIBELIUS Symphony No. 2 in D Major, Op. 43 (1865–1957)

Allegretto Andante, ma rubato Vivacissimo— Finale: Allegro moderato

These performances are approximately 120 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group

The performance of Ethel Smyth’s On the Cliffs of Cornwall is made possible by a generous gift from James and Linda Miller

The appearance of Augustin Hadelich is made possible by an endowed gift to the Fund for Great Artists by Mr. and Mrs. Joseph S. Stern, Jr. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC March 5 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Composed: 1903

Premiere: The opera was first performed November 11, 1906 in Leipzig, Richard Hagel conducting

Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, chimes, snare drum, suspended cymbals, tam-tam, tenor drum, triangle, harp, strings CSO notable performances: These performances are the work’s CSO premiere. Duration: approx. 9 minutes

Check out our NEW DIGITAL PROGRAM!

For even more enriching content including full-length biographies, digital content and more, text PROGRAM to 513.845.3024*, visit cincinnatisymphony. org/digital-program, or point your phone’s camera at the QR code.

ETHEL SMYTH

Born: April 22, 1858, Sidcup, United Kingdom

Died: May 8, 1944, Woking, United Kingdom

the Cliffs of Cornwall,” Prelude to Act II of The Wreckers

Ethel Smyth’s long-neglected The Wreckers is one of the most brilliant, and most disturbing, operas from the turn of the last century. Smyth herself was an utterly fascinating figure: the first woman to have an opera performed at a major venue (Covent Garden and The Met), she was also an active fighter for women’s suffrage and an incisive memoirist who openly discussed her lesbianism. She was the first female composer to receive the knighthood: she became Dame Ethel in 1922.

The richness of Smyth’s harmonic language and orchestration in The Wreckers betrays Richard Wagner’s influence, but she had a dramatic vision all her own, in which philosophy, religion and politics all played a part. Smyth and Henry Brewster (her only male lover, who wrote the libretto in French as Les naufrageurs) based their three-act opera on a Cornish myth. According to the myth, coastal populations lured ships to the rocks to cause them to founder; they would then plunder the ships and kill the crews. (A recent study claims that while the plundering of sunken vessels was common, there is little historical evidence for any intentional wrecking of ships.) In the opera, the very survival of the village depends on this criminal activity, which is condoned by their spiritual leader as the will of God. Anyone who tries to warn the ships away from danger is condemned to death as a traitor. To the spiritual leader’s horror, it turns out that the warning beacon was lit by his own wife and her lover, who must then pay for this deed with their lives.

The prelude “On the Cliffs of Cornwall” introduces Act II, in which the treason is committed. The music is ominous, full of dramatic tension that explodes in a climactic tutti before returning to the gloomy mysteries of the opening.

—Peter Laki

BENJAMIN BRITTEN

Born: November 22, 1913, Lowestoft, United Kingdom Died: December 4, 1976, Aldeburgh, United Kingdom

Concerto No. 1 for Violin and Orchestra, Op. 15

The 1930s were an extraordinary decade for violin concertos. Within ten short years, Stravinsky, Prokofiev, Schoenberg, Berg, Bartók, Szymanowski, Walton and Barber (and others) all wrote major concertos that brought a significant shift within the violin repertoire. And before the decade was out, a young Benjamin Britten added another masterpiece to this rich musical harvest—a composition that may have been overshadowed by some of its distinguished contemporaries and, in fact, by Britten’s own later music, but it fortunately has been heard more frequently in recent years.

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Britten’s Concerto was written for a Catalan violinist named Antonio Brosa (1894–1979), who premiered it at Carnegie Hall with the New York Philharmonic under John Barbirolli on March 28, 1940. Britten and his professional and personal partner, the tenor Peter Pears, had been living in the United States since June 1939; they knew that war in Europe was imminent and, as committed pacifists and conscientious objectors, they

“On

Ethel Smyth

wanted to remove themselves from the dangerous scene. Yet if they were able to escape physically, they couldn’t help being emotionally affected by the tragic times. Britten had actually begun working on his Violin Concerto in England the year before, “with a somewhat dutiful air,” as biographer Humphrey Carpenter writes. By the time the work was finished after Britten’s move across the Atlantic, it certainly no longer had anything dutiful about it. It is a passionately dramatic, vibrant work, commonly interpreted as a requiem for the victims of the Spanish Civil War. In fact, Britten had just visited Spain in 1936, the year the war broke out, for a music festival in Barcelona. There Antonio Brosa performed Alban Berg’s Violin Concerto, which demonstrably influenced Britten. Brosa and Britten also played Britten’s Suite for Violin and Piano at the same festival. Britten’s Violin Concerto opens with a timpani solo playing a fundamental rhythmic motif that is subsequently used as counterpoint to the violin’s lyrical melody. The diabolical scherzo that follows the haunting first movement in some ways foreshadows Shostakovich’s First Concerto, written almost a decade later. Its middle section, which obsessively develops a relatively simple, almost folk-like, theme, culminates in a stunning trio for two piccolos and tuba, which in turn leads into the recapitulation. Britten inserted his cadenza before the finale (again anticipating Shostakovich); the cadenza is based on the rhythmic motif with which the whole work began. The final movement is written in the form of a passacaglia, a set of variations on a bass melody first presented by the three trombones. The variations grow more and more animated until, suddenly, the tempo broadens to largamente, preparing for the recitative-like lament that ends the work with the musical equivalent of a question mark.

—Peter Laki

Composed: 1939

Premiere: March 29, 1940, New York, John Barbirolli conducting the New York Philharmonic, Antonio Brosa, violin

JEAN SIBELIUS

Born: December 8, 1865, Hämeenlinna, Finland

Died: September 20, 1957, Ainola Järvenpää, Finland

Symphony No. 2 in D Major, Op. 43

Jean Sibelius was much more than Finland’s most famous composer. For the Finns, he was, and still is, a national hero who expressed what was widely regarded as the essence of the Finnish character in music. In his symphonic poems, Sibelius drew on the rich tradition of the ancient Finnish epic, the Kalevala. And in his seven symphonies he developed a style that has come to be seen as profoundly Finnish and Nordic. It was a logical continuation of the late Romantic tradition inherited from Brahms, Grieg and Tchaikovsky, and, at the same time, a highly personal idiom to which he clung steadfastly in the midst of a musical world filled with an increasing multiplicity of new styles.

Each of Sibelius’s symphonies has its own personality. The Second is distinguished by a predilection for melodies that sound like folksong— although Sibelius insisted that he had not used any original folk melodies in the Symphony. We know, however, that he was interested in the traditional music of his country and, in 1892, he visited Karelia, the Eastern province of Finland known for the archaic style of its songs. It was perhaps this avowed interest in folksong that prompted commentators to suggest a patriotic, political program for the Symphony. None other than the conductor Georg Schnéevoigt, a close friend of Sibelius’s and one of the most prominent early performers of his music, claimed that the first movement depicted the quiet pastoral life of the Finnish people and that

Instrumentation: solo violin, 3 flutes (incl. 2 piccolos), 2 oboes (incl. English horn), 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, glockenspiel, snare drum, suspended cymbals, tenor drum, triangle, harp, strings CSO notable performances: First Performance: October 2006, Andrey Boreyko conducting and Hilary Hahn, violin. Most Recent Performance: May 2017 with Robert Treviño conducting and Midori, violin.

Duration: approx. 34 minutes

Benjamin Britten, 1968 (London Records)

Composed: 1901

Premiere: March 8, 1902, Helsinki, Jean Sibelius conducting the Helsinki Orchestral Society

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings

CSO notable performances: First Performance: February 1912, Leopold Stokowski conducting. Most Recent Performance: October 2013, Rafael Payare conducting. Other: The CSO released the Symphony No. 2 in 2002 on its Sibelius/Tubin CD, Paavo Järvi conducting. Duration: approx. 43 minutes

subsequent movements represented, in turn, the Russian oppressors, the awakening of national resistance, and, finally, the triumph over foreign rule. These ideas were certainly timely at the turn of the century, when Finland was in fact ruled by the Czar, though Sibelius himself never claimed to have had an extra-musical program in mind. (But neither did he disavow Schnéevoigt’s interpretation.)

In the first movement, Sibelius “teases” the listener by introducing his musical material by bits and pieces and taking an unusually long time to establish connections among the various short motifs introduced. The gaps are filled in only gradually. Eventually, however, the outlines of a symphonic form become evident and by the end of the movement everything falls into place. In his 1935 book on Sibelius’s symphonies, British composer and critic Cecil Gray observed: …whereas in the symphony of Sibelius’s predecessors the thematic material is generally introduced in an exposition, taken to pieces, dissected, and analysed in a development section, and put together again in a recapitulation, Sibelius in the first movement of the Second Symphony inverts the process, introducing thematic fragments in the exposition, building them up into an organic whole in the development section, then dispersing and dissolving the material back into its primary constituents in a brief recapitulation.

The second movement (Tempo andante, ma rubato) opens in an exceptional way: a timpani roll followed by an extended, unaccompanied pizzicato (plucked) passage played in turn by the double basses and the cellos. This gives rise to the first melody, marked lugubre (mournful) and played by the bassoons (note the exclusive use of low-pitched instruments). Slowly and hesitatingly, the higher woodwinds and strings enter. Little by little, both the pitch and the volume rise, and the tempo increases to poco allegro, with a climactic point marked by fortissimo chords in the brass. As a total contrast, a gentle violin melody, played triple pianissimo (ppp) and in a new key, starts a new section. The lugubre theme, its impassioned offshoots, and the new violin melody, dominate the rest of the movement. The movement ends with a closing motif derived from this last melody, made more resolute by a fuller orchestration.

The third movement (Vivacissimo) is a dashing scherzo with a short and languid trio section. The singularity of the trio theme, played first by the oboe, is that it begins with a single note repeated no less than nine times, yet it is immediately perceived as a melody. The rest of the theme is eminently melodic, with a graceful tag added by the two clarinets. After a recapitulation of the scherzo proper, the trio is heard another time, followed by a masterly transition that leads directly into the triumphant Finale.

The first theme of the Finale is simple and pithy; it is played by the strings, with forte (loud) dynamics, to a weighty accompaniment by low brass and timpani. The haunting second theme has a four-line structure found in many folksongs; it is played by the woodwinds, much more softly than the first theme, though eventually rising in volume. After a short development section, the triumphant first theme and the folksonglike second both return. Repeated several times with the participation of ever greater orchestral forces, the second theme builds up to a powerful climax. The first theme is then restated by the full orchestra as a concluding gesture.

—Peter Laki

Jean Sibelius

LOUIS LANGRÉE, conductor

PEKKA KUUSISTO, violin and Hardanger violin CAMILLA TILLING, soprano (Solveig) MAY FESTIVAL CHORUS, Robert Porco, director CONCERT THEATRE WORKS, Bill Barclay, director

Daníel BJARNASON Violin Concerto (b. 1979)

INTERMISSION

Edvard GRIEG Peer Gynt (1843–1907)

Music by Edvard Grieg Written and directed by Bill Barclay Adapted from the play by Henrik Ibsen Produced by Concert Theatre Works

FRI JAN 13, 7:30 pm

SAT JAN 14, 7:30 pm Music Hall

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group

The appearance of the May Festival Chorus is made possible by a generous gift from the Nancy & Steve Donovan Fund for Chorus and Orchestra

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC March 12, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Composed: 2017

Premiere: August 22, 2017 at the Hollywood Bowl in Los Angeles, Gustavo Dudamel conducting the Los Angeles Philharmonic; Pekka Kuusisto, violin

Instrumentation: solo violin, 2 flutes (incl. piccolo), 2 oboes, 2 clarinets (incl. bass clarinet), 2 bassoons (incl. contrabassoon), 4 horns, 2 trumpets, 2 trombones, tuba, timpani, bass drum, congas, glockenspiel, roto toms, snare drum, temple blocks, tom-toms, xylophone, piano, strings CSO notable performances: These performances are the work’s CSO premiere.

Duration: approx. 20 minutes

DANÍEL BJARNASON

Born: February 26, 1979 in Iceland

Violin Concerto

Among Iceland’s leading musical figures is conductor, composer and curator Daníel Bjarnason, born in 1979 and trained in Reykjavík before taking his advanced studies in conducting at the Hochschule für Musik in Freiburg, Germany. Bjarnason’s compositions—works for chamber ensembles and for orchestra, songs, choruses, film scores, music for dance, and the opera Brothers, based on Susanne Bier’s 2004 film—have been performed by the major Scandinavian orchestras and in London, Paris, New York, Cincinnati, Detroit, Ottawa, Hamburg and other music centers across Europe and America. Bjarnason has had an especially close association with the Los Angeles Philharmonic, whose “Reykjavik Festival”—an eclectic, multi-disciplinary, 17-day event in which he was featured as conductor and composer—he curated in 2017.

Bjarnason composed his Violin Concerto in 2017 for the Finnish virtuoso Pekka Kuusisto; Gustavo Dudamel conducted the Los Angeles Philharmonic in its premiere at the Hollywood Bowl on August 22, 2017, during that very same “Reykjavík Festival.” Kuusisto performed the work widely in Europe and America thereafter and recorded it with the Iceland Symphony Orchestra under the composer’s direction in 2020. The Concerto was first performed under the title Scordatura (from the Italian for “out-of-tune”), indicating a deliberate mistuning of one or more strings. The scordatura in Bjarnason’s work, now titled simply Violin Concerto, tunes the violin’s G string, the instrument’s lowest, down to D, the pitch that serves as a root, a reference point, throughout the work’s continuous, 25-minute duration.

The soloist begins alone, whistling along with a quiet tune plucked noteby-note on the instrument. Those lines diverge and the orchestra enters, hesitantly at first but with slowly increasing challenge to the soloist. The violin reclaims prominence with a tiny solo cadenza, after which the orchestral strings ethereally echo the work’s opening tune. The brasses then draw more aggressive music from the ensemble, which the soloist again subdues into a quiet, icy passage that is reduced to a soft rumbling in the timpani. The bent, sliding notes and strange bowing effects of the partly improvised cadenza that follows offer other types of “scordatura.” The next section begins tentatively in pizzicato basses and regathers some energy, but gives way to another solo cadenza, this one recalling the glassy sounds and whistling of the opening. The orchestra tries to build to a vigorous close, but it is repeatedly overtaken by the soloist’s calming, repeated notes, and the Concerto evaporates into whisps of ascending sound, as though the music were being released from earthly restraints.

