CSO POPS Fanfare Cincinnati - September/October 2022 by Cincinnati Magazine

SEP/OCT 2022 FANFAREMAGAZINE FROM DARKNESS TO LIGHT

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“Steven

VIOLIN OctoberSunday 2, 2022 7 MemorialPM Hall Steven Banks CLASSICAL SAXOPHONE CINCINNATI DEBUT OctoberFriday 28, 2022 7:30 MemorialPM Hall

—Herald Times “…Banks

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•First Prize winner at the 2019 Young Concert Artists International Auditions — ﬁrst saxophonist in its 59-year history to join its ranks Banks all but stole the show…He proved to be a remarkably nimble saxophonist who not only played his instrument with pristine clarity and enviable precision but knew how to add emotional heat to his interpretation…He dazzled, and those who came to listen cheered.” has the potential to be one of the transformational musicians of the twenty-ﬁrst century.” and Heard International Bjerken Nam

PIANO Christina

MemorialHallOTR.orgTickets:or513-977-8838 C a t c h t h e R i s i n g S t a r s O p e n i n g O u r 1 0 9 t h S e a s o n ! MatineeMusic aleCincinnati.org

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For 108 years Matinée Musicale Cincinnati has offered recitals by classical musicians destined for worldwide fame. Two exceptional artists open our 109th season — one from Cincinnati whose early career already is impressive; the other making his Cincinnati debut with Matinée Musica le Cincinnati before returning to our city next spring to perform with the Cincinnati Symphony Orchestra. Catch these rising stars before they catch on with the world. De Silva competitor (age 14) and Top Prize Winner of the 2017 Cooper International Violin Competition her solo debut at age 9 with the Cincinnati Symphony Orchestra 2019 National YoungArts Winner scholarship Greene Foundation Fellowship student of Catherine Cho and Donald Weilerstein at the Juilliard School stunningly talented Christina Nam brought the afternoon to a serene ending with her ﬁerce commitment and emotionally charged interpretation of the [Bach] Partita number 2…The end of the concert was ﬁrst followed by awed silence and then by grateful applause for Nam…” Rafael de Acha, Rafael’s Music Notes

•Made

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•YoungestPIANO

•Winner of 2022 Avery Fisher Career Grant — ﬁrst time awarded to a saxophonist

2 | 2022–23 SEASON All contents © 2022–23. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops. 11 “After this time of isolation, this transformational ritual feels necessary,” says Louis Langrée of the first full season-opening concert in three years, Mahler’s “Resurrection” Symphony No. 2, Sept. 24–25. Three more CSO concerts follow in September and October. Read more on pp. 11–14. 16 All three of the concertsOctoberSeptember–Pops’live up to pp. 16–18.intheLearnthethemantraoft-repeatedRussell’sJohnconductorMorristo“giveaudiencegoodstuff.”whatPopshasstoreon 20 The U.S. observes Hispanic Heritage Month September 15–October 15. In celebration and honor of Hispanic Heritage Month, three people of andtheirOrchestra,closewhoLatinHispanic/heritage,alsohavetiestothesharethoughtsexperiences. 2022OCTOBERSEPTEMBER/FANFAREMAGAZINE CONTENTS 4 Directors & Advisors 5 Cincinnati Symphony Orchestra Welcome 6 Upcoming Concerts 8 Welcome from the President & CEO 11 Feature: From Darkness to Light: Opening the First Full Season in Three Years 15 Spotlight: William Hurford and Lesley Gilbertson Family Fund for Guest Pianists 16 Feature: Pops: Music of the People 20 Spotlight: Hispanic Heritage Month: Members of the CSO Family Share Their Thoughts 23 Orchestra Roster 24 Artistic Leadership: Louis Langrée, John Morris Russell, Matthias Pintscher and Damon Gupton 27 Concerts, CSO Program Notes, and Guest Artists: Sept. 10–11: Beauty and the Beast Film in Concert | Sept. 16–18: Hear Me Roar: A Celebration of Women in Song | Sept. 24–25: Mahler’s Resurrection Symphony | Sept. 30/Oct. 2: Tchaikovsky & Rouse: Final Symphonies | Oct. 21–23: Langrée Conducts Also sprach Zarathustra | Oct. 25: Common | Oct. 28: Chamber Players | Oct. 29–30: Rhapsody on a Theme of Paganini 69 Financial Support 80 Administration ALSO look for items “Of Note” found in blue boxes throughout this issue of Fanfare Magazine. ON THE COVER: Cincinnati Music Hall, June 2022. Photograph: Tyler Secor. Design: Stephanie Lazorchak

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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.

FANFAREMAGAZINE

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Community Advisory Council Desire Bennett, Design Impact Daniel Betts, Cincinnati Recreation JackieCommissionTaggart Boyd, Cincinnati Convention and Visitors Bureau/CincyUSA

Officers Dianne Rosenberg, Chair Harold Brown

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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 Mrs.Dr.AlbertoKellyGabeAdrianAndreaMichaelMelanieOttoTrishRalphKateMichaelHeatherAkersAppleP.BerganC.BrownP.Brown,DVMBryan*M.Budig,Jr.*M.ChavezL.CioffiCostaCunninghamDavisM.DehanJ.Espay,M.D.MariaEspinolaCharlesFleischmann III* Lawrence Hamby Delores Hargrove-Young Francie S. Hiltz* Joseph W. Hirschhorn* Brad Hunkler Lisa Diane Kelly Edna PatrickKeownG.Kirk, M.D. Florence RandolphDavidKariRobertAlbertStephanieValarieDigiLisaJackJamesAikBradfordLisaTheodoreJenniferJohnLauraJamesHollyWillEdythSpencerShannonJohnPeterJonathanKoettersKregorE.LandgrenLanniLawsonLiles*B.Lindner*LindnerMazzoccaP.MinutoloMitchellA.MooreJ.MoralesNelsonLennonNormanE.Phillips,IIIKhaiPungB.Reynolds*RouseM.SampsonFranceSchuelerSheppardA.SmithSmithermanSullivanUllmanR.ValzL.Wadsworth, Jr.* Daniel Wachter *Director Emeritus Christopher Miller, National Underground Railroad Freedom Center Joele Newman, Peaslee Neighborhood CandraCenterReeves, Urban League of Greater Southwestern Ohio Leslie Rich, Ioby John P. Scott, Community Engagement BillyPartnersThomas, Cincy Nice Staff: Tiffany Cooper, Harold Brown Multicultural Awareness Council Susan AlfordDaphneyQuieraJaimeAureliaCarlosBeverleyAlvernaKoriDaraPiperAndriaCarlsonCarterDavisFairmanHillJenkinsLambGarciaLeon“Candie”SimmonsSharpeLevySmithThomasWest Staff: Tiffany Cooper,

4 | 2022–23 SEASON BOARD OF DIRECTORS You are welcome to take this copy of Fanfare Magazine home with you as a souvenir of your concert Alternatively,experience.please share it with a friend or leave it with an usher for recycling. Thank you! CINCINNATI SYMPHONY ORCHESTRA & CINCINNATI POPS Music Hall, 1241 Elm Street, Cincinnati, OH 45202 Box Office: 513.381.3300 hello@cincinnatisymphony.org| Group Sales: 513.864.0196 groupsales@cincinnatisymphony.org| TTY/TDD: Use TTY/TDD Relay Service 7-1-1 cincinnatisymphony.org | cincinnatipops.org FANFARE MAGAZINE STAFF: Managing Editor Tyler Secor Senior Editor/Layout Teri McKibben Graphic Design Stephanie Lazorchak CINCINNATI MAGAZINE: Advertising and Publishing Partners for Fanfare Cincinnati Publisher Ivy Bayer Production Director & IT Systems Administrator Vu Luong Advertising & Marketing Designer Logan Case Account Representatives Laura Bowling, Maggie Wint Goecke, Hilary Linnenberg, Chris Ohmer, Julie Poyer Operations Director Missy Beiting Business Coordinator Erica Birkle Advertising and Business Offices 1818 Race Street, Suite 301 Cincinnati, OH 45202 | 513.421.4300 Subscriptions: cincinnatimagazine.com1.800.846.4333

CSO Board of Directors DE&I Committee Charla B. Weiss, Lead Heather Apple Ralph

*Community Volunteer Primary Staff Liaison: Harold Brown Other Staff Members: Tiffany Cooper, Kyle Wynk-Sivashankar

Alexis Kidd, Seven Hills Neighborhood Houses

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.

DIVERSITY, EQUITY AND INCLUSION

The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledges 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 acknowledge that this land was unceded and stolen via methods of genocide and ethnic cleansing by Wecolonizers.honorpast, present and future Indigenous peoples.

Welcome

ACKNOWLEDGEMENTLAND

WE BELIEVE 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 world and to each other.

The Cincinnati Symphony Orchestra and Cincinnati Pops’ commitment to diversity, equity and inclusion is catalyzed by systemic injustice and inequality perpetuated by individuals and institutions. Our mission is to seek and share inspiration, and, at our essence, we exist to serve our community. Our entire community. Reﬂecting our community and the world around at every level—on stage, behind-the-scenes, and in neighborhoods throughout the region—is essential to our present and future and makes us a strong ensemble and institution.

NOV 2022 GET HAPPY: JUDY GARLAND CENTENNIAL NOV 11–13, 2022 FRI & SAT 7:30 pm; SUN 2 pm John Morris Russell conductor Michael Feinstein piano and vocalist SIBELIUS & BARTÓK CONCERTOS NOV 18–19, 2022 FRI 11 am; SAT 7:30 pm Dalia Stasevska conductor Esther Yoo violin Missy MAZZOLI Sinfonia for Orbiting Spheres J. SIBELIUS Violin Concerto B. BARTÓK Concerto for Orchestra LOLLIPOPS FAMILY CONCERT NOV 19, 2022 SAT 10:30 am RACHMANINOFF THIRD CONCERTO & ENIGMA VARIATIONS NOV 26–27, 2022 SAT 7:30 pm; SUN 2 pm Elim Chan conductor Khatia Buniatishvili piano S. RACHMANINOFF Piano Concerto No. 3 E. ELGAR Enigma Variations DEC GERSHWIN2022 & THE PLANETS DEC 2–3, 2022 FRI & SAT 7:30 pm Giancarlo Guerrero conductor Michelle Cann piano Treble Voices of the May Festival Chorus,Robert Porco director Caroline SHAW The Observatory [CSO Co-Commission] G. GERSHWIN Rhapsody No. 2 for Piano and Orchestra G. HOLST The Planets HOLIDAY POPS DEC 9-11, 2022 FRI 11 am & 7:30 pm; SAT 2 pm & 7:30 pm; SUN 2 pm & 7 pm John Morris Russell conductor Annie Moses Band Bernard Holcomb, tenor STAR WARS: THE FORCE AWAKENS Film In Concert DEC 29–30, 2022 THU & FRI 7:30 pm NEW YEAR’S EVE : BILLIE HOLIDAY SONGBOOK DEC 31, 2022 SAT 8 pm Damon Gupton conductor Quiana Lynell vocalist COMING UP AT MUSIC HALL

ARETHESE MOMENTSYOUR JAN SIBELIUS2023 SYMPHONY NO. 2 JAN 6–7, 2023 FRI 11 am; SAT 7:30 pm Thomas Søndergård conductor Augustin Hadelich violin E. SMYTH On the Cliffs of Cornwall B. BRITTEN Violin Concerto J. SIBELIUS Symphony No. 2 GRIEG: PEER GYNT IN CONCERT JAN 13–14, 2023 FRI & SAT 7:30 pm Louis Langrée conductor Pekka Kuusisto violin Camilla Tilling soprano (Solveig) May Festival Chorus, Robert Porco director Concert Theatre Works, Bill Barclay director Daníel BJARNASON Violin Concerto E. GRIEG Peer Gynt [concert-staged production] TCHAIKOVSKY & PROKOFIEV JAN 21–22, 2023 SAT 7:30 pm; SUN 2 pm Louis Langrée conductor Randall Goosby violin J. PERRY Homunculus C.F. P. I. TCHAIKOVSKY Violin Concerto S. PROKOFIEV Symphony No. 3 CSO PROOF:THE RIGHT TO BE FORGOTTEN JAN 25, 2023 WED 8 pm Gabriel Kahane composer and voice Nathalie Joachim & Alex Sopp flute and voice Holcombe Waller guitar and synth TCHAIKOVSKY SPECTACULAR: 1812 OVERTURE JAN 27-29, 2023 FRI & SAT 7:30 pm; SUN 2 pm Damon Gupton conductor FOR A FULL LIST OF UPCOMING EVENTS AND ADDITIONAL INFO VISIT CINCINNATISYMPHONY.ORG Louis Langrée Music Director • John Morris Russell Cincinnati Pops Conductor Music Hall | 1241 Elm St | Cincinnati, OH | 45202

These events affected each one of us. They forced us to stop, reﬂect, accelerate change, and reimagine what it means to be a person, a business and an orchestra in this world.