—Dr. Richard E. Rodda

Daníel Bjarnason, ©Saga Sig

EDVARD GRIEG

Born: June 15, 1843, Bergen, Norway

Died: September 4, 1907, Bergen, Norway

Peer Gynt

Music by Edvard Grieg

Written and directed by Bill Barclay

Adapted from the play by Henrik Ibsen

Produced by Concert Theatre Works

Originally commissioned by the Boston Symphony Orchestra.

CAST and Production Credits

Solveig: Camilla Tilling

Hardanger violin: Pekka Kuusisto

Peer Gynt: Caleb Mayo Åse: Bobbie Steinbach

The Button Molder: Robert Walsh

Ingrid, Anitra, Ensemble: Kortney Adams

Aslak, Begriffenfeldt, Ensemble: Daniel Berger-Jones

The Woman in Green, Ensemble: Caroline Lawton

The Dovre King of the Trolls, Mads Moen, Ensemble: Risher Reddick

Voice of the Boygen: Will Lyman

Scenic Designer: Cristina Todesco

Costume and Puppet Designer: Charles Schoonmaker

Puppet Co-Designer and Puppet Realization: Maura Gahan

Assistant Costume Designer: Rachel Padula-Shufelt

Costume construction: Stephanie Macklin

Dance Choreography: Nicole Pierce

Sound Designer: David Reiffel

Properties: Justin Seward and Cristina Todesco

Stage Manager: Chaal Aydiner

Associate Producer: Kimberly Schuette

Production Manager: Justin Seward

In January 1874, Grieg received a letter from the playwright Henrik Ibsen asking him to provide incidental music for a revival in Oslo of Peer Gynt, a philosophical fantasy with moralistic overtones to which the composer was not immediately attracted. Grieg was, however, rather badly in need of money at the time, and Ibsen’s offer of a sizeable share of the proceeds from the production proved irresistible. Grieg thought at first that he would need to compose no more than a few short sections of music, but he failed to take into account the contemporary Norwegian taste in theatrical productions, which demanded an entertainment not unlike a modern musical comedy, with extended musical selections separated by spoken dialogue. Ibsen accordingly shortened the text of the original 1867 version of the play to accommodate the new music. As it turned out, Grieg’s score contained some 23 separate numbers and cost him nearly two years of work. His effort bore fruit. The music for Peer Gynt, in the form of two orchestral suites, won him international fame and personal economic security, and raised him to the highest position in Scandinavian music.

Peer Gynt (George Bernard Shaw suggested that “Pare Yoont” is about as close to the Norwegian pronunciation as it was possible to come in English) is the central character of Ibsen’s play. The work is ostensibly a fantasy, but Ibsen used the genre as a thinly veiled essay upon the apathy and vacillation that he felt were characteristic of the Norwegian people. Grieg at first disagreed with Ibsen’s thesis—the main reason for his initial reluctance to become involved with the project—but he later changed his opinion. “How shockingly true to life the poet sketched our national

Composed: Grieg composed the original work in 1874–75.

Premiere: The original premiered on February 24, 1876 in Oslo, conducted by Johan Hennum. The Barclay adaptation premiered on October 19, 2017, Ken-David Masur conducting the Boston Symphony Orchestra.

Instrumentation: SAB vocal soloists, SATB chorus, solo Hardanger fiddle, 3 flutes (incl. 3 piccolos), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, crash cymbals, snare drum, tamtam, tambour de Basque, triangle, xylophone, harp, organ, piano, strings CSO notable performances: These performances are the CSO premiere of Bill Barclay’s adaptation of Peer Gynt Duration: approx. 75 minutes

Edvard Grieg, 1888. Photo: Elliot and Fry

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character,” he wrote after Ibsen’s death. Most of the play’s characters assume allegorical functions: they are more Jungian archetypes than true individuals. The death of Åse, Peer’s mother, for example, represents not just the loss of a loved one but, on Ibsen’s allegorical plane, also evokes “the dying of nature in the autumn, far up in the North—the disappearance of the sun for months, leaving this globe in a ruddy darkness,” according to Henry T. Finck.

Grieg outlined the plot of the play in the preface to the score of the Second Suite, though it needs to be pointed out that, as with Åse, the episodes and characters he mentions have a deeper, symbolic significance than is apparent from this brief précis:

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Peer Gynt, the only son of poor peasants, is drawn by the poet as a character of morbidly developed fancy and a prey to megalomania. In his youth, he has many wild adventures—comes, for instance, to a peasants’ wedding where he carries the bride up to the mountain peaks. There he leaves her so that he may roam about with wild cowherd girls. He then enters the land of the Mountain King, whose daughter falls in love with him and dances for him. But he laughs at the dance and its droll music, whereupon the enraged mountain folk wish to kill him. But he succeeds in escaping and wanders to foreign countries, among others to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate, he at last returns as an old man, after suffering shipwreck on his way to his home, which is as poor as he left it. There the sweetheart of his youth, Solvejg, who has stayed true to him for all these years, meets him, and his weary head at last finds rest in her lap.

—Dr. Richard E. Rodda

A Note from the Writer/Director

Henrik Ibsen’s sprawling verse play has always been intimidating to stage. His protagonist encounters a who’s who of Scandinavian folklore across three continents, 40 scenes and 60 years. As a contrast, Grieg’s original incidental score survives neatly in two concert suites, fashioned by the composer after the 1876 Oslo premiere. This new adaptation tonight tries to tame the story while going back to the wilder incidental score, mining for fresh bits of Grieg you’ve probably not heard before.

It’s hard to identify a more exuberant writer than Ibsen in 1867. In its grab bag of genres from fantasy to naturalism, Peer Gynt is said to anticipate the literary modernism of the First World War. I rather think it anticipates film, cutting from place to place, exploring fantastical imagery, and using comedy to connect us to Peer the person (who many believed had actually lived). Those innovations still amaze readers today, and all this before he wrote his greatest plays: Hedda Gabler, A Doll’s House, Ghosts, The Wild Duck and The Master Builder

Like the play that barely contains him, Peer has a foot in both romantic and modernist impulses. A dreamer and an opportunist, he pursues the world’s temptations in the mold of the self-made man, only to realize at death’s door the hollowing consequences of individualism. In all the translations I’ve read, the word “Self” reigns supreme in Peer Gynt. His simple aim is to be who he is above all else. After all, didn’t Shakespeare counsel us to be true to thyself “above all”? Peer dares us to criticize him for this. What is amazingly insightful is, in the decades since Ibsen wrote Peer Gynt, our global industrialized economy has only increasingly spun on this idea, as does our social media, celebritizing the Self one Instagram photo at a time. But where does compassion factor in? Where meaning? Is pleasure all? Peer’s cautionary tale of hedonism becomes more relevant with each passing day.

It is a joy to bring theatrical tools so fully into the concert hall with this iconic score. Too often, Peer Gynt is only known to us through Grieg’s greatest hits. I have labored to find homes for as many unfamiliar movements from the original score as I could. To serve the music, the text had to be written from scratch, economizing the narrative while retaining the spirit of Ibsen’s many different meters and rhyme schemes. We have committed to a rare fully staged presentation in the concert hall so that Grieg’s iconic music can reunite with the grandeur of the story and the caprice of its characters. Above all, we have stayed true to the spirit of equal partnership between Ibsen and Grieg in our “concert-theatre” approach. I hope we are honoring these legends most, however, in making something that feels true to us, too.

—Bill Barclay

“Above all, we have stayed true to the spirit of equal partnership between Ibsen and Grieg in our ‘concert-theatre’ approach.”

—Bill Barclay

Chamber Players

FRI JAN 20, 7:30 pm

Harry T. Wilks Studio, Music Hall

Quartet for Clarinet and String Trio (1933–2020) Notturno: Adagio Scherzo: Vivacissimo Serenade: Tempo di Valse Abschied: Larghetto

Krzysztof PENDERECKI

Ixi Chen, clarinet Eric Bates, violin Caterina Longhi, viola Theodore Nelson, cello

Quintet for Winds (b. 1938) Intrada Intermezzo Romanza Scherzo Finale Haley Bangs, flute Dwight Parry, oboe Joseph Morris, clarinet Christopher Sales, bassoon Molly Norcross, French horn

John HARBISON

Krzysztof PENDERECKI

INTERMISSION

Duo concertante per violino e contrabbasso

Anna Reider, violin Boris Astafiev, double bass

String Quartet No. 3 in B-flat Major, Op. 67 (1833–1897) Vivace Andante Agitato (Allegretto non troppo) Poco allegretto con variazione

Johannes BRAHMS

Stefani Matsuo, violin Gabriel Pegis, violin Christian Colberg, viola Ilya Finkelshteyn, cello

This performance is approximately 110 minutes long, including intermission.

YOU’RE INVITED to greet the musicians after the concert. The CSO Chamber Players series has been endowed in perpetuity by the ELEANORA C.U. ALMS TRUST, Fifth Third Bank, Trustee Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

KRZYSZTOF PENDERECKI

Born: November 23, 1933, Dębica, Poland

Died: March 29, 2020, Kraków, Poland

Quartet for Clarinet and String Trio

Krzysztof Penderecki’s Quartet for Clarinet and String Trio represents an important milestone in his compositional development, both in terms of his chamber music oeuvre and his evolution away from the chaotic musical language of previous works. Commissioned by the SchleswigHolstein Music Festival and premiered in Lübeck in 1993, the Quartet for Clarinet and String Trio falls into the composer’s chronology at the point where his synthesis period was acquiescing to a more cohesive idiom. Of the final movement of the quartet, titled Abschied (“farewell”), the composer writes:

The question should be asked: a farewell to what? Maybe to some kinds of music, yet not necessarily the final farewell. There have been periods of time in my life when I would become interested in one type of music and then I would return to some other type. Recently, this mischievous goblin which has been always present somewhere in my music and my personality has calmed down, giving way to lyricism and concentration. The time has come to retreat into privacy again, to leave the turmoil.

All four movements draw the listener toward the city of Vienna. A performance of Viennese composer Franz Schubert’s String Quintet in C Major (D. 956, Op. posth. 163) had left a deep impression on Penderecki and motivated him to conceive the first movement and the serenade. The restlessness of the cello line and the unison violin/cello melody in Schubert’s quintet are reflected in the opening and in the fourth movement of Penderecki’s composition. The second and fourth movements bear telltale signs of other successors of Vienna’s musical heritage: Arnold Schoenberg in the scherzo and Alban Berg in the Abschied Penderecki had originally conceived the Quartet as a work of seven movements, which accounts for the idiosyncrasies of proportion among the four movements that constitute the piece in its final form. Indeed, it is the Abschied that anchors the Quartet. Clocking in at eight minutes, it is as long as the other movements combined. In its opening 16 measures, the composer unifies the work by reiterating motives from the previous three movements. A lyrical clarinet line leads into a violin cadenza, followed by the barest outlines of a recapitulation. Finally, the composer permits an inkling of tonal resolution as the cello settles onto a low F pedal and the work draws to its sublime, ethereal “farewell.”

—Dr. Scot Buzza

Krzysztof Penderecki

Composed: 1993

Premiere: August 13, 1993 in Lübeck, Krzysztof Penderecki conducting Duration: approx. 15 minutes

JOHN HARBISON

Born: December 20, 1938, Orange, New Jersey

Quintet for Winds

I regarded the writing of a quintet for woodwinds as challenging. It is not a naturally felicitous combination of instruments, such as a string quartet.—John Harbison

With his 1979 Quintet, John Harbison clearly overcame the obstacles to the merging of five instruments distinct in their timbres, their ranges, their expressive possibilities, and their limitations. The resulting work is extremely challenging to play—its classical transparency notwithstanding.

Composed: 1979, commissioned by the Naumburg Foundation

Premiere: April 15, 1979 in Boston’s Jordan Hall by the Aulos Quintet

Duration: approx. 22 minutes

The piece opens with an Intrada structured on modulations of timbre and harmony. The upper registers of horn and bassoon give way to a melody in the upper winds, joined by the bassoon before the full quintet takes the movement to its conclusion. The Intermezzo second movement contains an asymmetrical, lilting tune that brings to mind the Intermezzo interrotto of Bartók’s Concerto for Orchestra. The Romanza alternates lush, cantabile lines with an ironic, playful motive before winding down to a placid state of equilibrium. The structure of the Scherzo reveals its kinship to the symphonic scherzo of the 19th century: the only remaining vestige of its minuet origins are its two similar outer sections encasing a slower, contrasting middle trio. The Finale is a kaleidoscope of everchanging texture and character that invokes associations with a full range of musical idioms, from the wind quintets of Anton Reicha to George Gershwin’s An American in Paris

The composer writes:

I was determined to deal in mixtures rather than counterpoints, and to strive for a classical simplicity of surface—to maximize what I felt to be the great strength of the combination, the ability to present things clearly. The piece especially emphasizes mixtures and doublings and maintains a classically simple surface. It is extremely challenging to play, and one of the principal rewards of the piece has been the opportunity to work with a number of resourceful, inquisitive, and fearless wind players in the mutually beneficial expansion of their repertory.

—Dr. Scot Buzza

PENDERECKI: Duo concertante per violino e contrabasso

Composed: 2010

Premiere: March 9, 2011, Hanover, Germany; AnneSophie Mutter, violin, and Roman Patkoló, bass

Duration: approx. 6 minutes

KRZYSZTOF PENDERECKI

Duo concertante per violino e contrabbasso

Polish composer Krzysztof Penderecki was the most fêted composer of the 20th century by quite a large margin, boasting a ledger of honors and accolades unparalleled by any other composer of his century. Over the course of six decades, he collaborated with an impressive roster of international artists and often conceived works with specific performers in mind. At age 12, German violinist Anne-Sophie Mutter began a lifelong collaboration with the composer that resulted in his tailoring many of his works to her talents, including his second violin concerto (Metamorphoses), his second violin sonata, and the Duo concertante per violino e contrabbasso.

Mutter describes how she believes Penderecki’s worldview is mirrored in his compositions:

I think the gentle impression which Krzysztof Penderecki’s music leaves is that he is a wonderful reminder of historic moments. Sadly, a lot of history is filled with drama, grief, and death, and that is why some of his greatest music actually relates to that […] For all of these very sorrowful and unique moments in all of their tragic color, he is able to find a musical language which is so personal and so true to that moment in history.

The Duo concertante was commissioned by the Anne-Sofie Mutter Stiftung for Highly Gifted Musicians and conceived for the violinist to perform with bassist Roman Patkoló. The Italian title draws on another piece for violin and double bass, Giovanni Bottesini’s 1880 Gran duo concertante, originally for two double basses with orchestra.