Finally, we honor Hispanic Heritage Month by hearing from members of our organization about what this celebration means to them. We also take this opportunity to thank Rob McDonald, who served as our Board Chair (2019–22) during the most challenging period in the Orchestra’s recent history. When Rob agreed to serve as our leader, we both anticipated a period of relative calm, compared to the previous years that saw the Orchestra’s migration to the Taft Theatre and return to a renovated Music Hall, and the beginning of my tenure as President and CEO of the Orchestra. Little did we know that we were on the precipice of a global pandemic and a call for racial justice on a scale that hasn’t happened since the 1960s civil rights movement.

To arrive at the start of the 2022–23 season has taken nothing short of tenacity, passion, and a relentless commitment to artistry in service to our community. Rob was central to our ability to navigate these challenging times, and, with his leadership we created a 10year Strategic Plan, committing to new strategic priorities as well as the affirmation of the enduring pillars that have guided us from

In this issue of Fanfare Magazine, our stories will take you behind the stage and into the artistic lifeblood of this organization. From Charles Ives and Christopher Rouse to Robert Schumann and Sergei Rachmaninoff, Ken Smith reports on the opening four concerts of the CSO’s season, which begins, ﬁttingly, with Mahler’s Resurrection Symphony, led by our Music Director Louis Langrée. Film scores, rap and a celebration of women in song open this year’s season of the Pops, and David Lyman’s story explores how these seemingly disparate genres are essential to the mission of the Cincinnati Pops.

8 | 2022–23 SEASON DearWelcomeFriends,to the 2022–23 season! The cover of this issue of Fanfare Magazine is symbolic, as we have taken to heart the all-encompassing themes of resurrection and renewal. This season marks our full return to pre-pandemic activity for the CSO, Pops and May Festival, and the sheer number of performances—more than 90 this season—along with welcoming 10 new musicians and two new assistant conductors to the Orchestra, is indicative of our rebirth. We are emerging on the other side of the pandemic transformed. We are stronger, more ﬂexible, and more dedicated to seeking inspiration and sharing it with you. Thank you for joining us this season.

WELCOME FROM THE PRESIDENT AND CEO

©Roger Mastroianni

Left to Right: Rob McDonald, Jonathan Martin and Louis Langrée at the May 2022 Conductor’s Circle Dinner. Credit: Claudia Hershner

Fanfare Magazine | 9

This season we welcome Dianne Rosenberg as our new Board Chair. An avid supporter, champion and long-time friend of the Orchestra, Dianne will help shape the future of the CSO in our community, drawing from her experiences chairing boards of many local institutions, fundraising, and guiding institutional strategy. She will be leading one of the most diverse Board of Directors that the Orchestra has ever seen, and, through the guidance of our Board, the CSO will continue to make progress towards reﬂecting our community and the world around us at every level—on stage, behind the scenes, and in neighborhoods throughout the region. We look forward to Dianne’s leadership in this new capacity.

Andrew J. Brady Music Center and ICON Festival Stage. Dianne Rosenberg

the beginning. In addition, Rob has overseen and contributed to a remarkable increase in diversity on our Board of Directors and the creation of the Community Advisory Council. Rob led the way, along with the Board, in his people-ﬁrst commitment, as we worked to control costs and fundraised to safeguard the future of the Orchestra. During his time, our team also pivoted and embraced digital innovation, livestreaming concerts for free to more than 1.7 million people thereby creating a global community of virtual concertgoers. With Rob’s tenaciousness, we opened the Andrew J. Brady Music Center and ICON Festival Stage to great acclaim. Rob’s time as Board Chair also included remarkable milestones and successes, such as the celebration of the CSO’s 125th anniversary and two Grammy nominations, one each for the CSO and the Pops. In the middle of it all, Rob and Alexa welcomed their beautiful daughter Halle to the world. We are deeply grateful for Rob’s leadership, and we look forward to his ongoing guidance of our Orchestra and the industry as a new member of the League of American Orchestras Board of Directors.

WELCOME

Finally, we thank you—our audiences—for being here with us. Your enthusiasm inspires the work that we do, and we are honored to create meaningful musical moments with you. Best wishes to all and cheers to another year full of music. With Jonathangratitude,Martin

Juanjo Mena Principal Conductor When you give to ArtsWave, you support 150+ arts organizations throughout the year that make thousands of concerts, shows, exhibitions, public art and experiences like BLINK® happen!

Fanfare Magazine | 11

The Cincinnati Symphony Orchestra has many reasons to launch its 2022–23 season with Mahler’s Symphony No. 2 on September 24 and 25. “Frankly, I don’t know anyone who doesn’t deeply love this music,” says Music Director Louis Langrée. “Anytime you hear this piece, it becomes a celebration.” And rarely, he adds, have musicians and music lovers alike needed a celebration so badly. “There is always some musical work to mark a spiritual return to the world,” Langrée maintains. “Mahler’s Second is that kind of piece, moving from darkness into the light. It resonates as a collective experience. After this time of isolation, this transformational ritual feels necessary.”

Louis Langrée leads the CSO in Rachmaninoff’s Symphony No. 2, May 2022.

But let’s not forget the symphony’s additional moniker. Is there any piece in the orchestral repertory able to mark a return to full public life more clearly than the “Resurrection” Symphony? For Langrée, the event is nothing less than a full justiﬁcation of a concert as a uniting and communal experience. “At the beginning of the pandemic, we all thought that streaming was the solution, the way of the future,” he reﬂects. “After all, we can reach more people in one stream than we could in a whole concert season. But streaming has proven to be a plus, not an ‘instead of.’ Nothing can replace the

Credit: Mark Lyons “After this time of isolation, necessary.”ritualtransformationalthisfeels —Louis Langrée

From Darkness to Light: Opening the First Full Season in Three Years by KEN SMITH COVER STORY

12 | 2022–23 SEASON

“Joélle’s presence hovered in our halls for months,” Langrée says. “Not only did her voice still resonate in the air, but her name remained hanging for months on the dressing room door—right below the sticker that said ‘Cleaned & Sanitized.’ So, you see, in many ways, this program is all wonderfully symbolic.”

Not only does Mahler’s Second Symphony utilize the full forces of the CSO, but it also features the May Festival Chorus (an institution leaving its “high-risk” Covid status just in time for its 150th anniversary season), May Festival Youth Chorus and Xavier University Choir. So, too, does it welcome the return of two soloists with very special relationships to the Orchestra.

“Soprano Joélle Harvey and mezzo-soprano Kelley O’Connor were not selected by chance, but because they have a special connection with the Orchestra,” Langrée maintains. “The last time I conducted Das Lied von der Erde in Cincinnati, it was with Kelley. The ﬁrst time we did Beethoven’s Ninth, it was with Kelley. She has been a large part of my epic journey here.” It was Harvey’sJoélleessence that remained over the last couple of years, however. The soprano was the last soloist scheduled to perform with the CSO at Music Hall the week of its pandemic closure. Langrée recounts that fateful day watching Jonathan Cohen rehearse Handel, when CSO administrative staff members Paul Pietrowski and Robert McGrath interrupted the proceedings to say, “The rehearsal is over. Please take your belongings because you won’t be coming back soon.”

Only a few days after Mahler’s Second Symphony (Sept. 30/Oct. 2), Langrée returns to more unﬁnished business, namely recording Christopher Rouse’s Symphony No. 6, which had its world premiere in Music Hall in October 2019. “Of all the commissions and premieres I’ve conducted, this experience was one of the most powerful,” the conductor recalls. “Both for the music and the circumstances.”

Bernstein—publicly admitted that the death documented in his final piece was his own. Langrée had already noted how Rouse’s expressive phrases, often soaring directly into the heart, finally descend to a single drone in the double bass. “The note just continued, without any effects or ornamentation, holding until it was suddenly ‘power off’,” he says, now understanding that the music represented the composer’s lifeline. “The effect was overwhelming.”Evenwithout personal interaction with the composer, Langrée says he found “a mysterious connection to the composer” through the music. “I don’t know how to explain this, but the first performance didn’t feel like a normal premiere,” he says. “It felt as COVER STORY “a mysterious connection to the composer through the music.”

—Louis Langrée Dressing room sign found in August 2020. Credit: Louis Langrée artistic and spiritual experience of musicians and audience members being together in the same time and place.”

Having commissioned a large piece for the CSO anniversary season, Langrée had expected “a musical birthday cake with some ﬁreworks,” he says. Instead, he received a dark, intense probe of the composer’s emotional core. The conductor had so many queries about structure and content that he compiled a single list so that Rouse could answer them all at Butonce.as the premiere date approached, the Orchestra was informed that Rouse’s health would not permit him to attend. Then came abrupt word of the composer’s death, at age 70, of renal cancer. “This was a total shock,” Langrée recalls. “I’d never met him. I had so many questions, and now no possible chance of a Rousedialogue.”did,however, leave a program note— to be released posthumously—answering many of Langrée’s urgent questions. Suddenly the music’s content became abundantly clear: The composer who had spent much of his career musically recounting the passing of others—his Pulitzer byCycle,”his(1990),TrombonePrize-winningConcertotheﬁrstinso-called“DeathwasinspiredthelateLeonard

Fanfare Magazine | 13 COVER STORY if this piece had existed for some time, that it was already part of the repertoire—that is was already a part of the story of the CSO.”

Langrée also credits Tchaikovsky not just with writing infectiously beautiful music but also changing the course of symphonic music.

“After Beethoven’s Ninth, composers didn’t know what to do,” he says. “Some followed the literary route, like Berlioz with Symphonie fantastique. Others like Bruckner went in a more spiritual direction. Even Mahler’s Second often follows the structure of Beethoven’s Ninth, starting in a major key and ending in minor, with a chorus at the end. Scan of the 2020–21 Great Performers series catalog. “The composer who really opened the path was Tchaikovsky,” he continues. “Ending a symphony with an adagio was a revolutionary statement. I don’t think Mahler would have dared to ﬁnish his Third Symphony with an adagio if Tchaikovsky hadn’t already shown theTheway.”Sixth Symphony of yet another composer features heavily a few weeks later when guest conductor Michael Francis takes the podium October 29 and 30. “It’s always lovely to bring music from your homeland,” says the British-born Francis. “This year, marking the 150th anniversary of Vaughan Williams’ birth, is a major milestone.”