Penderecki’s work captivates the listener with mercurial moods, vacillating from brooding to playful, from to lush to manic. The work

John Harbison

opens with the indication Quasi una cadenza, and quickly unfolds into a five-note figure that volleys between the two players against a backdrop of virtuoso passages every bit as colorful as they are astonishing: Penderecki explores a full range of expressive possibilities in the span of five minutes, including scordatura (alternate string tuning), tremolo, glissandos, pizzicato, left-hand pizzicato, double stops, natural and artificial harmonics, striking the strings with the fist, percussive effects on the body of the instrument, and bowing on the back side of the bridge.

The technical challenges of the work are formidable. But in the hands of gifted performers who can thoughtfully engage their audience, the Duo concertante per violino e contrabbasso rewards the listener handsomely, indeed.

—Dr. Scot Buzza

JOHANNES BRAHMS

Born: May 7, 1833, Hamburg, Germany

Died: April 3, 1897, Vienna, Austria

String Quartet No. 3 in B-flat Major, Op. 67

On a program of music by Krzysztof Penderecki (1933–2020) and John Harbison (b. 1938), how does the 19th-century Viennese composer Johannes Brahms fit?

Brahms, without renouncing beauty and emotion, proved to be a progressive in a field which had not been cultivated for half a century… progress in the direction toward an unrestricted musical language which was inaugurated by Brahms the Progressive.

The above statement from the oft-quoted article by Arnold Schoenberg, “Brahms the Progressive” from his 1950 book Style and Idea, provides at least a philosophic reason: Brahms is the composer who opened the door to a free musical language, which ushered in the age of the “emancipation of the dissonance” (Schoenberg’s term) and compositional techniques such as 12-tone, free atonality and extended tertian harmony. Within the context of our modern ears, the innovation of Brahms’ music is, perhaps, lost to us, but within the context of this program we can hear the progressiveness that Schoenberg did.

The compositional shadow of the 122 string quartets written by Haydn, Mozart and Beethoven loomed over Brahms, and he painstakingly revised and edited his first two string quartets for nearly a decade before they were published in 1873 as Op. 51. Brahms would contribute only one additional quartet to the repertoire, Op. 67.

Brahms equally toiled over the symphonic genre. He started his first symphony in 1862 and it remained unfinished in 1875. He wrote to his friend Franz Wüllner in the summer of 1875, “I stay sitting here, and from time to time write highly useless pieces in order not to have to look into the stern face of a symphony.” One of these “useless pieces” was the Op. 67 string quartet.

The first two of Brahms’ string quartets are dark, dramatic, broody and often sentimental. In contrast, the third is witty, light-hearted and, as Clara Schumann wrote, “too delightful for words.” This change in character has not diminished the technical demands nor his compositional novelty. As James M. Keller wrote, “We find Brahms not less proficient in his mastery— Brahms always astonishes—but he seems to a large degree freed from his compositional demons.”

—Tyler M. Secor

Composed: 1875, while on vacation in Ziegelhausen near Heidelberg

Premiere: October 30, 1876 in Berlin by the Joachim Quartet Duration: approx. 34 minutes

Krzysztof Penderecki

SAT JAN 21, 7:30 pm

SUN JAN 22, 2 pm Music Hall

LOUIS LANGRÉE, conductor RANDALL GOOSBY, violin

Julia PERRY Homunculus C.F. for percussion ensemble, (1924–1979) with harp and piano

Piotr Ilyich

Concerto in D Major for Violin and Orchestra, Op. 35 TCHAIKOVSKY

Allegro moderato. Moderato assai. Allegro giusto (1840–1893) Canzonetta: Andante— Allegro vivacissimo

INTERMISSION

Sergei PROKOFIEV Symphony No. 3 in C Minor, Op. 44 (1891–1953)

Moderato Andante Allegro agitato Andante mosso—Allegro moderato

These performances are approximately 105 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor Johnson Investment Counsel

The appearance of Randall Goosby is made possible by the Vicky and Rick Reynolds Fund for Diverse Artists

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC May 14, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

JULIA PERRY

Born: March 25, 1924, Lexington, Kentucky

Died: April 24, 1979, Akron, Ohio

Homunculus C.F. for percussion ensemble, with harp and piano

Within the changing dynamics of the Post-World War II concert hall, composer/conductor Julia Perry emerged as one of a number of Black women composers whose music would point to new forms of experimentation. Unlike her peers Margaret Bonds, Undine Smith Moore, Hale Smith and George Walker, Julia Perry remains much of an enigma. But her musical activity and rich, diverse catalog frames a different perspective of how Black composers and musicians navigated the politics of the Post-World War II concert scene.

Julia Perry was born in Lexington, Kentucky in 1924, but spent most of her formative years in Akron, Ohio. Her studies of violin, piano and voice prepared her for enrollment at Westminster Choir College after graduating high school. Perry expanded her musical studies to also include conducting and composition while at Westminster. She graduated with a bachelor’s degree in 1947 and a master’s in 1948.

Soon thereafter, Perry moved to New York, where she studied composition at Juilliard. The 1950s marked a period in which Perry’s development as a composer and conductor progressed significantly. In 1951, she began what would prove to be a long and rewarding musical relationship with composer Luigi Dallapiccola. She studied with the composer first at the Berkshire Music Center at Tanglewood, but the financial support of a Guggenheim Fellowship led to her continuing this work in Florence a year later. It was also during this period that she studied with famed composer/conductor/pedagogue Nadia Boulanger in France.

Perry spent much of the decade following World War II in Europe, studying, concertizing and conducting. Like many Black musicians, she participated in concert tours and lectures sponsored by the United States Information Agency. Perry’s compositional voice soon displayed her mastery of modernist styles such as minimalism, atonality and serialism, along with the neo-Romantic aesthetic that flourished among Black composers during the height of the Harlem Renaissance.

Perry’s work during the 1960s included short-term teaching stints at Florida A&M University and Atlanta University, and the cultivation of a private studio offering piano instruction. She composed prolifically, producing a catalog that stretched across genres. Her oeuvre came to include symphonies, opera, chamber music, choral anthems, arrangements of spirituals, and art songs. Despite the prolific nature of her work, only a few of Perry’s compositions were recorded during her lifetime. One was the well-known chamber work Homunculus C.F.

The work was written during the summer of 1960, when Perry was living in an apartment that was located above her father’s medical practice in Akron. The clinical environment of the office drew Perry to the Faustian legend—more specifically Wagner, the central character’s apprentice, and his experiments that resulted in the creation of a small man, Homunculus. It is the organic nature of alchemy—combination, transformation, creation—that underscores the structure and form of Perry’s composition.

Homunculus C.F. is written for percussion instruments, harp, xylophone, vibraphone, celesta and piano. Although the piece is fairly short, its form is realized through four sections that center on the introduction of base

Composed: 1960

Premiere: January 28, 1965, for a recording by the Manhattan Percussion Ensemble, Paul Price conducting

Instrumentation: timpani, bass drum, crash cymbals, snare drum, suspended cymbals, vibraphone, wood blocks, xylophone, harp, celeste, piano

CSO notable performances: First Performance: November 2020 at a livestream-only concert, Louis Langrée conducting.

Duration: approx. 6 minutes

Julia Perry

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elements—rhythm, melody, harmony—that are then combined and varied in a systematic way, which can be viewed as a replication of the alchemical process that resulted in the creation of Homunculus. Melodic and harmonic elements are grounded in what Perry called the Chord of the Fifteenth (C.F.), the superimposition of two major seventh chords (E G# B D# F# A# C# E#). In the liner notes to the 1965 recording Perry wrote, “having selected percussion instruments for my formulae, then maneuvering and distilling them by means of the Chord of the Fifteenth, this musical test tube baby was brought to life.”

The work begins with rhythmic interplay between the non-pitched instruments (woodblocks, snare and bass drum, and cymbals). This exchange is amplified with the entrance of the timpani in what proves to be a transitional moment, introducing both melodic and harmonic elements that are varied in the next three sections. The second section is marked by the timpani establishing the foundational pitch of the C.F. (E-natural) as it engages with the harp.

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The interplay between harp and timpani is soon interrupted by the entrance of the vibraphone and celesta, which introduces a new motive, further underscoring the harmonic aspects of the work. Having now established the elemental aspects of the work, Perry uses the last section of the work to bring them all together, culminating in the full articulation of her musical alchemy—her creation, the Chord of the Fifteenth.

In 1964, Perry received a grant from the National Institute of Arts and Letters, which financed a recording with the label Composers Recordings, Inc. (CRI). A year later, Homunculus C.F. was performed at the Manhattan School of Music. It worth noting that it is one of two works

in Julia Perry’s catalog that references the Faust legend. The other is a play called Fisty M-E!

Despite the many health challenges that significantly affected her professional work during the 1970s, Perry continued to compose. She died on April 24, 1979, in Akron at age 55. Unfortunately, much of Perry’s personal writings and manuscripts was lost during the years that followed her death. These circumstances have contributed to her music falling into relative obscurity. However, renewed interest in the life and music of Julia Perry will hopefully not only rectify this, but also illuminate the true depth and diversity of her artistry.

—Dr. Tammy Kernodle

PIOTR ILYICH TCHAIKOVSKY

Born: May 7, 1840, Kamsko-Votkinsk, Russia

Died: November 6, 1893, Saint Petersburg, Russia

Concerto in D Major for Violin and Orchestra, Op. 35

There is certainly no shortage of great masterpieces that met with negative criticism at their premiere, but few have fared worse than Tchaikovsky’s Violin Concerto. This may sound surprising, since this work, now one of the most popular of all concertos, has none of the revolutionary spirit of Stravinsky’s Rite of Spring, Wagner’s Ring cycle or Beethoven’s Eroica, to name just three works that generated heated controversies around the time of their premieres. Yet there were some distinct ways in which the Tchaikovsky concerto clashed with the expectations of people who had very strong opinions about what a violin concerto ought to be like. The great violinist and teacher, Leopold Auer, for whom the concerto was written, rejected it. And the Viennese critic Eduard Hanslick, a friend of Brahms and a fierce opponent of Wagner, uttered the immortal phrase after the 1881 premiere that the concerto “stank to the ear.” The harshness and vulgarity of these opinions could not help but exacerbate Tchaikovsky’s depressive tendencies that were never far from the surface. The composer never forgot Hanslick’s diatribe to the end of his days.

Why this unusually strong resistance to a work that did not attempt to challenge the existing world order but wanted “simply” to be what it was: a brilliant and beautiful violin concerto? In Hanslick’s case, the answer may lie in the critic’s inability to accept symphonic music that was not Germanic in spirit. The first great violin concerto to come from Russia, Tchaikovsky’s work certainly struck a chord that was disconcertingly foreign in Vienna. (It is ironic that Hanslick thought of Tchaikovsky as a Russian barbarian, while in Russia, the composer was considered a “Westernizer” who was not as truly and completely Russian as Balakirev and his circle, known as the “Mighty Five.”) As for Auer, the novel technical demands of the piece may have seemed to him insurmountable at first; yet, to his credit, he soon took a second look and changed his mind. He became a great advocate of the concerto, and taught it to many of his star students, whose list included Mischa Elman, Jascha Heifetz and Efrem Zimbalist.

The concerto was written in the spring of 1878. In order to recover from the recent trauma of his ill-fated and short-lived marriage to Antonina Milyukova, Tchaikovsky retreated to the Swiss village of Clarens, on the shores of Lake Geneva, accompanied by his brother Modest, and a 22-year-old violinist named Iosif Kotek, who assisted him in matters of violin technique. The composition progressed so effortlessly that the whole concerto was written in only three weeks, with an extra week taken

Composed: March 17–April 11, 1878, at Clarens on Lake Geneva, Switzerland

Premiere: December 4, 1881, Vienna, Hans Richter conducting; Adolf Brodsky, violin

Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings

CSO notable performances: First Performance: January 1899, Frank Van der Stucken conducting with Willy Burmester, violin. Most Recent: November 2019, Louis Langrée conducting with Gil Shaham, violin. Other: November 1913, Ernst Kunwald conducting and Fritz Kreisler, violin; January 1919, Eugène Ysaÿe conducting and Mischa Elman, violin.

Duration: approx. 36 minutes

Piotr Ilyich Tchaikovsky

One of the things that makes this concerto so great is surely the ease with which Tchaikovsky moves from one mood to the next…

up by the orchestration. During this time, Tchaikovsky wrote not only the three concerto movements that we know, but a fourth one as well: the initial second movement, “Méditation,” was rejected at an early runthrough and replaced with the present “Canzonetta,” written in a single day. Due to Auer’s initial unfavorable reaction, no violinist accepted the work for performance for three years, until the young Adolf Brodsky, a Russianborn virtuoso living in Vienna, chose it for his debut with the Vienna Philharmonic, so uncharitably described by Hanslick.

One of the things that makes this concerto so great is surely the ease with which Tchaikovsky moves from one mood to the next: lyrical and dramatic, robustly folk-like and tenderly sentimental moments follow one another without the slightest incongruity, similarly to Tchaikovsky’s famous Piano Concerto No. 1, written three years earlier. Another remarkable feature is the combination of virtuosity with emotional depth: although the technical difficulties of the solo part are tremendous, every note also expresses something that goes far beyond virtuosic fireworks. All in all, it is one of the greatest violin concertos ever written, and no critic after Hanslick has ever challenged its status again or smelled anything unpleasant in the work!

—Peter Laki

SERGEI PROKOFIEV

Born: April 23, 1891 (April 11, Old Style), Sontsovka, Russia (Ukraine)

Died: March 5, 1953, Moscow, Russia

Symphony No. 3 in C Minor, Op. 44

Prokofiev’s Third Symphony is based on thematic material from the opera The Fiery Angel, which the composer had been working on from 1919 to 1927. This work—one of Prokofiev’s boldest creations—was never performed in its entirety during the composer’s lifetime. Despairing of seeing his opera produced, the composer used music from it in a symphony, which at least reached the concert hall in 1929.

One sign of the operatic origins of this music may be found at the very beginning of the first movement, which unmistakably sounds like a musical “curtain.” The themes are subjected to an enormous range of transformations in harmony and orchestration, before the movement ends with a pianissimo version of the initial “curtain” motif.

In the second movement, Prokofiev manages, as he so often does, to make the familiar appear unfamiliar. Through subtle changes of harmony and orchestration, he turns what would otherwise be fairly conventional melodic writing into an uncommon event, full of tension and mystery.

The third movement is, without a doubt, the most modern section of the Symphony. In this eerie scherzo, Prokofiev divided each string section (except the basses) into three subsections and had them play elaborate interlocking rhythmic figures that are punctuated by the muted glissandos of the first violins. This whole complex is constantly moving along a dynamic scale, from piano to forte and back again. The movement’s Trio is a much more conventional Allegretto section, after which the scherzo is repeated. The concluding solemn epilogue is nothing but a slower version of the first movement’s “curtain” idea.