Finding a companion piece to match that intensity might seem challenging, but Francis has bookended Vaughan Williams’ Sixth with Andrzej Panufnik’s rarely performed Sinfonia Sacra, a piece Francis first conducted on a 2014 program with the London Symphony Orchestra when he stepped in for the late Sir Colin Davis. Panufnik, who fled Soviet-controlled Poland for England in the mid-1950s, briefly became the Chief Conductor of the City of Birmingham

the ﬁrst moment—a real Edvard Munch kind of explosion—can be really quite shocking to listeners who only know the language of his Lark Ascending or Tallis Fantasia. This music shows a completely different side.”

Ralph Vaughan Williams’

primalFrancishorrorsexploringmasterpieceWar,theimmediatelyduringNo. 6,SymphonycomposedandrevisedafterSecondWorldisa“30-minutethedarkestofhumanity,”says.“Thescreamof

Plans to give the New York premiere at Lincoln Center as part of the Great Performers Series, pairing it with Tchaikovsky’s Symphony No. 6, fell by the pandemic wayside, although the CSO will finally record Rouse’s final symphony soon after the final October 2 performance. “These are not merely two ‘sixth’ symphonies, they are also their composers’ final message,” Langrée says. “We don’t know if Tchaikovsky knew it would be his last, but Christopher Rouse certainly did. They both end with adagios and share a similar emotional world.”

Unfolding in four unbroken movements, the symphony’s second movement “feels like a kinetic, military tank invasion,” the third “like being thrust into a militaristic tumble dryer,” Francis says. Many listeners have likened the fourth movement—“pure musical nihilism, devoid of any expression for nearly 10 minutes”—to a nuclear apocalypse, or the shock of the atomic bomb. “Not even Shostakovich wrote music so unrelentingly powerful,” Francis claims. “It’s not just recounting the horrors from the last century, but reminding us what we should all remember today.”

14 | 2022–23 SEASON COVER STORY

Lumenocity 2013, Louis Langrée conducts the Cincinnati Symphony Orchestra in the introduction of Strauss’ Also sprach Zarathustra Credit: Mark Lyons Symphony Orchestra, but his musical legacy was mostly in composition. Sinfonia Sacra, his third symphony, marked a thousand years of Christianity in Poland.

“The CSO has a special connection with Richard Strauss,” Langrée states. “Strauss is simply in this orchestra’s DNA.” Strauss himself conducted his Death and Transﬁguration, Don Juan and several songs at Music Hall in 1904; rather more recently, Langrée has led the Alpine Symphony, Don Juan, Metamorphosen, and The Four Last Songs with soprano Renée Fleming.

“The piece opens with an antiphonal fanfare with four trumpets blaring like epic horses of the apocalypse,” Francis says. Once the intensity dies down, the piece builds again over the next 15 minutes, the music heavily quoting the Bogurodzica, the ﬁrst known hymn in Poland. “This was the music of someone living apart from his country, trying to ﬁnd beauty in crisis and giving strength to his people. And his idea of strength was that a militaristic call to arms must also be balanced by prayer and a spiritualBalancingcore.”the rest of Francis’ program is the Rhapsody on a Theme of Paganini by Rachmaninoff (“another composer living apart from his country,” he says) and Charles Ives’ elegiac Unanswered Question, where a solo trumpet unfolds in a less forceful, more contemplative context. The CSO brass, well-honed by its legacy of fanfares, also plays heavily into Richard Strauss’ Also sprach Zarathustra, which Langrée will pair with Schumann’s Piano Concerto with soloist Hélène Grimaud October 21–23.

Langrée dipped a toe in Also sprach Zarathustra, a tone poem inspired by Friedrich Nietzsche’s philosophical novel, when he conducted the opening of the work at Lumenocity, the CSO’s former high-tech outdoor sound-and-light show. “The beginning of the piece is such a blockbuster, famous even to people who have never been to a classical concert,” he says. “But Zarathustra is a masterpiece that goes well beyond the opening fanfare.”

Opening his program with the Schumann Concerto, “the pairing with Strauss will be a full showcase of CSO musicianship,” Langrée says. “This is not a symphonic concerto, like Brahms’ First,” he says. “It’s more like chamber music. Particularly with a soloist like Hélène, it will be a constant kaleidoscope between collective and personal music-making.”

The inspiration and legacy of that project carries through to today, even in the name of this publication, Fanfare Magazine In the early weeks of the Covid-19 pandemic, the Orchestra’s artistic leadership re-envisioned the idea of commissioning fanfares as solo works that could be performed and recorded at home by Orchestra members and released on the Orchestra’s social media channels. William Hurford and Lesley Gilbertson jumped at the opportunity to support the fanfare written by CSO Creative Partner Matthias Pintscher for Principal Oboe Dwight Parry. This fanfare, vitres (fragment…), opened the CSO’s ﬁrst Live from Music Hall livestream in May of 2020.

The word “fanfare” became synonymous with the Cincinnati Symphony Orchestra after Music Director Eugene Goossens commissioned 18 fanfares for the 1942–43 season in support of the World War II effort. Aaron Copland’s now-famous Fanfare for the Common Man was one of the 18 commissions.

Drs. William Hurford and Lesley Gilbertson are both avid fans of the CSO and classical music. Bill learned to play the piano and attended music-based summer camps as a child. “While we wish we were accomplished musicians, sadly we are not,” said Hurford and Gilbertson. “Nevertheless, we have enjoyed classical music throughout our lives, beginning with children’s concerts while growing up in Pittsburgh.” Spurred on by their participation in the 2020 Fanfare Project, Hurford and Gilbertson began to consider their legacy and how they could support the work of the CSO for decades into the future. “The CSO Philanthropy Team offered us the opportunity to create an endowed fund for guest pianists, which reﬂects our love of the piano and the CSO’s focus on premiering new works and new performers,” revealed Hurford and Gilbertson. Thus was born The William Hurford and Lesley Gilbertson Family Fund for Guest Pianists, which each season will support a guest pianist on a CSO subscription concert.

“Recently (only two decades—relative newcomers!) we have made Cincinnati our home, in no small part because of the quality and passion of the CSO. As we have now chosen to retire in Cincinnati, we look forward to future seasons, soloists, and world premieres by the CSO,” said Hurford and Gilbertson. “We appreciate this opportunity to further our connection to Cincinnati and the CSO in the years to come.”

William Hurford and Lesley Gilbertson Family Fund for Guest Pianists

Fanfare Magazine | 15

Left to Right: William Hurford, pianist Conrad Tao, and Lesley Gilbertson

ENDOWMENT SPOTLIGHT

16 | 2022–23 SEASON20 –23 SEASON

Pops: Music of the People by DAVID LYMAN There was a time—not so very long ago—when the word “Pops” conjured up images of show tunes and, if you were very lucky, a smattering of light classics. But in today’s music world, the reality is that “Pops” can—and does—mean just about anything. Of course, we are more than a little spoiled here in Cincinnati. The Cincinnati Pops’ founder, the late Erich Kunzel, was one of the major proponents of moving beyond the old stereotype of Pops concerts. More than anyone since the Boston Pops’ legendary leader Arthur Fiedler, Kunzel broadened the scope of what it meant to be a Pops orchestra. After Kunzel’s untimely death in 2009, John Morris Russell—onetime associate conductor of the CSO—returned to Cincinnati and championed a range of Pops programming that could hardly have been imagined a half-century ago. Consider the trio of concerts that open the Pops’ 2022–23 season. They couldn’t be more different from one another. Yet all three of them live up to Russell’s oft-repeated mantra to “give the audience the good stuff.”

POPS FEATURE

All three concerts this month live up to goodthemantraoft-repeatedRussell’sto“giveaudiencethestuff.”

John Morris Russell leading the Cincinnati Pops Orchestra for “JMR’s Greatest Hits” in May 2022. Credit: JP Leong

Aubrey Logan backstage with John Morris Russell at the 2021 Holiday Pops concert. Credit: JP Leong

JMR is the quintessential proselytizer for music for the people. “You know what I love about the variety of music that we’ll be performing?” he asks. “OK, there are lots of things. But I love that demonstratesit the great sense of pride that our musicians have in being able to play it all. Jazz. Classical. Hip-hop. A Hollywood score. Whatever it is, they play the living daylights out of it.”

Finally, on October 25, the internationally renowned rapper/producer/ actor/activist Common will join Pops Principal Guest Conductor Damon Gupton in an evening of hip-hop, poetry and jazz. “Is this not what American music is all about?!” says JMR, with such gusto that you might think he was trying to be heard in the back row of Music Hall instead of speaking into a mobile phone. To someone not familiar with JMR, that might sound like a wild exaggeration. But to those of us who have come to know him during more than two decades of service to the Pops and the Cincinnati Symphony, it rings completely true. Fanfare Mag Above: Common at the 2016 Classical Roots concert. Credit: Mark Lyons. Right: Damon Gupton. Credit: Charlie Balcom

There is no better example of that than the Pops’ concert with Common, the Chicago-born artist who made his name as a rapper, but has expanded his career to become so much more thanWithinthat.a decade after his ﬁrst album in 1994, Common started popping up in guest acting gigs on television shows. That led to movies. In time, he created his own production company and, in 2016, he made his debut with a live orchestra when he appeared with the Cincinnati Symphony Orchestra as part of the Classical Roots series, with JMR conducting. At the time, JMR admitted he wasn’t very familiar with Common’s work beyond the release of the musician’s Academy Awardwinning song “Glory,” co-written by John Legend for the movie Selma. Far from feeling slighted, Common was thrilled that JMR didn’t know him. “That’s one of my favorite things about the position I’m in now,” Common said in 2016. “I love it when new ears and new people have a chance to hear my songs. Who knows where this will take me?”Now, six years later, we know the answer to that Commonquestion.was so

Part of the Pops mission is to entertain— to present music that is popular. But in his eyes, an even greater part of the mission is to create performances that appeal to everyone—POPS is about music of and for the people. It is also about dispelling preconceptions that folks might have about so many different musical genres.

Fanfare Magazine | 17 POPS FEATURE

First up, on Sept. 10–11, we’ll hear the orchestra performing the Academy Award-winning score to Disney’s Beauty and the Beast. A week later (Sept. 16–18), John Morris Russell will lead a rousing tribute called “Hear Me Roar: A Celebration of Women in Song.” (See sidebar on page 18.)

So are the other two “Aubreyperformers.Logan is an incredible jazz singer. You probably remember her from last year’s Holiday Pops. And did I say that she is a great trombonist, too? And then there’s Erica Gabriel, who sings gospel as easily as she does opera and who recently joined us for our July Fourth concert and blew us away with her vocals. We have these three singers from very different lines of musical work. But for three nights in Music Hall, they’ll all be singing from the same hymnal.”

POPS enthusedFEATUREby that initial experience with the CSO, he started scheduling performances with other orchestras. Now, he does 10 or more a “Theseyear.performances are an excursion through the soul of music,” says Common. “There’s hip-hop and soul and jazz. And it’s all tied together with that beautiful sound of the orchestra. It adds so much depth to the sounds. And it convinces some people in the audience that it’s OK to listen, you know?”