The Finale begins with an energetic Andante mosso for full orchestra, leading into a frenzied Allegro moderato. One of the themes from the second movement returns, played not softly this time but fortissimo by the full orchestra against a menacing background. There is a mysterious tranquillo episode, but it is not long before the Allegro moderato returns with even more “bite” than before.

—Peter Laki

Composed: 1928

Premiere: May 27, 1929, Paris, Pierre Monteux conducting the Orchestre Symphonique de Paris.

Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, campanelli, castanets, crash cymbals, snare drum, suspended cymbals, tamtam, tambour de Basque, 2 harps, strings

CSO notable performances: First/Most Recent Performance: February 2008, Pietari Inkinen conducting Duration: approx. 34 minutes

OF NOTE

Congratulations to Cincinnati Symphony Youth Orchestra (CSYO) Concerto Competition winners

Vivian Chang and Ari Peraza. Vivian Chang (a sophomore at Mason High School) will perform the first movement of Jean Sibelius’ Violin Concerto on the May 14 CSYO Philharmonic concert. Ari Peraza (a senior at Wyoming High School) will perform the first movement of Samuel Barber’s Cello Concerto on the CSYO/CSO Side by Side concert on April 23. cincinnatisymphony.org/csyo

Sergei Prokofiev, ca. 1918

CSYO Concerto Competition winners

Vivian Chang and Ari Peraza

Celebrating the

PNC is proud to be the Pops Se Sponsor and to support the Cincinnati Symphony Orchestra and Cincinnati Pops. Thank you for helping to make the Greater Cincinnati region a beautiful place to call home.

arts and the joy they bring to life every day.

FRI JAN 27, 7:30 pm

SAT JAN 28, 7:30 pm

SUN JAN 29, 2 pm

Music Hall

TCHAIKOVSKY SPECTACULAR: 1812 OVERTURE

Damon Gupton, conductor (Saturday/Sunday)

Samuel Lee, conductor (Friday)

Piotr Ilyich TCHAIKOVSKY (1840–1893):

“Morning Prayer” from Album for the Young

Polonaise from Eugene Onegin

Selections from Swan Lake Scene Waltz Dance of the Swans Czardas

Andante Cantabile from String Quartet No. 1

“Peanut Brittle Brigade” from The Nutcracker Suite (arr. Ellington and Strayhorn, orch. Tyzik)

INTERMISSION

Suite from The Sleeping Beauty Introduction Pas d’action Waltz

1812 Overture

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Program subject to change

The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC

The Cincinnati Pops Orchestra is grateful to Mr. and Mrs. Val Cook whose generous endowment supports this performance.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

WVXU is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC May 21, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

“Peanut Brittle Brigade,” arr. Ellington and Strayhorn and orch. Tyzik, presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners.

FRI FEB 3, 11 am SAT FEB 4, 7:30 pm Music Hall

LOUIS LANGRÉE, conductor JEAN-YVES THIBAUDET, piano

CHEN Qigang Wu Xing (“The Five Elements”) (b. 1951)

Sui (Water) Mu (Wood) Huo (Fire) Tu (Earth) Jin (Metal)

Franz LISZT Concerto No. 2 in A Major for Piano and Orchestra (1811–1886) Adagio sostenuto assai—Allegro agitato assai Allegro moderato Allegro deciso Allegro animato

INTERMISSION

ZHOU Tian The Palace of Nine Perfections (b. 1981)

Maurice RAVEL Rapsodie espagnole (1875–1937) Prélude à la nuit (“Prelude to the Night”) Malagueña Habanera Feria (“Festival”)

These performances are approximately 100 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC March 26, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Composed: 1998–99, commissioned by Radio France

Premiere: May 21, 1999, Paris, Didier Benetti conducting the Orchestre National de France

Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, harp, celeste, piano, strings

CSO notable performances: These are the first CSO performances of The Five Elements

Duration: approx. 10 minutes

CHEN QIGANG

Born: August 28, 1951, Shanghai, China

Wu Xing (“The Five Elements”)

The “Five Elements” describes a system of thought originating in ancient Chinese Daoist philosophy. These elements represent five basic stages along the Yin-Yang developmental process: water, fire, metal, wood and earth. Ancient Chinese philosophers used this concept to explain the form of everything on earth and the mutually interdependent relationship between all objects and beings. This way of seeing the world emphasized unity and described the changeable quality of matter as well as the transformations it could undergo. This is China’s oldest theoretical system.

In this work, I wanted not only to express the individual character of each element, but also the logical series of transformations that connects them. I sought to use music to explore the interdependent evolution that connects human beings to the physical world. These two domains at times seem completely separate, while at other times they seem to complement one another. Finally, they coalesce into a unified vision of the world, boundless and encompassing both domains of existence.

I also decided to express my personal view of the relationship between these elements, to propose a musical interpretation of what I consider each element’s symbolic meaning, and thus to suggest an ordering of the five elements based on their successive generation. I decided on the order of water, wood, fire, earth and, finally, metal.

For me, water is the strongest element, but it is also characterized by tranquility. Wood is the richest element, and the most varied. Fire represents life and warmth, but it is not aggressive. Earth is the basic substance, a starting point, a generative principle. Metal refers to strength and light.

—Chen Qigang

FRANZ LISZT

Born: October 22, 1811, Doborján, kingdom of Hungary, Austrian Empire (now Raiding, Austria)

Died: July 31, 1886, Bayreuth, Germany

Concerto No. 2 in A Major for Piano and Orchestra

Composed: 1839–40

Premiere: January 7, 1857, Weimar, Franz Liszt conducting, Hans von Bronsart, piano

Instrumentation: solo piano, 3 flutes (incl. piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, crash cymbals, strings

As pianist, Franz Liszt helped usher in an age of virtuosity, in which spectacular showmanship and transcendental technique merged on the stage in ways that irrevocably altered the dynamics of the concert experience. As composer, he developed new genres like the rhapsody and symphonic poem, while transforming traditional ones like the sonata and symphony. Born in Hungary, raised speaking German, living his formative years in Paris, and spending the last quarter of his life in Weimar, Rome and Budapest, Liszt projected a cosmopolitan orientation that ran counter to the increasingly militant strains of nationalism that sounded across Europe during his lifetime.

While Liszt’s earliest compositions show a deep debt to the works of Czerny (with whom he studied), Hummel, Moscheles, and Weber, drafts of his earliest extant music for piano and orchestra (1830s) are decidedly Romantic—confrontational with tradition, highly individualistic, esoterically referential, formally open-ended, and physically and mentally taxing.

Liszt likely avoided the genre of the piano concerto during his virtuoso years because he had found such wild success with his large-scale fantasies on popular operas of the day, arrangements of movements

Chen Qigang. Photo: Wang Hong

Franz Liszt,

of Beethoven’s symphonies and Schubert’s art songs, and extended improvisations. His retirement from the concert stage in the late 1840s gave him a long overdue opportunity to collect, reevaluate and revise the miscellany of sketches, drafts and published compositions he had produced over the last two decades. The Piano Concerto in A Major seems to have begun life in 1839, the same year as the Totentanz. Liszt returned to both works several times in the 1840s and 1850s before completing them in the 1860s.

The version of the Piano Concerto in A Major played today offers an excellent window into Liszt’s mid-century aesthetic. Most provocative is the Concerto’s casting in a single movement.

The A-major Concerto’s foundational musical idea comes right at the beginning, with clarinets and oboes playing a wistful, almost melancholy chromatic melody that is colored by an intimate group of bassoons and flutes. The solo piano inveigles its way into this small ensemble with a rich accompaniment, then pivots to a more truculent transformation of the theme. As the orchestra increases its activity, the piano responds in kind, with a massive, quasi-orchestral cadenza. Three thematic transformations quickly follow: a dramatic martial theme in D minor, a leaping half-step motive in D-flat major, and a frenzied figure in B-flat minor in the dancefriendly meter of 6/8.

All three of these transformations strongly conceal their connection to the Concerto’s opening theme, so it is a welcome relief when the piano’s arpeggiated accompaniment returns, this time to support a solo cello melody. Structurally, this appearance signals the beginning of the classical concerto’s slow movement, in which Liszt spins out several variations. A cadenza ends this section, after which the orchestra recalls earlier musical ideas—prominent among them, the martial theme—while the piano thunders up and down the keyboard.

Liszt saves his most ostentatious thematic transformation for the Concerto’s most important structural event: the return to the home key of A major, which in turn initiates a wholesale review of materials heard earlier in the work. Important, though, is that Liszt treats this structural mandate to recall as an opportunity to transform further. Thus, the first solo section that follows offers a different kind of arpeggiation that accompanies clarinets, bassoons and upper strings. Likewise, the piano’s forays into the instrument’s higher registers are not thick and bombastic as before, but light and playful, as if the day’s cannon fire had given way to the night’s fireflies. A frenzied coda provides one more opportunity to review and transform before bringing the work to the inevitably thunderous conclusion.

—Dr. Jonathan Kregor

LISZT, cont.

CSO notable performances: First Performance: March 1904, Frank Van der Stucken conducting with Alfred Reisenauer, piano. Most Recent: February 2015, Paavo Järvi conducting with Khatia Buniatishvili, piano. Other: February 1982, Michael Gielen conducting with pianist Alfred Brendel (including a performance at Carnegie Hall, February 22, 1982); November 1957, Thor Johnson conducting with pianist Claudio Arrau; February 1965, Max Rudolf conducting with pianist Jeanne-Marie Darré.

Duration: approx. 24 minutes

Composed: 2004

Premiere: March 29, 2004, Field Concert Hall, Philadelphia, Benjamin Schwartz conducting the Curtis Symphony Orchestra

ZHOU TIAN

Born: 1981, Hangzhou, China

The Palace of Nine Perfections

The Palace of Nine Perfections was inspired by a painting under the same name by Yuan Jiang, believed to date from 1691. Though I learned about the painting growing up in China, it was not until 2003 when I first saw the real work at the Metropolitan Museum of Art in New York. I was immediately moved by it—the sumptuous color on silk depicts a Daoist paradise, and yet, there is something mystical, dark, embedded underneath. Inspired, I wanted to create a musical reaction to Yuan’s vision, hoping we could see as well as hear The Palace of Nine Perfections

The work, consisting of three major parts, ranges from epic to extremely

Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, crotale, crash cymbals, glockenspiel, large bell, slapstick, snare drum, suspended cymbals, tam-tam, triangle, harp, celeste, strings

CSO notable performances: These are the first CSO performances of The Palace of Nine Perfections.

Duration: approx. 9 minutes

Zhou Tian, ©Harley-Seeley

Maurice Ravel

Composed: 1907–08

Premiere: March 15, 1908 in Paris, conducted by Édouard Colonne.

Instrumentation: 2 flutes, 2 piccolos, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, sarrousophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, castanets, crash cymbals, snare drum, suspended cymbals, tam-tam, tambour de Basque, triangle, xylophone, 2 harps, celeste, strings

CSO notable performances: First Performance: October 1926, Fritz Reiner conducting. Most Recent: September 2012, William Eddins conducting. Other: Jesús López Cobos and the CSO recorded the work on the 1988 Ravel: Boléro, Rapsodie espagnole, et al. CD. Duration: approx. 16 minutes

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intimate. Through a lush orchestral palette, I sought to create a fusion of folky musical elements and fresh approaches to orchestration and timbre.

—Zhou Tian

MAURICE RAVEL

Born: March 7, 1875, Ciboure, Basses-Pyrénées, France Died: December 28, 1937, Paris, France

Rapsodie espagnole

“Ravel’s Spain was an ideal Spain inherited from his mother, a lady who used to delight me with her conversation, always in fluent Spanish, about the youthful years she had spent in Madrid. Then I could understand with what fascination her son must have heard the frequent retelling of these reminiscences, the songs and the dances associated with them. And that also explains not only the attraction Ravel felt for this country of his childhood dreams, but also why he had such a strong preference for the rhythm of the Habanera—the song form that was most in vogue during his mother’s day in Madrid.” Manuel de Falla, Spain’s greatest composer, wrote those words about his French colleague to explain the persistent Spanish strain in Ravel’s music. Not only this Spanish Rhapsody but also Boléro, Alborada del gracioso and L’heure espagnole attest to the Hispanic interests fostered by his mother’s stories and his Basque birthplace on the slopes of the Pyrenees.

In the years immediately following his failure to win the Prix de Rome in 1905, Ravel enjoyed a burst of creativity fueled by his freedom from academic restraints for the first time in his life. In the late summer of 1907, when he first took up the Rapsodie espagnole, he was bothered by the street noises bombarding his apartment in Paris, and some friends offered him the use of their yacht moored at Valvins. He gladly accepted, and soon took up the life of a recluse, seeing no one except the boat’s gruff but likable captain, with whom he shared his meals. Ravel worked quickly, and he was soon able to return to Paris with the finished score.

By 1908, when the Rapsodie espagnole was launched into the world, Ravel’s name was one of the most widely known in French music. The occasion of the premiere added yet another bit of notoriety to his reputation, since the audience received Ravel’s new work with a mixed reaction. The galleries, which held many of Ravel’s supporters, enthusiastically acclaimed the piece, but a certain murmuring rose from the lower levels of the Théâtre du Châtelet, where the more staid members of the audience congregated. Above the rustling, Florent Schmitt, Ravel’s close friend and fellow composer, called out, “Just once more, for the gentlemen below who haven’t been able to understand.” The Malagueña section was encored by the sympathetic performers, and, despite some critical carping, the work became a success.

Rather than a single span of music, the Rapsodie espagnole is really a miniature suite of three dances with a prelude. Ravel described the first section of the Rapsodie, Prélude à la nuit (“Prelude to the Night”), as “voluptuously drowsy and ecstatic.” The Malagueña was based on a genre that was initially a Spanish courting dance that had developed into a virtuoso vehicle for the café singers of the 19th century. The Habanera, whose rhythm is similar to that of the tango, is an orchestration of Ravel’s piano piece of 1895, subtitled in both versions Au pays parfumé que le soleil caresse (“In the fragrant land caressed by the sun”). The Feria (“Festival”) is an exhilarating depiction of an Iberian holiday.

—Dr. Richard E. Rodda

INSTITUTIONAL SUPPORT

Local and national foundations, businesses, and government agencies are integral to the Orchestra’s vibrant performances, community engagement work, and education activities. We are proud to partner with the following funders.

SERIES SPONSORS

PLATINUM BATON CIRCLE ($50,000+)

ArtsWave

Charles H. Dater Foundation

The Carol Ann and Ralph V. Haile, Jr. Foundation

Hamilton County

David C. Herriman Fund of Greater Cincinnati Foundation

Carl Jacobs Foundation

H.B., E.W., F.R. Luther Charitable Foundation

The Mellon Foundation

Dr. John & Louise Mulford Fund for the CSO

National Endowment for the Arts

Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation

Ohio Arts Council

PNC Bank

Margaret McWilliams Rentschler Fund of Greater Cincinnati Foundation

Harold C. Schott Foundation / Francie and Tom Hiltz, Trustees

Marge and Charles J. Schott Foundation

The Louise Taft Semple Foundation

Skyler Foundation

US Small Business Administration Western & Southern Financial Group

Anonymous

GOLD BATON CIRCLE ($25,000–$49,999)

City Of Cincinnati Coney Island

The Cincinnati Symphony Club

Fifth Third Bank Foundation

Jeffrey & Jody Lazarow and Janie & Peter Schwartz Family Fund of Greater Cincinnati Foundation George and Margaret McLane Foundation

The Ladislas & Vilma Segoe Family Foundation

United Dairy Farmers & Homemade Brand Ice Cream

The Wohlgemuth Herschede Foundation

SILVER BATON CIRCLE ($15,000–$24,999)

Drive Media House

HORAN

The Jewish Federation of Cincinnati

The Jewish Foundation of Cincinnati Jewish Cincinnati Bicentennial Johnson Investment Counsel

League Of American Orchestras The Rendigs Foundation

Taft Stettinius & Hollister LLP

Scott and Charla Weiss Wodecroft Foundation

2022 ARTSWAVE PARTNERS

CONDUCTOR’S CIRCLE ($10,000–$14,999)

Bartlett Wealth Management Chemed Corporation

The Crosset Family Fund of Greater Cincinnati Foundation

Kelly Dehan and Rick Staudigel Graeter’s Ice Cream

Peter E. Landgren and Judith Schonbach Landgren Mariner Wealth Advisors

Messer Construction Co.

Ohio National Financial Services

Oliver Family Foundation

The Daniel & Susan Pfau Foundation The Procter & Gamble Company

CONCERTMASTER’S CIRCLE ($5,000–$9,999)

Levin Family Foundation Metro

The Willard & Jean Mulford Charitable Fund Pyro-Technical Investigations, Inc. Queen City (OH) Chapter of The Links, Incorporated Thompson Hine LLP

ARTIST’S CIRCLE ($2,500–$4,999)

d.e. Foxx and Associates, Inc. Mayerson Jewish Community Center Charles Scott Riley III Foundation

BUSINESS & FOUNDATION PARTNERS (up to $2,499)

African American Chamber of Commerce Visit Cincy Classics for Kids Foundation

Albert B. Cord Charitable Foundation D’Addario Foundation

Earthward Bound Foundation Susan Friedlander

Hixson Architecture Engineering Interiors Integrity Development

Robert A. & Marian K. Kennedy Charitable Trust PricewaterhouseCoopers LLP

The Voice of Your Customer Toi and Jay Wagstaff

Join this distinguished group! Contact Sean Baker at 513.744.3363 or sbaker@cincinnatisymphony.org to learn how you can become a supporter of the CSO and Pops. This list is updated quarterly.

The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledge the following partner companies, foundations and their employees who generously participate in the Annual ArtsWave Community Campaign at the $100,000+ level.

altafiber

Cincinnati Business Courier

Cincinnati Children’s Hospital Medical Center

The Cincinnati Insurance Companies

Cincinnati Reds

Duke Energy

The E.W. Scripps Company and Scripps Howard Foundation

The Enquirer | Cincinnati.com

Fifth Third Bank and the Fifth Third Foundation GE

Great American Insurance Group

The H.B., E.W. and F.R. Luther Charitable Foundation, Fifth Third Bank, N.A., Trustee The Kroger Co.

Messer Construction Co. Ohio National Financial Services P&G PNC

Western & Southern Financial Group U.S. Bank

Pops Season

Lollipops Series

CSO Season

PERMANENT ENDOWMENTS

Endowment gifts perpetuate your values and create a sustainable future for the Orchestra. We extend our deep gratitude to the donors who have provided permanent endowments in support of our programs that are important to them. For more information about endowment gifts, contact Kate Farinacci, Director of Special Campaigns & Legacy Giving, at 513.744.3202.

ENDOWED CHAIRS

Grace M. Allen Chair

Ellen A. & Richard C. Berghamer Chair

Robert E. & Fay Boeh Chair

The Marc Bohlke Chair Given by Katrin & Manfred Bohlke

Trish & Rick Bryan Chair

Otto M Budig Chair Family Foundation Chair

Mary Alice Heekin Burke Chair

Peter G. Courlas–Nicholas Tsimaras Chair

Ona Hixon Dater Chair

The Anne G. & Robert W. Dorsey Chair+

Jane & David Ellis Chair

Irene & John J. Emery Chair

James M. Ewell Chair

Ashley & Barbara Ford Chair for Assistant Conductor

Ashley & Barbara Ford Chair for Assistant Conductor

Ashley & Barbara Ford Chair for Principal Tuba

Susan S. & William A. Friedlander Chair+

Charles Gausmann Chair

Susanne & Philip O. Geier, Jr. Chair+

Emma Margaret & Irving D. Goldman Chair

Clifford J. Goosmann and Andrea M. Wilson Chair for First Violin

Charles Frederic Goss Chair

Jean Ten Have Chair

Dorothy & John Hermanies Chair

Lois Klein Jolson Chair

Michael L. Cioffi & Rachael Rowe— the Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

Josephine I. & David J. Joseph, Jr. Chair

Harold B. & Betty Justice Chair

Marvin Kolodzik and Linda S. Gallaher Chair for Cello+

Al Levinson Chair

Patricia Gross Linnemann Chair+

Alberta & Dr. Maurice Marsh Chair

Stephen P. McKean Chair

Laura Kimble McLellan Chair

The Henry Meyer Chair

Louise Dieterle Nippert & Louis Nippert Chairs

Ida Ringling North Chair

Rawson Chair

The Vicky & Rick Reynolds Chair in honor of William A. Friedlander+

Donald & Margaret Robinson Chair

Dianne & J. David Rosenberg Chair+

Ruth F. Rosevear Chair

The Morleen & Jack Rouse Chair+

Emalee Schavel Chair

Karl & Roberta Schlachter Family Chair

Serge Shababian Chair

Melinda & Irwin Simon Chair+

Anna Sinton Taft Chair

Tom & Dee Stegman Chair+

Mary & Joseph S. Stern, Jr. Chair+

Cynthia & Frank Stewart Chair

The Jackie & Roy Sweeney Family Chair

The Sweeney Family Chair in memory of Donald C. Sweeney

Brenda & Ralph Taylor Chair

James P. Thornton Chair

Nicholas Tsimaras–Peter G. Courlas Chair

Thomas Vanden Eynden Chair

Jo Ann & Paul Ward Chair

Matthew & Peg Woodside Chair

Mary M. & Charles F. Yeiser Chair

ENDOWED PERFORMANCES & PROJECTS

Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee

Rosemary and Frank Bloom Endowment Fund*+

Cincinnati Bell Foundation Inc.

Mr. & Mrs. Val Cook

Nancy & Steve Donovan* Sue and Bill Friedlander Endowment Fund*+

Mrs. Charles Wm Anness*, Mrs. Frederick D. Haffner, Mrs. Gerald Skidmore and the La Vaughn Scholl Garrison Fund

Fred L. & Katherine H. Groll Fund for Musical Excellence

Fred L. & Katherine H. Groll Fund for Great Artists

Fred L. & Katherine H. Groll Trust Pianist Fund

The Carol Ann and Ralph V. Haile, Jr. Foundation Endowment Fund

Anne Heldman Endowment Fund**

Mr. and Mrs. Lorrence T. Kellar+ Lawrence A. & Anne J. Leser*

Mr. & Mrs. Carl H. Lindner** PNC Financial Services Group

The Procter & Gamble Fund

Vicky & Rick Reynolds Fund for Diverse Artists+ Melody Sawyer Richardson*

Rosemary and Mark Schlachter Endowment Fund*+

The Harold C. Schott Foundation, Francie and Tom Hiltz Endowment Fund+

Peggy Selonick Fund for Great Artists Dee and Tom Stegman Endowment Fund*+

Mr. & Mrs. Joseph S. Stern, Jr. Fund for Great Artists

U. S. Bank Foundation*

Sallie and Randolph Wadsworth Endowment Fund+

Educational Concerts

Rosemary & Frank Bloom *

Cincinnati Financial Corporation & The Cincinnati Insurance Companies

The Margaret Embshoff Educational Fund

Kate Foreman Young Peoples Fund

George & Anne Heldman+

Macy’s Foundation

Vicky & Rick Reynolds*+ William R. Schott Family**

Western-Southern Foundation, Inc. Anonymous (3)+

OTHER NAMED FUNDS

Ruth Meacham Bell Memorial Fund

Frank & Mary Bergstein Fund for Musical Excellence+

Jean K. Bloch Music Library Fund

Cora Dow Endowment Fund

Corbett Educational Endowment** Belmon U. Duvall Fund

Ewell Fund for Riverbend Maintenance

Linda & Harry Fath Endowment Fund

Ford Foundation Fund

Natalie Wurlitzer & William Ernest Griess Cello Fund

Fred L. & Katherine H. Groll Trust Music Director Fund for Excellence

William Hurford and Lesley Gilbertson Family Fund for Guest Pianists

The Mary Ellyn Hutton Fund for Excellence in Music Education

Josephine I. & David J. Joseph, Jr. Scholarship Fund

Richard & Jean Jubelirer & Family Fund*

Elma Margaret Lapp Trust

Jésus López-Cobos Fund for Excellence

Mellon Foundation Fund

Nina Browne Parker Trust

Dorothy Robb Perin & Harold F. Poe Trust

Rieveschl Fund

Thomas Schippers Fund

Martha, Max & Alfred M. Stern Ticket Fund

Mr. & Mrs. John R. Strauss

Student Ticket Fund

Anna Sinton & Charles P. Taft Fund

Lucien Wulsin Fund

Wurlitzer Season Ticket Fund

CSO Pooled Income Fund

CSO Musicians Emergency Fund

*Denotes support for Annual Music Program Fund

**Denotes support for the 2nd Century Campaign

+Denotes support for the Fund for Musical Excellence

by Bess Wohl

HONOR ROLL OF CONTRIBUTORS

The Cincinnati Symphony Orchestra and Cincinnati Pops are grateful to the following individuals that support our efforts by making a gift to the Orchestra Fund. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our family of donors online at cincinnatisymphony.org/donate or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON CIRCLE

Gifts of $50,000 and above

Mr. and Mrs. Frederick E. Bryan, III § Michael L. Cioffi

Sheila and Christopher C. Cole

Susan Friedlander §

Healey Liddle Family Foundation, Mel & Bruce Healey

Patti and Fred Heldman

Harold C. Schott Foundation, Francie & Tom Hiltz

Dr. Lesley Gilbertson and Dr. William Hurford

Florence Koetters

Mr. and Mrs. Robert W. McDonald

Jo Anne and Joe Orndorff

Marilyn J. and Jack D. Osborn §

Vicky and Rick Reynolds

Dianne and J. David Rosenberg

Mike and Digi Schueler

Irwin and Melinda Simon

Tom and Dee Stegman

Jackie and Roy Sweeney Family Fund* Mr. Randolph L. Wadsworth Jr. § Scott and Charla Weiss

GOLD BATON CIRCLE

Gifts of $25,000–$49,999

Dr. and Mrs. Carol G. Fischer

Karlee L. Hilliard §

Edyth B. Lindner

Calvin and Patricia Linnemann

Mr. and Mrs. Timothy Maloney Mrs. Susan M. McPartlin

G. Franklin Miller and Carolyn Baker Miller

Moe and Jack Rouse §

Ann and Harry Santen §

Mr. and Mrs. Jonathan Ullman

Nancy C. Wagner and Patricia M. Wagner § Anonymous (1)

SILVER BATON CIRCLE

Gifts of $15,000–$24,999

Michael P Bergan and Tiffany Hanisch

Dr. and Mrs. John and Suzanne Bossert §

Mr. and Mrs. Larry Brueshaber Mr. Gregory D. Buckley and Ms. Susan Berry-Buckley Ms. Melanie M. Chavez

Robert and Debra Chavez

Stephen J Daush

Kelly Dehan and Rick Staudigel

Mr. and Mrs. John C. Dupree Mrs. Charles Fleischmann

Ashley and Bobbie Ford §

CCI Design, Molly and Tom Garber L. Timothy Giglio

Tom and Jan Hardy §

Mr. and Mrs. Joseph W. Hirschhorn § Mr. and Mrs. Paul Isaacs

Patrick and Mary Kirk Marvin P. Kolodzik § Mrs. Erich Kunzel

Peter E. Landgren and Judith Schonbach Landgren John and Ramsey Lanni Will and Lee Lindner

Joseph A. and Susan E. Pichler Fund*

Elizabeth Schulenberg Mrs. Theodore Striker Sarah Thorburn

Dale Uetrecht

Mr. and Mrs. JD Vance

Mrs. James W. Wilson, Jr. Mr. and Mrs. James M. Zimmerman § Anonymous (1)

CONDUCTOR’S CIRCLE

Gifts of $10,000–$14,999

Mr. and Mrs. Lars C. Anderson, Sr. Robert D. Bergstein Mrs. Thomas E. Davidson § Dianne Dunkelman

Dr. and Mrs. Alberto Espay Mr. and Mrs. Tom Evans Anne E. Mulder and Rebecca M. Gibbs Mr. and Mrs. Scott Gruner Mr. and Mrs. Stephen Hone Whitney and Phillip Long Mark and Tia Luegering Holly and Louis Mazzocca

In memory of Bettie Rehfeld Mr. Bradford Phillips III Mr. Michael E. Phillips David and Jenny Powell Bill and Lisa Sampson

Mark S. and Rosemary K. Schlachter § Mr. Dennis Schoff and Ms. Nina Sorensen

In memory of Mary and Joseph S. Stern, Jr Ralph C. Taylor § Tomcinoh Fund*

Mr. and Mrs. David R. Valz DeeDee and Gary West § Anonymous (1)

CONCERTMASTER’S CIRCLE

Gifts of $5,000–$9,999

Drs. Frank and Mary Albers Thomas P. Atkins Mrs. Thomas B. Avril Joe and Patricia Baker Kathleen and Michael Ball Robert and Janet Banks Dava Lynn Biehl § Louis D. Bilionis and Ann Hubbard