“I grew up among strong women,” he says, recounting how his father died when he was just 15 and his mother was left to raise John and his four siblings alone. “It was a remarkable burden that she took on. And, by God, she did it. So when we talk about celebrating women with music, my mother is the first person who comes to mind.”

byWomenCelebratinginSongDAVIDLYMAN

SIDEBAR

“There was a great awakening during that time,” he says. “Remember, this was during the women’s power movement that began in the ’60s. So, was it political? You bet. But it was wrapped up in some of the most powerful and memorable music we’ve ever heard.”

18 | 2022–23 SEASON “This is music that really resonates with me,” says conductor John Morris Russell. Now, JMR loves LOTS of music. But when he talks about these concerts—“Hear Me Roar: A Celebration of Women in Song”—he sounds more pensive than usual. “This is music that meant a lot to me growing up.” As he starts to describe the concert, it is clear that he feels a very personal connection to this music.

From left: Soprano Erica Gabriel at Red, White & Boom!, July 2022. Credit: Charlie Balcom. Vocalist and trombonist Aubrey Logan during the 2021 Holiday Pops concert. Credit: JP Leong

He’s been emboldened by a particular scene in the 2021 film Summer of Soul, which chronicles the 1969 Harlem Cultural Festival. It took place at exactly the same time as Woodstock. But despite having a roster that was every bit as star-filled as Woodstock, the Harlem event was relatively unknown until the documentary was released. Common was wowed by the film. But he was particularly struck by Nina Simone’s performance.“Shestood on that stage and read a poem,” he remembers. “She had so much soul and passion. There were thousands of people there, but she made it feel intimate, like a little jazz club. Usually, when you’re at a festival, you have to make the audience excited and give them the songs that they know. But she gave them what they needed. To me, that was impressive. I’m not Nina Simone, but if I can get up there in front of an audience and present a new thing, if I can help them experience something different…well, that’s what I want to do.”

It’s no coincidence that much of the music in this program, which was originated by the likes of Aretha Franklin, Carole King, Dolly Parton, Whitney Houston and others, is the music that dominated the airwaves during the mid’70s, the time that JMR is so poignantly recalling.

For these concerts, JMR will again be surrounded by some very strong women. “We have these three fantastic artists joining us,” he says. “There’s Mandy Gonzalez, who is one of the great Latina stars of her generation. She originated the role of Nina in Lin Manuel Miranda’s In the Heights. She was also in Hamilton on Broadway. She’s the real deal.”

WHERE WILL THE ARTS TAKE YOU NEXT ? VISIT ARTSINOHIO.COM @OHIOARTSCOUNCIL | #ARTSOHIO | OAC.OHIO.GOV State and federal dollars through the Ohio Arts Council supported your arts experience today. For more information about the Ohio Arts Council’s grants, programs, resources, and events, visit oac.ohio.gov.

Christian Colberg: The word Hispanic covers a lot of ground. Focusing this month on Latin culture seems both good and bad to me. The fact that this month even exists is a reminder to me of how far we still have to go. There remains much to learn about Hispanic culture. On the other hand, this month presents an opportunity to have a conversation about what it means to be Latin in the U.S. and to carry that knowledge going forward. It also helps showcase what we contribute to society and culture. For me as a musician, I appreciate that this gives us a platform to showcase our talent and diverse points of view. It also illuminates the story of the artistic and personal struggles of many Latin people and presents an opportunity to educate people on all the wonderful things we contribute to this country.

The observation started in 1968 as Hispanic Heritage Week under President Lyndon Johnson. President Ronald Reagan expanded it in 1988 to cover a 30-day period starting on September 15 and ending on October 15, and Congress enacted Hispanic Heritage Month into law on August 17, 1988.

| 2022–23 SEASON

Hispanic Heritage Month: Members of the CSO Family Share Their Thoughts

The day of September 15 is signiﬁcant as the anniversary of independence for Latin American countries Costa Rica, El Salvador, Guatemala, Honduras and Nicaragua. In addition, Mexico and Chile celebrate their independence days on September 16 and September 18, respectively. In celebration and honor of Hispanic Heritage Month, we hear directly from those in our organization with Hispanic/Latin heritage: Christian Colberg, the Orchestra’s Principal Viola (Louise D. & Louis Nippert Chair), who is from San Juan, Puerto Rico; CSO Board of Directors member Dr. Maria Espinola, whose heritage is Argentinian; and staff payroll specialist Natalia Lerzundi, who was born in Peru. What does Hispanic Heritage Month (HHM) mean Dr. Maria Espinola: HHM is an opportunity to recognize and celebrate the signiﬁcant contributions that Hispanics have made in the U.S. and around the world.

Each year, the U.S. observes Hispanic Heritage Month, from September 15 to October 15, by celebrating the histories, cultures and contributions of those who are from Spain, Mexico, the Caribbean and Central and South America.

Christian Colberg, Principal Viola, Louise D. & Louis Nippert Chair

SPOTLIGHT: Hispanic Heritage Month

Fanfare Magazine | 21 SPOTLIGHT: Hispanic Heritage Month

Espinola: There are so many reasons why HHM is important. One of those reasons is that the Hispanic population is the largest ethnic minority in the United States with over 61 million people who now identify as Hispanic or Latino. The Hispanic population is also the fastest growing in the U.S.; the 2020 Census showed that Hispanics account for 51% of the country’s growth. In addition to social, cultural and historical contributions, Hispanics have a very signiﬁcant and positive impact on the U.S. economy. Forbes reported last year that Hispanics’ buying power was growing 70% faster than non-Hispanics’ (at just over $1.9TN), and that if U.S.-based Hispanics represented a country, they would have the seventh largest GDP in the world.

Lerzundi:important?

Colberg: I have seen the entire spectrum of why we need to showcase Latin American culture—from once witnessing a very angry man proclaiming that Puerto Ricans “should go back to Mexico where they belong,” to opening my car door at a gas station while I was listening to salsa music by El Gran Combo and witnessing the man across the way from me gleefully dancing along.

How can people engage with Hispanic Heritage Month?

Hispanic Heritage Month consists of taking the time to highlight all of the contributions and inﬂuence that Hispanic/ Latin culture and people have had on this country. You can see it literally everywhere—in

Natalia Lerzundi: For me, Hispanic Heritage Month is empowering. I grew up in a predominantly white area, so there were moments where I felt like I didn’t belong or was even bullied. But no matter what, I’ve always been incredibly proud to be Peruvian and share my culture with others. As I’ve gotten older, I’ve been able to connect with more people of Hispanic/Latin heritage who are also proud of their culture, and it’s wonderful to connect and uplift each other. Hispanic Heritage Month is a wonderful time to do exactly that—to celebrate our cultures. It’s fascinating to learn about the history and sacriﬁces that have been made by Hispanic/Latin Americans and how they’ve contributed to our society. Every year I learn something new about how Hispanic/Latin people have inﬂuenced society. It’s inspiring to learn that someone of similar background/ heritage can make such an impact. That kind of information is information you have to actively seek out. Hispanic Heritage Month helps to bring it to light. food, music, dance, clothing, art, media, civil rights, businesses, etc. Acknowledging these contributions is important, not only because of basic principle, but also because it helps to combat cultural appropriation and racism as well as show appreciation for all that has been done. Hispanic Heritage Month also serves as a great opportunity to put a spotlight on issues that the Hispanic/Latin community face, since there is more attention on the community than usual.

Lerzundi: There are so many different ways that people can engage! Of course, there are many events across the country that are scheduled during this time that people are highly encouraged to participate in. It’s literally as simple as showing up with friends or family Natalia Lerzundi Why is Hispanic Heritage Month

Espinola: I know there will be many opportunities for everyone to engage in HHM activities. In the past, I have attended lectures at universities given by Hispanic scientists and authors, plays, festivals, concerts, dinners, picnics and family activities. I expect that most organizations will offer HHM programming.

Dr. Maria Espinola

What is your personal connection to the arts—a favorite piece, a fond memory, someone that inspires you?

The Orchestra members were on the other side of the curtain and talking to each other when I ﬁrst walked in, so I was caught off guard when they suddenly began playing a few moments later. I was absolutely mesmerized. I’m not sure how else to describe the feeling, but it felt like the music was reaching out and wrapping around me, completely surrounding me and transporting me somewhere else. It was magical. I only got to listen to them for a few seconds, but I’ll never forget that moment or how much it moved me. I deﬁnitely plan on sneaking into future rehearsals.

Lerzundi: While I don’t have a background in music like almost everyone else at the CSO, I do have a great appreciation for the arts. Before coming to the CSO, I had only heard the Cincinnati Symphony Orchestra one other time at a ballet performance. Of course, I thought the Orchestra played beautifully, but at the time my focus was more on the dancers. Fast forward to one of my ﬁrst few days working in the CSO: I was backstage during a rehearsal (I don’t remember the reason why).

22 | 2022–23 SEASON and having fun. But people can engage in other ways as well, such as supporting Hispanic/ Latin-owned businesses, volunteering at community centers (Esperanza Latino Center, Su Casa Hispanic Center), watching shows/ movies/documentaries that are created by and star Latin/Hispanic people, listening to Latin/ Hispanic music/podcasts.

SPOTLIGHT: Hispanic Heritage Month

Colberg: I grew up listening to Latin music first and then classical. As a matter of fact, many of my colleagues are convinced that I learned my musicianship from Spanish pop singer Julio Iglesias—whom I would listen to for hours every day. I was also very influenced by Puerto Rican folk singer Tony Croatto. I learned Native Indian and African rhythms before I learned what a scale was. It’s a very different approach, but it made me the classical musician I am today. My first teacher was Pablo Casals. When I was growing up, people knew he was a great musician, but the thing they remember most is that he loved to walk on the beach every morning and that his greatest composition started not with some great Beethoven- or Bach-inspired chord progression, but with two claves (wood sticks) laying down a Puerto Rican rhythm.

Espinola: I wouldn’t be the same person without the arts. My grandmother introduced me to classical music and opera when I was about 3 years old. She would also spend time showing me art books from around the world. I still have one of those books with me, from the Uffizi Gallery in Florence. Also at age 3, my parents began sending me to an art school where I would spend time drawing and painting with other children for a few hours every week, until I turned 9 and started taking creative writing classes. When I moved to Buenos Aires at 17, I began attending plays and tango concerts often. While studying psychology in the U.S., I started using music and arts in therapy to work with survivors of different types of trauma. Research has shown that music listening can have a positive effect on both psychological stress experiences (e.g., restlessness, anxiety) and physiological arousal (e.g., heart rate, blood pressure, hormonal levels). It’s because of the connection between music and health and my love for the arts that I serve on the Cincinnati Symphony Orchestra Board of Directors.