Mr. Henry Boehmer

Robert L. Bogenschutz Dr. Ralph P. Brown

The Otto M. Budig Family Foundation Gordon Christenson Sally and Rick Coomes K.M. Davis

Dennis W. and Cathy Dern Jean and Rick Donaldson Nancy and Steve Donovan Connie and Buzz Dow Mrs. Diana T. Dwight Mr. Shaun Ethier and Empower Media Marketing Mr. and Mrs. James T. Fitzgerald Marlena and Walter Frank Dr. and Mrs. Harry F. Fry Kathy Grote in loving memory of Robert Howes § Mr. and Mrs. Lawrence Hamby John B. and Judith O. Hansen Ms. Delores Hargrove-Young William and Jo Ann Harvey Dr. James and Mrs. Susan Herman Mr. and Mrs. Bradley G. Hughes Mr. Marshall C. Hunt, Jr. Mr. and Mrs. Geoffrey Keenan Mr. and Mrs. Lorrence T. Kellar Michael and Marilyn Kremzar Richard and Susan Lauf Mrs. Jean E. Lemon § Adele Lippert Mrs. Robert Lippert Elizabeth and Brian Mannion Alan Margulies and Gale Snoddy David L. Martin Mr. Jonathan Martin Mandare Foundation Barbara and Kim McCracken § Mr. Gerron McKnight Linda and James Miller James and Margo Minutolo George and Sarah Morrison III Mr. and Mrs. David W. Motch David and Beth Muskopf Mr. Arthur Norman and Mrs. Lisa Lennon Norman Dr. Manisha Patel and Dr. Michael Curran Ms. Thienthanh Pham Drs. Marcia Kaplan and Michael Privitera Mr. Aftab Pureval Terry and Marvin Quin Mr. and Mrs. Thomas H. Quinn, Jr. Melody Sawyer Richardson § Ellen Rieveschl § Elizabeth and Karl Ronn § James and Mary Russell Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson Martha and Lee Schimberg

Ms. Valarie Sheppard

Sue and Glenn Showers §

Rennie and David Siebenhar Elizabeth C. B. Sittenfeld §

Mr. and Mrs. Gerald Skidmore § Michael and Donnalyn Smith

Dr. Jean and Mrs. Anne Steichen

Nancy Steman Dierckes § Brett Stover §

Christopher and Nancy Virgulak Dr. Barbara R. Voelkel

Mr. and Mrs. Daniel Wachter Mrs. Ronald F. Walker

Mrs. Paul H. Ward §

Jonathan and Janet Weaver

Donna A. Welsch

Cathy S. Willis

Irene A. Zigoris

Anonymous (2)

ARTIST’S CIRCLE

Gifts of $3,000–$4,999

Dr. Charles Abbottsmith

Mr. and Mrs. Richard N. Adams

William Albertson

Mr. Nicholas Apanius

Mr. and Mrs. Gérard Baillely Ms. Marianna Bettman

Glenn and Donna Boutilier

Thomas A. Braun, III § Peter and Kate Brown

Janet and Bruce Byrnes

Susan and Burton Closson Dr. Thomas and Geneva Cook

Peter G. Courlas §

Mr. and Mrs. John Cover Mr. and Mrs. James Dealy George Deepe and Kris Orsborn Bedouin and Randall Dennison Jim and Elizabeth Dodd Mrs. Jack E. Drake

Patricia Dudsic

Dr. and Mrs. Stewart B. Dunsker

David and Kari Ellis Fund*

Ann A. Ellison

Hardy and Barbara Eshbaugh Mr. and Mrs. Richard Fencl

Yan Fridman

Frank and Tara Gardner

Naomi Gerwin

Dr. and Mrs. Ralph A. Giannella Thomas W. Gougeon

Lesha and Samuel Greengus Dr. and Mrs. Jack Hahn

Dr. Donald and Laura Harrison

Mr. and Mrs. Robert R. Heidenreich Mr. and Mrs. Stephen Hicks

Ruth C. Holthaus

In Memory of Benjamin C. Hubbard § Mr. and Mrs. Michael C. Hughes Dr. Richard and Lisa Kagan

From left: Mayor Aftab Pureval, his wife Dr. Whitney Whitis, and guests meet Common after the Oct. 25 concert. CSO Board Member Dr. Charla Weiss speaking at the Artist’s Circle Dinner on Sept. 24.

Dr. Robert W. Keith and Ms. Kathleen Thornton

Don and Kathy King

Lynn Klahm

Jeff and Mary Ann Knoop

Marie and Sam Kocoshis

Mary Kay Koehler

Mr. Frank P. Kromer

Mr. Shannon Lawson

Dr. and Mrs. Lynn Y. Lin

Merlanne Louney

Mr. and Mrs. Donald Marshall

Ms. Amy McDiffett

Mary Ann Meanwell

Ms. Sue Miller

Mr. and Mrs. David E. Moccia §

Jennifer Morales and Ben Glassman

Ms. Mary Lou Motl

Phyllis Myers and Danny Gray

Mr. and Mrs. John Niehaus

Dr. and Mrs. Richard Park §

Poul D. and JoAnne Pedersen

Alice Perlman

Alice and David Phillips

Mark and Kim Pomeroy

Michael and Katherine Rademacher

Beverly and Dan Reigle

Sandra Rivers

James Rubenstein and Bernadette Unger

Mr. & Mrs. Peter A. Schmid

Rev. Dr. David V. Schwab

Sandra and David Seiwert

Mr. Rick Sherrer and Dr. Lisa D. Kelly

William A. and Jane Smith

Elizabeth A. Stone

Margaret and Steven Story

Mr. and Mrs. Ronald Tinklenberg

Dr. and Mrs. Galen R. Warren

Jim and George Ann Wesner

Jo Ann Wieghaus

Sheila Williams

Ronna and James Willis Matt and Lindsay Willmann

Andrea K. Wiot

Steve and Katie Wolnitzek Carol and Don Wuebbling

Anonymous (2)

SYMPHONY CIRCLE

Gifts of $1,500–$2,999

Jeff and Keiko Alexander §

Dr. Rob and Ashley Altenau

Beth and Bob Baer

Mrs. Gail Bain

Mr. Randi Bellner and U.S. Bank

David and Elaine Billmire

Mr. and Mrs. Rodd Bixler

Dorothy Anne Blatt

Dr. and Mrs. William Bramlage

Ms. Jaqui Brumm

Rachelle Bruno and Stephen Bondurant

Chris and Tom Buchert

Dr. Leanne Budde

Ms. Deborah Campbell §

Mr. and Mrs. Thomas Carothers

Tom Carpenter and Lynne Lancaster

Dr. Alan Chambers

Catharine W. Chapman §

James Clasper and Cheryl Albrecht

Carol C. Cole §

Dr. George I. Colombel

Randy K. and Nancy R. Cooper

Ms. Andrea Costa

Marjorie Craft

Mr. and Mrs. Charles E. Curran, III §

Mr. Louis M. Dauner and Ms. Geraldine N. Wu

Mr. and Mrs. John G. Earls §

Barry and Judy Evans

Gail F. Forberg §

Dr. Charles E. Frank and Ms. Jan Goldstein

Mr. and Mrs. Joseph Fricke

Linda P. Fulton § Mrs. Jay N. Gibbs

Donn Goebel and Cathy McLeod

Dr. and Mrs. Glenn S. Gollobin

Drew Gores and George Warrington Mr. and Mrs. Gary Greenberg Jim and Jann Greenberg Bill and Christy Griesser

Esther B. Grubbs § Mrs. Jackie Havenstein

Donald and Susan Henson

Mr. Fred Heyse

Mr. Joe Hoskins

Mr. Bradley Hunkler

Heidi Jark and Steve Kenat

Barbara M. Johnson

Ms. Sylvia Johnson Holly H. Keeler Bill and Penny Kincaid

Juri Kolts

Mr. and Mrs. Richard Kovarsky Carol Louise Kruse Mrs. John H. Kuhn §

Jo Ann and George Kurz

Charles and Jean Lauterbach Mary Mc and Kevin Lawson Dr. Carol P. Leslie Mr. Peter F. Levin §

Elizabeth Lilly*

Drs. Douglas Linz and Ann Middaugh Mrs. Marianne Locke

Mr. and Mrs. Clement H. Luken, Jr. Edmund D. Lyon

Allen-McCarren

Stephanie and Arthur McMahon

Stephanie McNeill

Becky Miars

John and Roberta Michelman

Terence G. Milligan

Dr. Stanley R. Milstein §

Mrs. Patricia Misrach

Ms. Laura Mitchell

Mrs. Sally A. More

Susan E. Noelcke

Rick Pescovitz and Kelly Mahan

Sandy Pike § James W. Rauth §

Drs. Christopher and Blanca Riemann

Stephen and Betty Robinson

Ms. Jeanne C. Rolfes

Nancy and Raymond Rolwing

Jens G Rosenkrantz

Marianne Rowe §

Nancy Ruchhoft

Dr. and Mrs. Michael Scheffler

George Palmer Schober

Tim and Jeannie Schoonover

James P. Schubert

Jacqueline M. Mack and Dr. Edward B. Silberstein

Stephanie A. Smith

Stephen and Lyle Smith

Bill and Lee Steenken

Christopher and Meghan Stevens Mrs. Donald C. Stouffer

Mr. and Mrs. Richard Stradling, Jr. Rich and Nancy Tereba Linda and Nate Tetrick Susan and John Tew Janet Todd Neil Tollas and Janet Moore

Barbie Wagner

Dr. and Mrs. Matthew and Diana Wallace

Michael L. Walton, Esq Ted and Mary Ann Weiss

David F. and Sara K. Weston Fund

Virginia Wilhelm Rev. Anne Warrington Wilson

Robert and Judy Wilson David and Sharon Youmans Andi Levenson Young and Scott Young

Mr. and Mrs. Dan Zavon Mr. and Mrs. Robert L. Zierolf Ms. Nancy Zimpher Anonymous (11)

CONCERTO CLUB

Gifts of $500–$1,499

Christine O. Adams Judith Adams Romola N. Allen § Mr. and Mrs. Jay Allgood

Lisa Allgood

Mr. Thomas Alloy & Dr. Evaline Alessandrini Paul and Dolores Anderson Mr. and Mrs. Frank Andress Dr. Victor and Dolores Angel

Nancy J. Apfel

Mr. and Mrs. Keith Apple

Judy Aronoff and Marshall Ruchman Ms. Laura E. Atkinson

Mr. David H. Axt and Ms. Susan L. Wilkinson Ms. Patricia Baas Dr. Diane S. Babcock §

Mrs. Mary M. Baer

Jerry and Martha Bain

Mr. and Mrs. Carroll R. Baker Mr. Sean D. Baker Jack and Diane Baldwin

William and Barbara Banks

Peggy Barrett §

Mrs. Polly M. Bassett

Michael and Amy Battoclette

Ms. Shirley Bear

Ms. Bianca Gallagher

Dr. and Mrs. Thomas E. Bell

Mr. Oliver Benes

Ms. Doris Bergen

Fred Berger

Dr. Allen W. Bernard

Dr. David and Cheryl Bernstein

Glenda and Malcolm Bernstein

Sharon Ann Kerns and Mike Birck

Randal and Peter Bloch

Ava Jo Bohl

Ms. Sandra Bolek Ron and Betty Bollinger

Mr. and Mrs. Kenneth Borisch

Towne Properties Dr. Carol Brandon

Robert and Joan Broersma

Mrs. Jo Ann C. Brown

Marian H. Brown

Mr. and Mrs. Robert S. Brown

Jacklyn and Gary Bryson

Bob and Angela Buechner

Alvin W. Bunis, Jr.

Donald L. and Kathleen Field Burns

Daniel A. Burr

Jack and Marti Butz

John J Byczkowski

Ms. Cindy Callicoat

Mr. and Mrs. Christopher Canarie

Mike and Shirley Chaney

Dee and Frank Cianciolo Fund*

James Civille

Bob and Tisha Clary

Mr. David Clodfelter

Beverly Kinney and Edward Cloughessy

Mr. Robert Cohen and Ms. Amy J. Katz Fred W. Colucci

Dr. Pearl J. Compaan

Marilyn Cones

Dr. Margaret Conradi

Janet Conway

Robin Cotton and Cindi Fitton

Dennis and Patricia Coyne

Martha Crafts

Bev and Bob Croskery

Tim and Katie Crowley

Mr. and Mrs. Henry F. Dabek, Jr. Mr. Joseph and Mrs. Lori Dattilo

Diane Kolleck

Loren and Polly DeFilippo

Stephen and Cynthia DeHoff

Robert B. Dick, Ph.D. Ms. Rhonda Dickerscheid John and Maureen Doellman

Drs. Gerald Dorn and Deborah Hauger Robert W. Dorsey §

George Dostie

Jack and Diane Douglass

Meredith and Chuck Downton

Mr. James Doyle

Jim and Karen Draut

Emilie and David Dressler

Ms. Andrea Dubroff

Tom and Leslie Ducey

Tom and Dale Due

David and Linda Dugan

Mr. Corwin R. Dunn

Michael D. and Carolyn Camillo Eagen

Joseph and Kristi Echler

Mr. and Mrs. Dale Elifrits

Mr. Daniel Epstein

Barbara Esposito-Ilacqua

Walter & Mary Ann Feige

Ms. Barbara A. Feldmann

Mrs. Michelle Finch

Richard and Elizabeth Findlay

Dr. and Mrs. Thomas Fischer

Michael and Bonnie Fishel

Anne and Alan Fleischer

Ms. Nancy B. Forbriger

Janice and Dr. Tom Forte

Mr. and Ms. Bernard Foster

Susan L. Fremont

Mr. Gregrick A. Frey

In memory of Eugene and Cavell Frey

Mr. and Mrs. Fred Friedman

Michael and Katherine Frisco

Mr. and Mrs. James Fryman

From left: Board Member Khai Pung and Ann Porter at the Artist’s Circle Dinner on Sept. 24. CSO Board Member Kari and Jon Ullman attend the Sept. 24 Artist’s Circle Dinner.

Marjorie Fryxell

Dudley Fulton

Christophe Galopin

Mrs. James R. Gardner

Ms. Jane Garvey

Mark S. Gay

David J. Gilner

Dr. and Mrs. Charles J. Glueck

Mr. and Mrs. Jim Goldschmidt

Robert and Cynthia Gray Carl and Joyce Greber

Dr. Anthony and Ann Guanciale Dr. Janet C. Haartz and Kenneth V. Smith

Alison and Charles Haas Mrs. R. C. Haberstroh Mary and Phil Hagner

Peter Hames

Ham and Ellie Hamilton

Walter and Karen Hand

In memory of Dr. Stuart Handwerger James and Sally Harper

Dr. Catherine Hart

Mariana Belvedere and Samer Hasan Amy and Dennis Healy

Kenneth and Rachel Heberling

Mrs. Betty H. Heldman §

Howard D. and Mary W. Helms Mrs. E. J. Hengelbrok, Jr. Michelle and Don Hershey

Janet & Craig Higgins

Kyle and Robert Hodgkins Ms. Leslie M. Hoggatt

Mr. and Mrs. Sam R. Hollingsworth

Richard and Marcia Holmes

Ms. Sandra L. Houck

Melissa Huber

Deanna and Henry Huber

Ed & Sarah Hughes

Mr. Gordon Hullar

Dr. Maralyn M. Itzkowitz

Mrs. Charles H. Jackson, Jr.

Mark and Caitlin Jeanmougin

Marcia Jelus

Linda Busken and Andrew M. Jergens §

David & Penny Jester

Scott and Patricia Joseph Lois and Kenneth Jostworth Jay and Shirley Joyce

Mr. and Mrs. Robert Judd Dr. Jerald Kay Dr. James Kaya and Debra Grauel Arleene Keller

John and Molly Kerman

Dr. and Mrs. Richard Kerstine Mr. and Mrs. Dave Kitzmiller

Georgianne and Tom Koch Paul and Carita Kollman

Carol and Scott Kosarko Mr. Robert Kraus

Mr. and Mrs. Jonathan Kregor

Kathleen B. and Michael C. Krug Fund* Dr. Diane Krumanaker, DVM Mark & Eliisabeth Kuhlman

Patricia Lambeck Evelyn and Fred Lang

Asher Lanier

Ms. Sally L. Larson Mrs. Julie Laskey Mr. and Mrs. John C. Layne Mr. Alvin R. Lee Mrs. Judith A. Leege in memory of Philip B. Leege

Patricia E. Leo

Mr. and Mrs. Lance A. Lewis Mrs. Maxine F. Lewis

Iris Libby Ms. Presley Lindemann Mr. Arthur Lindsay

Paula and Nick Link Mr. Ajene Lomax Mr. Steven Kent Loveless

Dr. and Mrs. Robert R. Lukin

Timothy and Jill Lynch

Marshall and Nancy Macks

Mr. and Mrs. Julian A. Magnus Dr. and Ms. Mark Mandell-Brown

Andrew and Jean Martin Ms. Cynthia Mason David Mason § Mr. and Mrs. Dean Matz

Tim and Trish McDonald Robert and Heather McGrath Mr. Bernard McKay

Mark McKillip and Amira Beer Mrs. Karin McLennan

Charles and JoAnn Mead Ms. Carol M. Meibers

Ms. Nancy Menne

Dr. and Mrs. Richard A. Meyer

Michael V. and Marcia L. Middleton

Rachel and Charlie Miller Mr. Roger Miller

Sonia R. Milrod Mr. Steven Monder

Eileen W. and James R. Moon

Regeana and Al Morgan

Vivian Kay Morgan Mrs. Ivan Morse Mr. Scott Muhlhauser

Miami University College of Creative Arts Mrs. and Mr. Katie Murry Kevin and Lane Muth Alan Flaherty and Patti Myers § Mr. William Naumann Mr. and Mrs. Norman Neal Mr. Ted Nelson and Ms. Ixi Chen Mr. Gerald Newfarmer Jim and Sharon Nichols Jane Oberschmidt § Maureen Kelly and Andrew O’Driscoll Mr. Gerardo Orta

Nan L. Oscherwitz

Elizabeth Osterburg Eric Paternoster Don and Margie Paulsen

The Pavelka Family John and Francie Pepper * Mr. Mark Phillips Ann and Marty Pinales

Patsy & Larry Plum Mr. and Mrs. Richard Post

Mr. Robert Przygoda

Dr. Aik Khai Pung Ms. Mary Redington Mrs. Angela M. Reed Dr. and Mrs. Robert Reed Mrs. Hera Reines Dr. Robert Rhoad and Kitsa Tassian Rhoad

Stephanie Richardson Mr. David Robertson Laurie and Dan Roche

Mr. and Mrs. Samuel A. Rodner Mr. and Mrs. Ian Rodway Dr. Anna Roetker

Stanley & Shannon Romanstein Bob and Mary Ann Roncker Dr. and Mrs. Gary Roselle Amy and John Rosenberg Mr. and Mrs. G. Roger Ross

Patricia Rouster Dr. Deborah K. Rufner J. Gregory and Judith B. Rust Dr. Richard S. Sarason and Ms. Anne S. Arenstein Mr. Christian J. Schaefer Mr. Joseph A. Schilling Ms. Carol Schleker

Jane and Wayne Schleutker Dr. and Mrs. Michael Schmerler

Frederick R. Schneider

Glenda C. Schorr Fund*

Carol J. Schroeder § Mary D. Schweitzer

Joe Segal and Debbie Friedman Mr. and Mrs. Thomas P. Semancik Drs. Mick and Nancy Shaughnessy

The Shepherd Chemical Company

Michael Shepherd Hal and Sandy Shevers Alfred and Carol Shikany Ms. Joycee Simendinger Mr. and Mrs. Kenneth Skirtz Ms. Martha Slager Susan and David Smith Ms. Margaret Smith

Mark M. Smith (In memory of Terri C. Smith)

Phillip and Karen Sparkes Mrs. John A. Spiess

Paula Spitzmiller

Marian P. Stapleton

Mr. and Mrs. Timothy Stautberg Ms. Ruth M. Stechschulte

Susan M. and Joseph Eric Stevens Mr. Jason V. Stitt Nancy and Gary Strassel Mr. George Stricker, Jr. Mr. Mark Stroud Patricia Strunk § Ms. Judi Sturwold Mr. and Mrs. Robert J. Sullivan Dr. Alan and Shelley Tarshis Mr. Fred Tegarden Carlos and Roberta Teran Dr. Rachel Thienprayoon George and Pamela Thomas

Mr. and Mrs. J. Dwight Thompson

Pamela and Paul Thompson

Dr. Ilse van der Bent

William and Bonnie VanEe Ms. Barbara Wagner

Mary and Jack Wagner §

Mr. and Mrs. James L. Wainscott

Jane A. Walker

Sarella Walton

Mrs. Louise Watts Mr. Gerald V. Weigle, Jr. Mr. and Mrs. Frank Welsh

Maryhelen West

Mr. Donald White Ms. Elizabeth White

Janice T. Wieland

Ms. Desiree Willis

Mr. Dean Windgassen and Ms. Susan Stanton Windgassen § Craig and Barbara Wolf

Mrs. Ann Wolford

Don and Karen Wolnik

Rebecca Seeman and David Wood

Mr. and Mrs. Robert Wylly III

Mr. John M. Yacher

Jeff Yang

Mrs. Darleen Young

Judy and Martin Young

Mr. David Youngblood and Ms. Ellen Rosenman

David A. and Martha R. Yutzey Dr. and Mrs. Daryl Zeigler

Meg Zeller and Alan Weinstein

Moritz and Barbara Ziegler

Thomas and Joyce Zigler

Mr. Richard K. Zinicola and Ms. Linda R. Holthaus

David and Cynthia Zink John and Mary Ann Zorio Ms. Jayne Zuberbuhler

Anonymous (17)

GIFTS IN-KIND

Mrs. Katherine Anderson Ms. Melanie M. Chavez

Drive Media House

Graeter’s Ice Cream

Ms. Sandy Gross Harris Media Co.

Jones Day

Mr. and Mrs. Tim Ross

The Voice of Your Customer List as of November 14, 2022

* Denotes a fund of The Greater Cincinnati Foundation.

§ Denotes members of The Thomas Schippers Legacy Society. Individuals who have made a planned gift to the Cincinnati Symphony Orchestra and Pops Orchestra are eligible for membership in the Society. For more information, please contact Kate Farinacci at 513.744.3202.

GIFT OF MUSIC: September 21–November 14, 2022

The following people provided gifts to the Gift of Music Fund to celebrate an occasion, to mark a life of service to the Orchestra, or to commemorate a special date. Their contributions are added to the Orchestra’s endowment. For more information on how to contribute to this fund, please call 513.744.3271.

In Honor of Dan & Rebecca Coleman Ms. Joan Van Loozenoord

In Honor of Tim Giglio’s 60th birthday Ms. Kathy Nardiello

In Honor of Joe Hirschhorn’s birthday Ms. Nancy Gladstone

In Memory of Marvin & Joan Jester Mr. David Jester

In Memory of John Brian Terlescki Mr. and Ms. Jeffrey Corken

In Memory of Henry W. Broge, Jr. Mrs. Vera Broge

In Memory of George Rehfeldt Mr. and Mrs. Joseph W. Hirschhorn

In Memory of Dr. Felix Raul Canestri Charlotte Houghteling Barbie Morrisey Timothy Smith

Nicki Wood

In Memory of Darleen Lambert Nancy Hatfield

THE THOMAS SCHIPPERS LEGACY SOCIETY

Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Kate Farinacci at 513.744.3202.

Linda & Harry Fath

Alan Flaherty

Mrs. Richard A. Forberg

Ashley & Barbara Ford

Rachel Kirley & Joseph Jaquette

Carolyn Koehl

Marvin Kolodzik

Randolph & Patricia Krumm

Mrs. Mildred J. Selonick

Mrs. Robert B. Shott

Sue & Glenn Showers

Irwin and Melinda Simon

Mr. & Mrs. James R. Adams

Jeff & Keiko Alexander

Mrs. Robert H. Allen

Paul R. Anderson

Mrs. Charles William Anness

Carole J. Arend

Donald C. Auberger, Jr.

Dr. Diane Schwemlein Babcock

Henrietta Barlag

Peggy Barrett

Jane* & Ed Bavaria

Dava Lynn Biehl

David & Elaine Billmire

Walter Blair

Lucille* & Dutro Blocksom

Rosemary & Frank Bloom

Dr. John & Suzanne Bossert

Dr. Mollie H. Bowers-Hollon

Ronald Bozicevich

Thomas A. Braun, III

Joseph Brinkmeyer

Mr. & Mrs. Frederick Bryan, III

Harold & Dorothy Byers

Deborah Campbell & Eunice M. Wolf

Myra Chabut

Catharine W. Chapman

Michael L. Cioffi & Rachael Rowe

Mrs. Jackson L. Clagett III

Norma L. Clark*

Lois & Phil* Cohen

Leland M.* & Carol C. Cole

Grace A. Cook

Jack & Janice Cook

Mr. & Mrs. Charles Cordes

Andrea D. Costa

Peter G. Courlas & Nick Tsimaras*

Mr. & Mrs. Charles E Curran III

Amy & Scott Darrah, Meredith & Will Darrah & children

Caroline H. Davidson

Harrison R.T. Davis

Ms. Kelly M. Dehan

Amy & Trey Devey

Robert W. Dorsey

Jon & Susan Doucleff

Mr. & Mrs. John Earls

Barry & Judy Evans

Guy & Marilyn Frederick

Rich Freshwater & Family

Susan Friedlander

Mr. Nicholas L. Fry

Linda P. Fulton

H. Jane Gavin

Mrs. Philip O. Geier*

Kenneth A. Goode

Clifford J. Goosmann & Andrea M. Wilson

Mrs. Madeleine H. Gordon

J. Frederick & Cynthia Gossman

Kathy Grote

Esther Grubbs, Marci Bein & Mindi Hamby

William Hackman

Vincent C. Hand & Ann E. Hagerman

Tom & Jan Hardy

William L. Harmon

Bill Harnish* & John Harnish

Dr. & Mrs. Morton L. Harshman Mary J. Healy

Frank G. Heitker

Anne P. Heldman

Betty & John* Heldman

Ms. Roberta Hermesch

Karlee L. Hilliard

Michael H. Hirsch

Mr. & Mrs. Joseph W. Hirschhorn

Daniel J. Hoffheimer

Kenneth L. Holford

Mr. George R. Hood

Mr. & Mrs. Terence L. Horan

Mrs. Benjamin C. Hubbard

Susan & Tom Hughes

Carolyn R. Hunt

Dr. William Hurford & Dr. Lesley Gilbertson

Mr. and Mrs. Paul Isaacs

Julia M. F. B. Jackson

Michael & Kathleen Janson

Andrew MacAoidh Jergens

Jean C. Jett

Frank Jordan

Margaret H. Jung

Mace C. Justice

Karen Kapella

Dr. & Mrs.* Steven Katkin

Theresa M. Kuhn

Warren & Patricia Lambeck Owen and Cici Lee Steve Lee

M. Drue Lehmann

Mrs. Jean E. Lemon

Mr. Peter F. Levin

George & Barbara Lott

Mr.* & Mrs. Ronald Lyons

Marilyn J. Maag

Margot Marples

David L. Martin

Allen* & Judy Martin David Mason

Mrs. Barbara Witte McCracken

Laura Kimble McLellan

Dr. Stanley R. Milstein

Mrs. William K. Minor

Mr. & Mrs. D. E. Moccia Kristin & Stephen Mullin

Christopher & Susan Muth

Patti Myers

Susan & Kenneth Newmark

Dr. & Mrs. Theodore Nicholas

Patricia Grignet Nott*

Jane Oberschmidt

Marja-Liisa Ogden

Julie & Dick* Okenfuss

Jack & Marilyn Osborn Dr. & Mrs. Richard E. Park, MD

Mr. & Mrs. Charles H. Pease Poul D. & JoAnne Pedersen

Sandy & Larry* Pike Mrs. Harold F. Poe

Anne M. Pohl

Irene & Daniel Randolph

James W. Rauth

Barbara S. Reckseit

Melody Sawyer Richardson

Ellen Rieveschl

Elizabeth & Karl Ronn

Moe & Jack Rouse

Marianne Rowe

Ann & Harry Santen

Rosemary & Mark Schlachter

Carol J. Schroeder

Mrs. William R. Seaman Dr. Brian Sebastian

Betsy & Paul* Sittenfeld

Sarah Garrison Skidmore

Adrienne A. Smith

David & Sonja* Snyder

Marie Speziale

Mr. & Mrs. Christopher L. Sprenkle

Michael M. Spresser

Barry & Sharlyn Stare

Cynthia Starr

Bill & Lee Steenken

Tom & Dee Stegman

Barry Steinberg

Nancy M. Steman

John and Helen Stevenson

Mary* & Bob Stewart

Brett Stover

Dr. Robert & Jill Strub

Patricia M. Strunk

Ralph & Brenda* Taylor

Conrad F. Thiede

Minda F. Thompson

Carrie & Peter Throm

Dr. & Mrs. Thomas Todd

Nydia Tranter

Dick & Jane Tuten

Thomas Vanden Eynden and Judith Beiting

Mr. & Mrs. Robert Varley

Mr. & Mrs. James K. Votaw

Mr. & Mrs.* Randolph L. Wadsworth Jr.