FIRST VIOLINS Stefani Matsuo Concertmaster

SECOND VIOLINS Gabriel Pegis Principal Al Levinson Chair Yang Liu* Harold B. & Betty Justice Chair Scott Mozlin** Henry Meyer Chair Kun RachelEvinCherylDongBenedictBlomberg§Charbel

Fanfare Magazine | 23 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 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 Mwakudua waNgure, violin Tyler McKisson, viola Luis Parra, cello Samantha Powell, cello LIBRARIANS Christina Eaton Principal Librarian Lois Klein Jolson Chair Elizabeth Dunning Acting Associate Principal Librarian [Open] Interim Assistant Librarian STAGE MANAGERS Brian P. Schott Phillip T. Sheridan Daniel AndrewSchultzSheridan § 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 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 Chair 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 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++

Anna Sinton Taft Chair

Ida Ringling North Chair Chika PaulHyesunKindermanParkPatterson

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 EmilioRebeccaWilkison**Barnes§Carlo † Stephen Fryxell Melinda & Irwin Simon Chair Caterina Longhi Gabriel Napoli Denisse Rodriguez-Rivera Dan JoanneWangWojtowicz

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

24 | 2022–23 SEASON AND ARTISTIC LEADERSHIP

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 recently appointed Director of Théâtre national de l’Opéra Comique in Paris. 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 streamedBetweenconcerts.thestart of his tenure and the conclusion of the CSO’s 2022–23 season, Langrée and the CSO will have commissioned or co-commissioned 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-en-Provence, 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 wine-makers’ brotherhood dating to the 14th century.

©Chris Lee 2021

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.

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 withGuptonChineke!.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.Anaccomplished 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

Fanfare Magazine | 25 CSO AND POPS ARTISTIC LEADERSHIP

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

As a conductor, Pintscher enjoys and 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. He is also Creative Partner for the Cincinnati 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

©Franck Ferville ©Damu Malik

artisticIn1980ensemble,contemporarytheintercontemporainEnsemble(EIC),world’sforemostmusicfoundedinbyPierreBoulez.hisdecade-longleadershipof 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.

MATTHIAS PINTSCHER CSO Creative Partner The 2022–23 season is Matthias Pintscher’s ﬁnal season as Music Director of the

PNC is proud to be the Pops Series 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. ©2022 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC CON PDF 0618-0106 everybringthetheCelebratingartsandjoytheytolifeday.

The performance is a presentation of the complete ﬁlm Beauty and the Beast with a live performance of the ﬁlm’s entire score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.

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.

DISNEY’S BEAUTY AND THE BEAST | 2022–2023 SEASON SAT SEPT 10, 2 pm SUN SEPT 11, 2 pm Music Hall

There will be one intermission Directed by Gary Trousdale and Kirk Wise Produced by Don Hahn Executive Producer Howard Ashman Animation Screenplay by Linda Woolverton Songs by Howard Ashman and Alan Menken Original Score by Alan Menken

The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC

Today’s performance lasts approximately 1 hour and 45 minutes, including a 20-minute intermission.

Fanfare Magazine | 27

STUART CHAFETZ,conductor

GUEST ARTIST: Sept 10–11, 2022

with orchestras across the continent, and this season he will be on the podium in Detroit, Ft. Worth, Naples, Buffalo, North Carolina and Seattle. He enjoys a special relationship with The Phoenix Symphony, where he leads multiple programs annually. He’s had the privilege to work with renowned artists including Leslie Odom, Jr., En Vogue, Kenny G, Chris Botti, 2 Cellos, Hanson, Rick Springﬁeld, Michael Bolton, Kool & The Gang, Jefferson Starship, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for 20 years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He’s led numerous Spring Ballet productions at the world-renowned Jacobs School of Music at IndianaWhenUniversity.notonthe podium, Chafetz makes his home near San Francisco with his wife, Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the University of Cincinnati College-Conservatory of Music and a master’s degree from the Eastman School of Music. stuartchafetz.com

28 | 2022–23 SEASON STUART CHAFETZ, conductor Stuart Chafetz is the Principal Pops Conductor of the increasinglypodiumhisconductorSymphonies.ChautauquaPopsSymphonyColumbusandPrincipalConductoroftheandMarinChafetz,acelebratedfordynamicandengagingpresence,isindemand

©Pat Johnson

972-977-5107 office 513-231-2800 ataylor@comey.com Helping you buy or sell a home Proudly Supporting the Cincinnati Symphony Orchestra Family. Realtor® Check out our new digital program page for even more enriching content including full-length biographies, digital content and more! Visit digital-programcincinnatisymphony.org/ , or point your phone’s camera at the QR code.

HEAR ME ROAR: A CELEBRATION OF WOMEN IN SONG

Fanfare Magazine | 29

HEAR ME ROAR | 2022–2023 SEASON FRI SEPT 16, 7:30 pm SAT SEPT 17, 7:30 pm SUN SEPT 18, 2 pm Music Hall Kelly Dehan & Rick Staudigel

Selections will be announced from the stage.

The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC and Concert Sponsor Kelly Dehan & Rick Staudigel

JOHN MORRIS RUSSELL,conductor AUBREY LOGAN, vocalist ERICA GABRIEL, vocalist MANDY GONZALEZ, vocalist

JMR and the Pops open the new season with a powerful celebration of iconic divas of soul, pop, Broadway, R&B, jazz, opera and gospel that’ll blow the roof off Music Hall. Experience some of the most popular songs made famous by the likes of Adele, Aretha Franklin, Carole King, Dolly Parton, Whitney Houston and others. Three powerhouse singers join the Pops for an inspiring display of vocal ﬁreworks sure to make you say, “I’m with HER!”

As the world has endured the most difficult years, Logan continues to produce music that brings hope, joy and that touch of fun to her audiences. Sassy, undeniably gifted and with talent to burn, Aubrey Logan continues to headline sold-out shows and festivals, to wow the crowds at symphony dates all over the world, and to touch those who witness her rare, intimate club shows. aubreylogan.com

Once again diving deep into her jazz roots, Standard is a journey into her musical past with covers of recognizable tracks plus her original work, “Done Pretending” and “Louboutins 2.0.”

ERICA GABRIEL, vocalist Erica Gabriel received her bachelor’s degree in Vocal Performance and Pedagogy from Oakwood University and holds a master’s degree in Voice Performance from the University of Michigan. Currently, she is pursuing her Doctor of Musical Arts degree at the University of Kentucky. She has performed with the Chicago Symphony Orchestra, Jacksonville Symphony, Savannah Philharmonic, Jackson Symphony and Hilton Head Symphony Orchestra. She was cast in the Ravinia Festival’s production of Bernstein’s MASS under the baton of Marin Alsop, which aired on PBS as a part of its Great Performances series. She has also toured with the renowned American Spiritual Ensemble, under the direction of Dr. Everett McCorvey.

A singer, trombone player and a songwriter, Aubrey Logan is recognized on the global stage as a performer who can deliver in the most informal of settings and then to huge festival audiences. Her work is praised as being accessible, fresh and dynamic. With a number one album, Where the Sunshine is Expensive, already under her belt, Logan returns to the spotlight with her follow-up collection, Standard

GUEST ARTISTS: Sept 16–18, 2022 ©Lilly Lilova Bring more music into your life and get more out of it. For subscriptions and single tickets visit LintonMusic.org

30 | 2022–23 SEASON AUBREY LOGAN

GUEST ARTISTS

Kelly M. andDehan Rick J. Staudigel— digital-programcincinnatisymphony.org/ , point your phone’s camera at the QR code.

Fanfare Magazine | 31

Her competition credits and awards include The Alma Blackmon Scholarship Award, winner of the Classical Singer Regional University Competition and of the Hartford Memorial Scholarship Competition, second place in the Alltech Scholarship Competition, and the 2018 Gold Medal in the American Traditions Vocal Competition. ericagabrielsoprano.wixsite.com/ website MANDY GONZALEZ, vocalist Mandy Gonzalez is currently starring in the hit Broadway musical Hamilton and is also known for her emotional portrayal of Nina Rosario in the Tony Awardwinning Lin-Manuel Miranda Broadway musical In the Heights, a role she originally created Off-Broadway at 37 Arts and which received a Drama Desk Award for Best Ensemble. She starred as Elphaba in the Broadway production of Wicked, earning a Broadway.com Award for Best Replacement. Other Broadway roles include Princess Amneris in the Elton John and Tim Rice musical Aida and the Broadway show Lennon, where she portrayed multiple roles including that of Beatles’ icon John Lennon. Gonzalez made her Broadway debut in Jim Steinman’s Dance of the Vampires, starring opposite Michael Crawford. Equally at home on the big and small screens, she has appeared in Across the Universe, directed by Julie Taymor; After, starring opposite Pablo Schreiber; and Man on a Ledge, with Sam Worthington. Gonzalez also had recurring roles on ABC’s Quantico and on CBS’s Madam Secretary Gonzalez can be heard as the voice of Mei in Disney’s Mulan 2 and on recordings of the original Broadway cast album of In the Heights, Kerrigan-Lowdermilk Live and The Man Who Would Be King. She released her ﬁrst solo album, Fearless, in 2017. mandygonzalez.com

Artist Sponsor HEAR ME ROAR: A CELEBRATION OF WOMEN IN SONG Check out our new digital program page for even more enriching content including full-length biographies, digital content and more! Visit

Fort Washington Investment Advisors, Inc., a member of Western & Southern Financial Group, is honored to help advance the Cincinnati Symphony Orchestra’s mission to seek and share inspiration. Learn how we can work contactus@fortwashington.comtogether./fortwashington.com FORT WASHINGTON INVESTMENT ADVISORS IS A PROUD PARTNER OF THE CINCINNATI SYMPHONY ORCHESTRA

(“With

Fanfare Magazine | 33

There is no intermission. These performances are approximately 85 minutes long.

MAHLER’S RESURRECTION SYMPHONY | 2022–2023 SEASON

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

KELLEY O’CONNOR, mezzo-soprano FESTIVAL CHORUS, Robert Porco, director FESTIVAL YOUTH CHORUS, Matthew Swanson, director UNIVERSITY CHOIR, Matthew Swanson, director Symphony 2 in C Minor, Resurrection maestoso ed. Stark-Voit and Kaplan Andante moderato In ruhig ﬂiessender bewegung quietly ﬂowing (“Primeval Light”) Tempo des Scherzo—Langsam

Gustav MAHLER

JOÉLLE HARVEY, soprano

MAY

(1860–1911) Allegro

MAY

movement”) Urlicht

SAT SEPT 24, 7:30 pm SUN SEPT 25, 2 pm Music Hall

Listen to this program on 90.9 WGUC January 15, 2023 at 8 pm.

XAVIER

LOUIS LANGRÉE, conductor

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

No.

Premiere: Mahler conducted the Berlin Philharmonic in the work’s ﬁrst three movements on March 4, 1895 at a performance arranged by Richard Strauss, who was then that ensemble’s Music Director. Mahler returned to Berlin to lead the ﬁrst complete performance later that year, on December 13. He also directed the American premiere, on December 8, 1908, with the orchestra of the Symphony Society of New York at Carnegie Hall.

In August 1886, the distinguished conductor Arthur Nikisch, later music director of the Boston Symphony Orchestra, appointed the 26-year-old Gustav Mahler as his assistant at the Leipzig Opera. At Leipzig, Mahler met Carl von Weber, grandson of the celebrated composer Carl Maria von Weber, and the two worked on a new performing edition of the virtually forgotten Weber opera Die drei Pintos (“The Three Pintos,” two being impostors of the title character). (In an episode that bore on the composition of the First Symphony, Mahler, always subject to intense emotional turmoil, fell in love with Carl’s wife during his frequent visits to the Weber house. The lovers planned to run away together, but at the decisive moment she left Mahler stranded, quite literally, at the train station.) Following the premiere of Die drei Pintos, on January 20, 1888, Mahler attended a reception in a room filled with flowers. That seemingly beneficent image played on his mind, becoming transmogrified into nightmares and waking visions, almost hallucinations, of himself on a funeral bier surrounded by floral wreaths.