Jack K. & Mary V. Wagner

Nancy C. Wagner

Patricia M. Wagner

Mr.* & Mrs. Paul Ward

Jo Anne & Fred Warren

Mr. Scott Weiss & Dr. Charla Weiss Anne M. Werner

Gary & Diane West

Charles A. Wilkinson

Susan Stanton Windgassen Mrs. Joan R. Wood

Alison & Jim Zimmerman

* Deceased

New Schippers members are in bold

Opus 50 & 25

We APPLAUD Our Loyal CSO and Pops Subscribers

We thank every subscriber whose investment in the Cincinnati Symphony Orchestra and Cincinnati Pops makes these concerts possible. We would not be on stage without you! Thank you especially to the following subscribers whose loyalty and support has extended 25–50 years or more. *

List as of November 17, 2022

*If we have inadvertently left your name off this subscribers-only list or if we need to make corrections, please call us at 513.381.3800 or email us at hello@cincinnatisymphony.org.

We are also grateful to those who have been loyal subscribers for 10–24 years, whose names we are unable to include here due to space limitations.

Subscribers of 50 years or more:

Mr. and Mrs. James R. Adams

Mr. and Mrs. Richard N. Adams

Mr. Gordon Allen

Nancy J. Apfel

Mrs. Marvin Aronoff

Kathy and Ken Baier

Michael A. Battersby

Mr. and Mrs. Herbert J. Beigel

Glenda and Malcolm Bernstein

Hon. Marianna Brown Bettman

Rev. Richard W. Bollman, S.J.

Bill and Mary Bonansinga

Eleanor A. Botts

Byron and Wilhelmina Branson

Mr. and Mrs. R. Richard Broxon

Mr. and Mrs. William M. Bryan

Donald L. and Kathleen Field Burns

Jim and Nina Campbell

Carol C. Cole

Mr. David S. Collins and Ms. Sandra M. Gans

Dr. C. J. and Carolyn Condorodis

Dr. Margaret Conradi

Sally and Rick Coomes

Peter G. Courlas

Nancy Creaghead

Lynne Curtiss

Mrs. Jacqueline L. Cutshall

Mrs. Lilian Estevez. de Pagani

Sally H. Dessauer

Jahnett M. Dickman

Mrs. Rupert A. Doan

Mrs. Mel B. Dreyfoos

Mr. and Mrs. C. Thomas Dupuis

Mr. John Eddingfield

Ms. Cathy C. Eubanks

Mr. and Mrs. Carl Fiora

Mr. and Mrs. James T. Fitzgerald

Dr. David Flaspohler and Dr. Cynthia Crown

Gail F. Forberg

Mr. and Mrs. Ashley L. Ford

Mikki and Walter Frank Susan Friedlander

Carol S. Friel

Mrs. Nancy Gard

Mr. and Mrs. James K. Gehring

Dr. and Mrs. Charles J. Glueck

Sharon L. Goodcase

Clifford J. Goosmann & Andrea M. Wilson

Esther Grubbs and Karen Dennis

William P. Hackman

Mary and Phil Hagner

Dr. and Mrs. Edward Hake

Ham and Ellie Hamilton

Mrs. Joan D. Hauser

Mr. and Mrs. Stanley Hedeen

Anne P. Heldman

Mrs. Betty H. Heldman

Mr. Michael H. Hirsch

Mr. and Mrs. Joseph W. Hirschhorn

Mrs. Florette B. Hoffheimer

Mrs. Benjamin C. Hubbard

Mr. and Mrs. Marshall C. Hunt, Jr.

Rev. & Mrs. Andrew MacAoidh Jergens

Ruth and Frederick Joffe

Dr. J. O’Neal Johnston

Mr. & Mrs. Lorrence T. Kellar

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Mr. and Mrs. Francis R. Szecskay

Mr. and Mrs. Thomas Tami

Ms. Reiko Tanaka

Bernardine Taylor

Mr. Ralph C. Taylor , Jr.

Mr. Alexander W. Teass

Mr. and Mrs. Fred Tegarden

Kathy Teipen

Mr. and Mrs. John A. Tensing Mr. and Mrs. Stephen R. Thomas

James L. Thompson

Dr. and Mrs. Thomas S. Thompson

Mr. and Mrs. William P. Thurman Dr. Gregory Tiao

Mrs. Helga Tillinghast

Mr. and Mrs. William Tipkemper Mr. Michael R. Toensmeyer

Mr. and Mrs. Robert C. Togneri

Gloria and Peter Toot

Mr. and Mrs. Ed Topmiller Mr. Dennis Trchka

Paul and Diana Trenkamp Mr. Timothy E. Troendle Ms. Debbie Bogenschutz and Mr. Harold Tucker Mr. and Ms. Robert H. Turner , Jr. Ms. Phyllis Uffman

Ms. Mary M. Uhlenbrock

Mr. and Mrs. Alan J. Ullman

Unique Musical Products Mr. Robert Lindner, Sr. Ms. Valerie R. Van Iden Mr. D. R. Van Lokeren

Mr. and Mrs. Johnnie W. Vance

Mr. and Mrs. David VanSice Mr. Ramaswamy Vasudevan Mr. and Mrs. Richard C. Veid Mr. and Mrs. Todd W. Veigel Mr. Eric Vespierre and Ms. Corinne Reich

Ms. Mary U. Vicario

Mr. and Mrs. Miguel Villalba Mrs. Mary Ellen H. Villalobos Mr. and Mrs. Christopher F. Virgulak Mr. and Mrs. Paul R. Vollbracht Ms. Molly A. Vollmer

Mr. and Mrs. James K. Votaw Mr. and Mrs. Randolph L. Wadsworth Jr. Mr. and Mrs. Richard E. Wagner , Jr. Nancy Wagner and Patricia Wagner Mr. and Mrs. James A. Waldfogle Mrs. Brenda Walker Robert and Joan Wallace Dr. and Dr. Mark Wallingford Mr. and Mrs. Denis F. Walsh Ms. Lesly Sue H. Walters Mr. Michael L. Walton Ms. Sarella M. Walton Dr. Robert J. Warden Mr. and Mrs. Michael W. Ware Mr. and Mrs. David W. Warner Mr. and Mrs. Howard P. Warner Dr. and Mrs. Jerry Warner

Claude and Camilla Warren

Frederick and Jo Anne Warren Mr. and Mrs. Chad Warwick Mr. and Mrs. Richard Wayman Mr. and Mrs. Terry N. Webb Mr. and Mrs. Richard Webster Dr. and Mrs. Warren A. Webster Mrs. William N. Weed Ms. Marilyn J. Wehri Mr. Gerald Weigle, Jr. Dr. and Mrs. Daniel L. Weinstein Mr. and Mrs. Richard Weis Mr. and Mrs. James E. Wesner DeeDee and Gary West Mr. John H. Westenkirchner Mr. and Mrs. Howard Wetzler Mrs. Margaret L. Whalen Dr. and Mrs. Stephen P. Whitlatch Mr. and Mrs. Daniel Whittenburg Mrs. Ann Wicks Janice T. Wieland

Mr. and Mrs. Garth Wiley

Mr. and Mrs. Robert H. Wilhelm

Shirley Gershuny-Korelitz

Mr. and Mrs. James A. Williams

Dr. Jeffrey C. Williams

Ms. Catherine S. Willis

Mr. and Mrs. Robert Willis

Mrs. James W. Wilson, Jr.

Mr. and Mrs. John W. Wintz

Mrs. Andrea K. Wiot

Ms. Donna S. Wirth

Mr. and Mrs. Richard B. Wissel

Ms. Barbara J. Witte

Mr. and Mrs. Craig V. Wolf Mrs. Ann Wolford

Gary and Cindy

Mr. and Mrs. Donald Wolnik

Steve and Katie Wolnitzek

Mr. and Mrs. Charles Wood

Mr. and Mrs. David H. Wood

Mr. and Mrs. Carl Woodrow

Mr. Tom Woodruff

Mr. and Mrs. William A. Wortman

Charles Wright

Ms. Barbara L. Wuest

Mr. and Mrs. Jerry Wuestefeld

Mr. Alvin Wulfekuhl

Mr. and Mrs. Geoffrey Wyght

Mr. and Mrs. Wayne C. Wykoff

Mr. and Mrs. Robert L. Wylly John M. Yacher

Emel Yakali

Mr. Won-Bin Yim

Mr. and Mrs. David C. Youmans Carol J. Yungbluth

Mr. and Mrs. John E. Zeller

Mr. and Mrs. Robert R. Ziek , Jr. Mr. and Mrs. Robert L. Zierolf Mrs. Irene Zigoris

Donald and Karen Zimmerman

Ms. Sue Zimmerman

Dr. and Mrs. David C. Zink

Ms. Mary L. Zubelik

CSO Sibelius Symphony No. 2: Jan. 6–7

Barrington of Oakley

Christian Village at Mason Maple Knoll Village New Albany High School Otterbein Retirement Community The Knolls of Oxford Twin Lakes at Montgomery

CSO Grieg Peer Gynt in Concert: Jan. 13–14 Friends and Family of Renee King Edvard Grieg Lodge

Pops Tchaikovsky Spectacular: Jan. 27–29

Anderson Senior Center Downtown Residents Council Wilmington High School Seasons Retirement Community

CSO Thibaudet Plays Liszt: Feb. 3–4

Christian Village at Mason Otterbein Retirement Community The Knolls of Oxford Twin Lakes at Montgomery Maple Knoll Village

OFFICE OF THE PRESIDENT & CEO

Jonathan Martin President & CEO

Andrea Maisonpierre Hessel

Executive Assistant to the President and CEO

ARTISTIC PLANNING & PRODUCTION

Robert McGrath

Chief Operating Officer

Shannon Faith Assistant to the Chief Operating Officer

Artistic Planning

Nate Bachhuber Vice President of Artistic Planning

Anthony Paggett Director of Artistic Planning [Open]

Assistant, Artistic Planning and Music Director

Nick Minon

Artist Liaison

Sam Strater

Senior Advisor for Cincinnati Pops Planning

Shuta Maeno Artistic Planning Intern

Production

Paul Pietrowski

Vice President of Orchestra & Production

Brenda Tullos

Director of Orchestra Personnel

Naomi Sarchet Orchestra Personnel & Operations Manager

Laura Bordner Adams Director of Operations

Alex Magg Production Manager, CSO & May Festival

Carlos Javier Production Manager, Pops

Digital Content & Innovation KC Commander Director of Digital Content & Innovation

Lee Snow

Digital Content Technology Manager

Corinne Wiseman Digital Content Manager

Kaitlyn Driesen Digital Production Manager

Learning

Carol Dary Dunevant Director of Learning

Kyle Lamb Learning Programs Manager

Hollie Greenwood Learning Coordinator

Ian McIntyre

Sound Discoveries Teaching Artist

Emily Jordan Sound Discoveries Teaching Assistant

Jaysean Johnson Education Programs Intern

Elizabeth Reyna CCM Arts Administration Graduate Assistant

COMMUNICATIONS

Felecia Tchen Kanney Vice President of Communications

Tyler Secor Director of Publications & Content Development

Charlie Balcom Social Media Manager

Wajeeh Khan Communications Intern

COMMUNITY ENGAGEMENT | DIVERSITY, EQUITY & INCLUSION

Harold Brown

The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

Tiffany Cooper Director of Community Engagement and Diversity

Amanda Franklin Community Engagement Manager

Nicole Ortiz Community Engagement Intern

PHILANTHROPY

Mary McFadden Lawson, CAP® Chief Philanthropy Officer

Sean Baker Director of Institutional Giving

Kristin Hill Institutional Giving Coordinator

Bhavya Nayna Channan Corporate Relations Manager

Leslie Hoggatt, CFRE

Director of Individual Giving and Donor Services

Catherine Hann, CFRE Assistant Director of Individual Giving

[Open]

Individual Giving Manager

Emma Steward Donor Engagement Coordinator

Penny Hamilton Philanthropy Assistant

Kate Farinacci Director of Special Campaigns and Legacy Giving

Ashley Coffey Foundation and Grants Manager

D’Anté McNeal Special Projects Coordinator

Quinton Jefferson Research Grants Administrator

Patrick Koshewa Philanthropy Intern

FINANCE & DATA SERVICES

Richard Freshwater Vice President & Chief Financial Officer

Finance Kristina Pfeiffer Director of Finance, CSO

Elizabeth Engwall Accounting Manager, CSO

Judy Mosely Accounting Clerk, CSO

Laura Van Pelt Accounting Clerk, CSO

Judy Simpson Director of Finance, MEMI

Marijane Klug Accounting Manager, MEMI

Deborah Benjamin Accounting Clerk, MEMI

Matthew Grady Accounting Manager, MEMI

Sydney Mucha Accounting Clerk, MEMI

Data Services

Sharon D. Grayton Data Services Manager

Tara Williams Data Services Manager

Kathleen Curry Data Entry Clerk

HUMAN RESOURCES

Kyle Wynk-Sivashankar Vice President of Human Resources

Jenny Ryan Human Resources Manager

Megan Inderbitzin-Tsai Payroll Manager

Natalia Lerzundi Payroll Specialist

MARKETING

Michael Frisco

Vice President of Marketing

Michelle Lewandowski

Director of Marketing

Stephen Howson

Director of Web and Audience Insight

Alexis Shambley Marketing Assistant

Jon Dellinger

Copywriter/Marketing Manager

Carmen Granger Subscriptions Marketing Manager

Stephanie Lazorchak Graphic Designer

Amber Ostaszewski Director of Audience Engagement

Abigail Karr Audience Engagement Manager

Tina Marshall

Director of Ticketing & Audience Services

Nic Bizub Group Sales Manager

Elaine Hudson Assistant Box Office Manager [Open] Assistant Box Office Manager

Djenaba Adams Marketing Intern

PATRON SERVICES Supervisors Ellisen Blair Hannah Kaiser Laura Ruple

Representatives Rebecca Ammerman

Drew Dolan Craig Doolin Mary Duplantier Ebony Jackson Grace Kim Hayley Maloney Wendy Marshall Jordan Moreno Erik Nordstrom Emily Schaub

CINCINNATI SYMPHONY ORCHESTRA & CINCINNATI POPS

Music Hall, 1241 Elm Street, Cincinnati, OH 45202

Administrative Offices: 513.621.1919 | hello@cincinnatisymphony.org