Duration: approx. 80 minutes

During 1889, both of Mahler’s parents died—his father in February, his mother just eight months later—so the responsibility for supporting his brothers and sisters fell upon him. A ne’er-do-well brother, Alois, ﬂed to America. Gustav moved Emma and Otto from their home in Bohemia to Vienna, where they could all be close to their sister, Leopoldine, who had previously married and settled in the Habsburg capital. Justine went to Budapest to keep house for her brother.

34 | 2022–23 SEASON GUSTAV MAHLER

Born: July 7, 1860, Kalischt, Bohemia Died: May 18, 1911, Vienna Symphony No. 2 in C Minor, Resurrection

The next ﬁve years were ones of intense professional and personal activity for Mahler. He resigned from the Leipzig Opera in May 1888 and applied for posts in Karlsruhe, Budapest, Hamburg and Meiningen. To support his petition for this last position, he wrote to Hans von Bülow, director at Meiningen until 1885, to ask for his recommendation, but the letter was ignored. Richard Strauss, however, the successor to Bülow at Meiningen, took up Mahler’s cause on the evidence of his talent furnished by Die drei Pintos and his growing reputation as a conductor of Mozart and Wagner. When Strauss showed Bülow the score for the Weber/Mahler opera, Bülow responded caustically, “Be it Weberei or Mahlerei [puns in German on “weaving” and “painting”], it makes no difference to me. The whole thing is a pastiche, an infamous, out-of-date bagatelle. I am simply nauseated.” Mahler, needless to say, did not get the job at Meiningen, but he was awarded the position at Budapest, where his duties began in October 1888.

The First Symphony was completed in March 1888, and its successor was begun almost immediately. Mahler, spurred by the startling visions of his own death, conceived the new work as a tone poem titled Totenfeier (“Funeral Rite”). The title was apparently taken from the translation by the composer’s close friend Siegfried Lipiner, titled Totenfeier, of Adam Mickiewicz’s Polish epic Dziady, which appeared just as work on the tone poem was begun. Though Mahler inscribed his manuscript “Symphony in C minor/First Movement,” he had no clear idea at the time what sort of music would follow Totenfeier, and he considered allowing the movement to stand as an independent composition. He completed and dated the orchestral score of the movement on September 10, 1888 in Prague, where he was conducting performances of Die drei Pintos at the German Theater.

SEPT 24–25 PROGRAM NOTES

Instrumentation: Soprano and mezzosoprano soloists, SATB chorus, 4 ﬂutes (incl. 4 piccolos), 4 oboes (incl. 2 English horns), 5 clarinets (incl. bass clarinet, 2 E-ﬂat clarinets), 4 bassoons (incl. contrabassoon), 10 horns, 8 trumpets, 4 trombones, tuba, 2 timpani, bass drum, chimes, crash cymbals, glockenspiel, rute, 3 snare drums, suspended cymbals, 2 tam-tams, 3 triangles, 2 harps, organ, strings CSO performances:notable

Composed: 1888–1894

First Performance: November 1928 Fritz

directorChorus,soprano;ChristianneJaniceGilbertRecent:becomeArts,CincinnatitheaMayCahier,soprano;conductor;Reiner,IliahClark,Mme.Charlesmezzo-soprano;FestivalChorus—forspecialconcertbynewlyestablishedInstituteofFinewhichwouldlaterArtsWave.MostOctober2008Kaplan,conductor;Chandler,soprano;Stotijn,mezzo-MayFestivalRobertPorco,

The year after Bülow’s withering criticisms, Mahler found inspiration to compose again in a collection of German folk poems by Ludwig Achim von Arnim and Clemens Brentano called Des Knaben Wunderhorn (“The Youth’s Magic Horn”). He had known these texts since at least 1887, and in 1892 set four of them for voice and piano, thereby renewing some of his creative self-confidence. The following summer, when he was free from the pressures of conducting, he took rustic lodgings in the village of Steinbach on Lake Attersee in the lovely Austrian Salzkammergut, near Salzburg, and it was there that he resumed work on the Second Symphony, five years after the first movement had been completed. Without a clear plan as to how they would fit into the Symphony’s overall structure, he used two of the Wunderhorn songs from the preceding year as the bases for the internal movements of the piece. On July 16 he completed the orchestral score of the Scherzo, derived from Des Antonius von Padua Fischpredigt, a cynical poem about St. Anthony preaching a sermon to the fishes, who, like some human congregations, return to their fleshly ways as soon as the holy man finishes his homily. Only three days later, Urlicht (“Primal Light”) for contralto solo, was completed; by the end of the month, the Andante, newly conceived, was finished. Mahler composed with such frenzy that summer that his sisters almost urged him to give up his work lest his health be ruined. Natalie Bauer-Lechner, a close friend who left a revealing book of personal reminiscences of the composer, related that he looked strained and drawn and was “in an almost pathological state” at Steinbach. “Don’t talk to me of not looking well,” he reprimanded. “Don’t ever speak to me of this while I am working unless you want to make me terribly angry. While one has something to say, do you think that one can spare oneself? Even if it means devoting one’s last breath and final drop of blood, one must express it.” Check out our new digital program page for even more enriching content including program notes, contentbiographies,full-lengthdigitalandmore!Visit digital-programcincinnatisymphony.org/ , or point your phone’s camera at the QR code.

PROGRAM NOTES

But this time of grief held yet one more shock, when Leopoldine fell gravely ill with a brain tumor and died late in the year. In 1891, Mahler switched jobs once again, this time leaving Budapest to join the prestigious Hamburg Opera as principal conductor. There he encountered Bülow, who was director of the Hamburg Philharmonic concerts. Bülow had certainly not forgotten his earlier low estimate of Mahler the composer, but after a performance of Siegfried he allowed that “Hamburg has now acquired a simply ﬁrstrate opera conductor in Mr. Gustav Mahler...who equals in my opinion the very best.” Encouraged by Bülow’s admiration of his conducting, Mahler asked for his comments on the still unperformed Totenfeier Mahler described their September 15th encounter: When I played my Totenfeier for Bülow, he fell into a state of extreme nervous tension, clapped his hands over his ears and exclaimed, “Beside your music, Tristan sounds as simple as a Haydn symphony! If that is still music then I do not understand a single thing about music!” We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer. Mahler, who throughout his career considered his composition more important than his conducting, was deeply wounded by this behavior, but he controlled his anger out of respect for Bülow, who had extended him many kindnesses and become something of a mentor. Bülow did nothing to quell his doubts about the quality of his creative work, however, and Mahler, who had written nothing since Totenfeier three years before, was at a crisis in his career as a composer.

Fanfare Magazine | 35

36 | 2022–23 SEASON

Richard Strauss, then director of the Berlin Philharmonic (as successor to Bülow!), wanted to premiere the work, but he was unable to secure the vocal forces needed for the closing sections, so he arranged a performance of the ﬁrst three movements for March 4, 1895 and invited Mahler to conduct. (Mahler was still reeling on that date from

On June 29, 1894, just three months later, Mahler completed his monumental “Resurrection” Symphony, six years after it was begun. The great scope of the “Resurrection” Symphony, both in length and in performing forces, made its premiere a signiﬁcant undertaking.

I understood. As if illuminated by a mysterious power I answered: “Auferstehen, ja auferstehen wirst du nach kurzen Schlaf.” [“Rise again, yes you will rise again after a short sleep.”] I had guessed the secret: Klopstock’s poem, which that morning we had heard from the mouths of children, was to be the basis for the closing movement of the Second Symphony.

By the end of summer 1893, the first four movements of the Symphony were finished but Mahler was still unsure about the work’s ending. The finality implied by the opening movement’s “Funeral Rite” seemed to allow no logical progression to another point of climax. As a response to the questions posed by the first movement, he envisioned a grand choral close for the work, much in the manner of the triumphant ending of Beethoven’s last symphony.

The funeral procession started. At the Hamburg Opera, where Bülow had so often delighted the townspeople, he was greeted by the funeral music from Wagner’s Götterdämmerung [conducted by Mahler]. A great moment, full of reverence, remembrance and Outsidethankfulness.theOpera, I could not ﬁnd Mahler. But that afternoon I could not restrain my restlessness, and hurried to his apartment as if to obey a command. I opened the door and saw him sitting at his writing desk, his head lowered and his hand holding a pen over some manuscript paper. Mahler turned to me and said: “Dear friend, I have it!”

PROGRAM NOTES

On June 29, 1894, just three months later [after the death of Hans von Bülow], Mahler completed his Symphony,“Resurrection”monumentalsixyearsafteritwasbegun.

“When I conceive a great musical picture, I always arrive at a point where I must employ the ‘word’ as the bearer of my musical idea,” he conﬁded. “My experience with the last movement of my Second Symphony was such that I literally ransacked world literature, even including the Bible, to ﬁnd the redeeming word.” Still, no solution presented itself. In December 1892, Bülow’s health gave out and he designated Mahler to be his successor as conductor of the Hamburg Philharmonic concerts. A year later Bülow went to Egypt for treatment, but died suddenly in Cairo on February 12, 1894. Mahler was deeply saddened by the news. He met with the Czech composer Josef Förster that day and played through the Totenfeier with such emotion that his colleague was convinced it was offered “in memory of Bülow.” Förster recalled the memorial service they had attended at Hamburg’s St. MichaelMahlerChurch:andIwere present at the moving farewell.... The strongest impression to remain was that of the singing of the children’s voices. The effect was created not just by Klopstock’s profound poem [Auferstehen—“Resurrection”] but by the innocence of the pure sounds issuing from the children’s throats. The hymn died away, and the old, huge bells of the church opened their eloquent mouths and their mighty threnody poured forth to the entire port city.

PROGRAM NOTES

Fanfare Magazine | 37 the suicide of his beloved younger brother Otto less than a month before. Mahler, subject to migraine headaches during times of great stress, was almost incapacitated by blinding headaches during the rehearsals and premiere.) Though the Symphony was performed as an incomplete torso, the audience approved it warmly, recalling the composer–conductor to the stage at least five times with its applause. The critics, however, vilified the new piece, ignoring the success it had gained with the public. When the complete work was presented on December 13, the critics again decried the score. (One representative comment scorned “the cynical impudence of this brutal and very latest music maker.”) Despite critical carping, the Second Symphony became Mahler’s most often heard work during his lifetime: the score was published in 1897, he chose it for his Viennese farewell performance in 1907, and it was the first of his works he conducted (on December 8, 1908 at Carnegie Hall with the New York Symphony Orchestra) after coming to America. The composer himself wrote of the emotional engines driving the Second Symphony: • 1st movement. We stand by the coffin of a well-loved person. His life, struggles, passions and aspirations once more, for the last time, pass before our mind’s eye.—And now in this moment of gravity and of emotion which convulses our deepest being, our heart is gripped by a dreadfully serious voice that always passes us by in the deafening bustle of daily life: What now? What is this life—and this death? Do we have an existence beyond it? Is all this only a confused dream, or do life and this death have a meaning?—And we must answer this question if we are to live on. Building better lives for our customers, communities and each other. @messerwearebldgmesser.com

Messer is proud to sponsor the Cincinnati Symphony Orchestra Mahler’s Resurrection Symphony

• 5th movement. We again confront all the dreadful questions and the mood of the end of the ﬁrst movement. The end of all living things has come. The Last Judgment is announced and the ultimate terror of this Day of Days has arrived. The earth quakes, the graves burst open, the dead rise and stride hither in endless procession. Our senses fail us and all consciousness fades away at the approach of the eternal Spirit. The “Great Summons” resounds: the trumpets of the apocalypse call. Softly there sounds a choir of saints and heavenly creatures: “Rise again, yes, thou shalt rise again.” And the glory of God appears. All is still and blissful. And behold: there is no judgment; there are no sinners, no righteous ones, no great and no humble— there is no punishment and no reward! An almighty love shines through us with blessed knowing and being.

—Dr. Richard E. Rodda

• 4th movement—Urlicht (“Primal Light,” mezzo-soprano solo). The moving voice of naïve faith sounds in our ear: I am of God, and desire to return to God! God will give me a lamp, will light me to eternal bliss!

PROGRAM NOTES AUDITION for the May Festival Chorus & Youth Chorus FESTIVAL 150 Join us for our 150th Anniversary Season in 2023! There are no costs associated with singing in the May Festival Choruses. mayfestival.com/join

38 | 2022–23 SEASON

• 2nd movement—Andante (in the style of a Ländler). You must have attended the funeral of a person dear to you and then, perhaps, the picture of a happy hour long past arises in your mind like a ray of sun undimmed—and you can almost forget what has happened.

• 3rd movement—Scherzo, based on Des Antonius von Padua Fischpredigt. When you awaken from the nostalgic daydream [of the preceding movement] and you return to the confusion of real life, it can happen that the ceaseless motion, the senseless bustle of daily activity may strike you with horror. Then life can seem meaningless, a gruesome, ghostly spectacle, from which you may recoil with a cry of disgust!

Chorus and Soprano

Mit Flügeln, die ich mir errungen, With wings that I have won for myself in heissem Liebesstreben, in the fervent struggle of love, zum Licht, zu dem kein Aug’ gedrungen! to the light which no eye has pierced.

Ich bin von Gott und will wieder zu Gott! I am from God and will return to God!

Soloists and Chorus Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes you will rise again, mein Herz, in einem Nu! my heart, in the twinkling of an eye! Was du geschlagen, What you have conquered zu Gott wird es dich tragen! will carry you to God!

Da kam ich auf einen breiten Weg: Then I came onto a broad path: Da kam ein Engelein und wollt’ mich abweisen! An angel came and wanted to send me away. Ach nein! Ich liess mich nicht abweisen! Ah, no! I would not be sent away.

Wieder aufzublüh’n wirst du gesät! To bloom again you are sown!

Chorus Sterben werd’ ich, um zu leben! I shall die in order to live!

PROGRAM NOTES

O Schmerz! Du Alldurchdringer, O suffering! You that pierce all things, dir bin ich entrungen! From you have I been wrested!

Der Mensch liegt in grösster Not! Humankind lies in deepest need, Der Mensch liegt in grösster Pein! Humankind lies in deepest pain.

Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes you will rise again, mein Staub, nach kurzer Ruh: my dust, after a short rest: Unsterblich Leben Immortal life wird der dich rief dir geben. will He who called you grant to you.

O glaube, mein Herz, o glaube, O believe, my heart, O believe, es geht dir nichts verloren! Nothing will be lost to you! Dein ist, was du gesehnt, What you longed for is yours, dein was du geliebt, Yours, what you have loved, was du gestritten! what you have struggled for!

Chorus Was entstanden ist, What was created das muss vergehen! must pass away! Was vergangen, aufersteh’n! What has passed away must rise! Hör auf zu beben! Cease trembling! Bereite dich zu leben! Prepare yourself to live!

Soprano and Mezzo-Soprano

Fanfare Magazine | 39 TEXT AND TRANSLATION Urlicht (“Primal Light”)

Der liebe Gott wird mir ein Lichtchen geben, Dear God will give me a light, Wird leuchten mir in das ewig selig Leben! Will illumine me to eternal, blessed life!

O Röschen rot! Oh red rose!

Je lieber möcht’ ich im Himmel sein! Much would I rather be in heaven!

Mezzo-Soprano

O glaube, O believe, du warst nicht umsonst geboren! You were not born in vain! Hast nicht umsonst gelebt, You have not lived in vain, gelitten! suffered in vain!

O Tod! Du Allbezwinger, O death! You that overcome all things, nun bist du bezwungen! now you are overcome!

Der Herr der Ernte geht The Lord of the harvest goes und sammelt Garben and gathers sheaves, uns ein, die starben! even us, who died!

Emmy Award Winner Regional - Innterrvview/Discussioin Program SATURDAY 6:30PM CET SUNDAY 8:30PM CET ARTS Join Barbara Kellar as she showcases artists and cultural leaders from the Greatercommunity.Cincinnati www.CETconnect.org

Sought after by many of the most heralded composers of our day, O’Connor has given the world premieres of Joby Talbot’s A Sheen of Dew on Flowers with the Britten Sinfonia, Bryce Dessner’s Voy a Dormir with the Orchestra of St. Luke’s at Carnegie Hall, Osvaldo Golijov’s Ainadamar at the Tanglewood Music Festival, and John Adams’ The Gospel According to the Other Mary, written for her, which she has performed under the batons of John Adams, Gustavo Dudamel, Grant Gershon, Gianandrea Noseda, Sir Simon Rattle and David Robertson. She is the eminent living interpreter of Peter Lieberson’s Neruda Songs, having given this moving set of songs with Stéphane Denève and the Concertgebouworkest, Christoph Eschenbach and the National Symphony Orchestra, Bernard Haitink and the Chicago Symphony Orchestra, Robert Spano and the Minnesota Orchestra, and with David Zinman and the Berliner Philharmoniker, among others. Her vivid discography includes Mahler’s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson’s Neruda Songs, Golijov’s Ainadamar, and Michael Kurth’s Everything Lasts Forever with Robert Spano and the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and The Cleveland Orchestra. kelleyoconnor.com

GUEST ARTISTS: Sept 24–25, 2022 ©Ariele Doneson ©Ben Dashwood

JOÉLLE HARVEY, soprano A native of Bolivar, New York, soprano Joélle Harvey received her bachelor’s and master’s degrees in vocal performance from the University of GlimmerglassherMusicCollege-ConservatoryCincinnatiof(CCM).ShebegancareertrainingatOpera(now

Fanfare Magazine | 41

The Glimmerglass Festival) and the Merola OperaHarvey’sProgram.2022–23 season brings appearances with a host of internationally acclaimed organizations. She will join the New York Philharmonic as the soprano soloist in a gala performance of Beethoven’s Symphony No. 9, celebrating the opening of David Geffen Hall and conducted by Jaap van Zweden. She debuts with the Bamberg Symphoniker (Mahler’s Symphony No. 4 and Alma Mahler songs, conducted by Jakub Hrůša), Deutsches Symphonie-Orchester Berlin (Handel’s Solomon with Robin Ticciati), and the Minnesota Orchestra (Haydn’s The Creation with Paul McCreesh). The season also holds returns to The Cleveland Orchestra (Schubert Mass in E-ﬂat in Cleveland and at Carnegie Hall), Chicago Symphony Orchestra (Carmina Burana), and The Metropolitan Opera (Pamina in The Magic Flute). Notable chamber performances will include a recital with baritone John Moore and pianist Allen Perriello for Philadelphia Chamber Music Society and appearances with the Chamber Music Societies of Lincoln Center and Palm Beach. She also makes her Jacksonville Symphony debut for Brahms’ Ein deutsches Requiem and debuts with the Orchestra of St. Luke’s in an all-Handel program conducted by Bernard Labadie at Carnegie Hall. During the summer of 2023, she returns to the Glyndebourne Festival as the title role in a new production of Handel’s Semele, directed by Adele Thomas. joelleharvey.com

KELLEY O’CONNOR, mezzo-soprano Possessing a voice of uncommon allure, Grammy® Awardwinning mezzo-soprano Kelley O’Connor is one of the most compelling performers of her generation. She is acclaimedinternationallyequallyin the pillars of the classical music canon—from Beethoven and Mahler to Brahms and Ravel—as she is in new works of modern masters—from Adams and Dessner to Lieberson and Talbot. Her robust concert diary this season includes performances with Giancarlo Guerrero and the Nashville Symphony, Jaap van Zweden and the New York Philharmonic, Gianandrea Noseda and the National Symphony Orchestra, and Xian Zhang both with the San Francisco Symphony and New Jersey Symphony.

GUEST ARTISTS

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 125 professionally trained singers is the core artistic element of the Cincinnati May Festival as well as the official chorus of the Cincinnati Symphony Orchestra and Cincinnati Pops. Throughout a typical season the chorus members collectively devote more than 40,000 hours in rehearsals and performances. Founded in 1873, the annual May Festival is the oldest, and one of the most prestigious, choral festivals in the Western Hemisphere.

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. A highlight of his career was leading an Indiana University student choral and orchestral ensemble of 250 in a highly acclaimed performance of Leonard Bernstein’s MASS as part of the Tanglewood Music Festival’s celebration of the composer’s 70th birthday. 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. 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.

OF SamuelNOTELee and Daniel Wiley join the CSO and Pops as Assistant Conductors this season. Lee, an alumnus of Hochschule für Musik “Hanns Eisler” Berlin and former violist of the Novus String Quartet, was first prize winner of the BMI International Conducting Competition in Bucharest and the International Conducting Competition in Taipei and has maintained an active career in Europe and Asia, but this will be his first time working with a U.S. orchestra. Wiley’s previous conducting posts include Assistant Conductor of the Jacksonville Symphony, Music Director of the Jacksonville Symphony Youth Orchestras, Associate Conductor of the Windsor Symphony Orchestra, Music Director of the Windsor Symphony Youth Orchestras, and many others. Congratulations to Lee and Wiley and welcome to the CSO. Keep an eye out for profiles on each of our new Assistant Conductors in subsequent issues of Fanfare Magazine Both assistant conductor positions are endowed by Ashley and Barbara FordSamuel Lee and Daniel Wiley

©Roger Mastroianni

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

The annual Festival, now under the artistic leadership of Principal Conductor Juanjo Mena, boasts the May Festival Chorus—with choral preparation by Robert Porco—and Cincinnati Symphony Orchestra as anchors, hosts an international array of guest artists and presents two spectacular weekends of dynamic programming. James Conlon, who in 2016 brought to a close an unprecedented 37-year tenure as May Festival Music Director, was named Music Director Laureate upon his retirement. Many important choral works have received their World and American premieres at the May Festival, including Johann Sebastian Bach’s Magniﬁcat, Gustav Mahler’s Symphony No. 3, Benjamin Britten’s Gloriana, Gian Carlo Menotti’s The Death of the Bishop of Brindisi and Robert Nathaniel Dett’s The Ordering of Moses mayfestival.com

42 | 2022–23 SEASON L-R:

MAY FESTIVAL

XAVIER UNIVERSITY CHOIR

The May Festival Youth Chorus connects, inspires and educates young people through the study and performance of choral music. Since its founding in 1987, the Youth Chorus has appeared annually at the May Festival to perform choral-orchestral works with the May Festival Chorus, the Cincinnati Symphony Orchestra, and internationally renowned conductors and soloists. In addition, the Youth Chorus presents its own concert series and collaborates with cultural institutions and organizations throughout greater Cincinnati. Highlights of the Youth Chorus experience include a broad range of repertoire; annual commissions and world premieres; free professional voice instruction; access to free and discounted tickets to the May Festival, CSO and Pops concerts; frequent concert appearances with the CSO and Pops at Music Hall and Riverbend Music Center; and a community of enthusiastic and skilled peer musicians from across the tri-state. Notably, the Youth Chorus is tuition-free; acceptance is based solely on ability.

This season, the CSO welcomes 10 new musicians to the Orchestra! We are delighted to welcome Felicity James, Associate Concertmaster; Dan Wang, Section Viola; Gabe Napoli, Section Viola; Emilio Carlo, one-year Section Viola; Daniel Kaler, Section Cello; Isabel Kwon, one-year Section Cello; Stephen Jones, Assistant Principal Bass; Luis Celis, Section Bass; Rebecca Tutunick, Piccolo/Utility Flute; and Joseph Bricker, Associate Principal Timpani/Section Percussion. Additionally, our own Associate Principal Librarian Christina Eaton won the national search for Principal Librarian. Congratulations to each of these musicians and welcome to the CSO. Keep an eye out for profiles on each of our new musicians in subsequent issues of Fanfare Magazine

YOUTH CHORUS

MATTHEW SWANSON, Associate Director of Choruses, May Festival Chorus Matthew Swanson is the Associate Director of Choruses and the Director of the May Festival Youth Chorus. He annually prepares the May Festival Chorus and Youth Chorus for performances with the Cincinnati Symphony and Pops Orchestras, and for their featured appearances at the May Festival. Under his leadership, the May Festival has instituted an annual Youth Chorus commissioning project; the May Festival Community Chorus; the presentation of community choral concerts at Music Hall during the May Festival; a robust program of professional voice instruction, free to Chorus and Youth Chorus members; the Festival’s community choral podcast “Sing the Queen City”; and free in-school choral clinics for area high schools. A native of southeast Iowa, Swanson earned an undergraduate degree in trumpet performance and American Studies at the University of Notre Dame; master’s degrees in choral conducting and choral studies from CCM and King’s College, Cambridge, respectively; and a doctorate of musical arts in conducting from CCM. He was awarded the May Festival Choral Conducting Fellowship in 2015.

Matthew Swanson, Director The Xavier Choir, the primary choral ensemble in Xavier University’s Department of Music and Theatre, comprises students from a broad range of academic programs. The choir, under the direction of Matthew Swanson, performs frequently on campus, around Cincinnati, and across the country. A highlight of the previous academic year was a performance at the installation of Xavier’s 35th president, Dr. Colleen Hanycz. Ensembles in Xavier’s Department of Music and Theatre combine to reach approximately 10,000 people each year, and their activities are rooted in the University’s fervent tradition of service to others. Xavier University is a Jesuit Catholic University in Cincinnati, annually ranked among the nation’s best universities. Founded in 1831, Xavier is the oldest Catholic College in Ohio. Its four colleges offer 90+ undergraduate majors, 60+ minors and 40+ graduate programs to approximately 7,000 total students, including 5,000 undergraduates. xavier.edu Fanfare Magazine |

Matthew Swanson, Director David Kirkendall, Accompanist and Assistant Director Dr. Eva Floyd, Musicianship Instructor Kathryn Zajac Albertson, Chorus Manager Bryce Newcomer, Chorus Librarian

GUEST ARTISTS

FRI SEPT 30, 11 am SUN OCT 2, 2 pm Music Hall

Adagio. Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio

Christopher ROUSE Symphony No. 6 (1949–2019) DesolatoPiacevoleFuriosoPassacaglia

INTERMISSIONlamentoso

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor Cincinnati Symphony Club

44 | 2022–23 SEASON

These performances are approximately 110 minutes long, including intermission.

TCHAIKOVSKY & ROUSE: FINAL SYMPHONIES | 2022–2023 SEASON

LOUIS LANGRÉE, conductor Piotr Ilyich TCHAIKOVSKY Symphony No. 6 in B Minor, Op. 74, Pathétique (1840–1893)

Duration: approx. 48 minutes

Tchaikovsky conducted his B Minor Symphony for the first time only a week before his death. It was given a cool reception by musicians and public, and Tchaikovsky’s frustration was multiplied when discussion of the work was avoided by the guests at a dinner party following the concert. Three days later, however, his mood seemed brighter, and he told a friend that he was not yet ready to be snatched off by death, “that snubbed-nose horror. I feel that I shall live a long time.” He was wrong. The evidence of the cause of his death is not conclusive, but what is certain is the overwhelming grief and sense of loss felt by music lovers in Russia and abroad as the news of his passing spread. Memorial concerts were planned. One of the first was in St. Petersburg on November 18, only 12 days after he died. Eduard Napravnik conducted the Sixth Symphony on that occasion, and it was a resounding success. The “Pathétique” was wafted by the winds of sorrow across the musical world, and it became—and remains—one of the most popular symphonies ever written. The music of the “Pathétique” is a distillation of the strong residual strain of melancholy in Tchaikovsky’s personality rather than a mirror of his daily feelings and thoughts. Though he admitted there was a program for the Symphony, he refused to reveal it. “Let him guess it who can,” he told his nephew Vladimir Davidov. A cryptic note discovered years later among his sketches suggests that the first movement was “all impulsive passion; the second, love; the third, disappointments; the fourth, death—the result of collapse.” It is not clear, however, whether this précis applied to the finished version of the work, or if it was merely a preliminary, perhaps never even realized, plan. That Tchaikovsky at one point considered the title “Tragic” for the score gives sufficient indication of its prevailing emotional content. The title “Pathétique” was suggested to Tchaikovsky by his elder brother, Modeste. In his biography of Peter, Modeste recalled that they were sitting around a tea table one evening after the premiere, and the composer was unable to settle on an appropriate designation for the work before sending it to the publisher. The sobriquet “Pathétique” popped into Modeste’s mind, and Tchaikovsky pounced on it immediately: “Splendid, Modi, bravo. ‘Pathétique’ it shall be.” This title has always been applied to the Symphony, though the original Russian word carries a meaning closer to “passionate” or “emotional” than to the English “pathetic.”

Composed: 1893 Premiere: October 28, 1893 in the Hall of the Nobility in St. Petersburg, Tchaikovsky conducting Instrumentation: 3 ﬂutes (incl. piccolo), 2 oboes, 2 clarinets (incl. bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, tam-tam, strings CSO performances:notable First Performance: January 1899, Frank Van der Stucken conducting. Most Recent: November 2017, Louis Langrée everyhasJärviRecordedconducting.in2007,Paavoconducting.ThisworkbeenconductedbyCSOMusicDirector.

SEPT 30/OCT 2 PROGRAM NOTES

Born: May 7, 1840, Votkinsk, Russia Died: November 6, 1893, St. Petersburg Symphony No. 6 in B Minor, Op. 74, Pathétique Tchaikovsky died in 1893, at the age of only 53. His death was long attributed to the accidental drinking of a glass of unboiled water during a cholera outbreak, but that theory has been questioned in recent years with the alternate explanation that he took his own life. Though the manner of Tchaikovsky’s death is incidental to the place of his Sixth Symphony in music history, the fact of it is not.

PIOTR ILYICH TCHAIKOVSKY

The Symphony opens with a slow introduction dominated by the sepulchral intonation of the bassoon, whose melody, in a faster tempo, becomes the impetuous ﬁrst theme of the movement. Additional instruments are drawn into the symphonic argument until the brasses arrive to crown the movement’s ﬁrst climax. The tension subsides into silence before the yearning second theme appears, “like a recollection of happiness in time of pain,” according to musicologist

Fanfare Magazine | 45

Christopher Rouse, a native of Baltimore, was largely self-taught in music before entering the Oberlin Conservatory in 1967 to study composition with Richard Hoffmann and Randolph Coleman; he received his bachelor’s degree from Oberlin in 1971. Following two years of private study with George Crumb in Philadelphia, he enrolled at Cornell University, where his teachers included Karel Husa and Robert Palmer; he graduated from Cornell in 1977 with both master’s and doctoral degrees, and a year later joined the faculty of the School of Music of the University of Michigan. Rouse taught at the Eastman School of Music in Rochester from 1981 to 2002 and was on the composition faculty of the Juilliard School from 1997 until his death. From 1986 to 1989, he served as Composer-in-Residence with the Baltimore Symphony Orchestra; at the invitation of Leonard Bernstein, he was Composer-in-Residence at the 1989 Santa Cecilia and Schleswig-Holstein festivals. He also held residencies at the Tanglewood Music Festival (1996), Helsinki Biennale (1997), Paciﬁc Music Festival (1998), Aspen Music Festival (annually since 1999), Pittsburgh Symphony (2004–05) and Phoenix Symphony (2006–2007), and he was Composer-in-Residence with the New York Philharmonic from 2012 to 2015 and with the Eugene Symphony during the 2016–17 season. He died in Towson, Maryland on September 21, 2019, just weeks after completing his Symphony No. 6, which was premiered one month later by the Cincinnati Symphony Orchestra, conducted by Louis Langrée. Christopher Rouse received commissions from many distinguished ensembles and patrons, including the Chamber Music Society of Lincoln Center, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Atlanta Symphony, Detroit Symphony, New York Philharmonic, Philadelphia Orchestra, St. Louis Symphony, Houston Symphony, Rochester Philharmonic, Saint Paul Chamber Orchestra, Chamber Music America, Koussevitzky Foundation, YoYo Ma, Jan DeGaetani, William Albright and Leslie Guinn. Among his many distinctions were the 1993 Pulitzer Prize in Music (for the Trombone Concerto), 2002 Grammy for Best Classical Contemporary Composition (Concert de Gaudí for guitarist Sharon Isbin), three BMI/ SCA Awards, American Academy of Arts and Letters Award in Music, Rockefeller Chamber Works Award, Friedheim Award of Kennedy Center, grants and fellowships from the National Endowment for

46 | 2022–23 SEASON Edward Downes. The tempestuous development section, intricate, brilliant and the most masterful thematic manipulation in Tchaikovsky’s output, is launched by a mighty blast from the full orchestra. The recapitulation is more condensed, vibrantly scored, and intense in emotion than the exposition. The major tonality achieved with the second theme is maintained until the hymnal end of the movement. Tchaikovsky referred to the second movement as a scherzo, though its 5/4 meter gives it more the feeling of a waltz with a limp. The third movement is a boisterous march. The tragedy of the ﬁnale is apparent at the outset in its somber contrast to the explosion of sound that ends the third movement. A profound emptiness pervades the symphony’s closing movement, which maintains its slow tempo and mood of despair throughout.

NOTES

Instrumentation: 2 ﬂutes, 2 oboes, 2 clarinets (incl. bass clarinet), 2 bassoons, 4 horns, 2 trumpets (incl. ﬂuegelhorn), 3 trombones, tuba, timpani, bass drum, crash xylophone,cymbals,snareglockenspiel,cymbals,gong,rute,drum,suspendedtam-tam,harp,strings

Composed: 2019, on commission from the Cincinnati Symphony Orchestra with support from Dianne and J. David Rosenberg in celebration of the Orchestra’s 125th Anniversary Premiere: October 18, 2019, Cincinnati; Louis Langrée conducting the Cincinnati Symphony Orchestra

PROGRAM

minutesChristopher Rouse, ©Jeff Herman ©Jeffrey Herman

Born: February 15, 1949, Baltimore Died: September 21, 2019, Towson, Maryland Symphony No. 6

CHRISTOPHER ROUSE

CSO performances:notable The 2019 world premiere was the only previous performance of this work at these concerts. Duration: approx. 28

The most significant composition of such creative self-awareness for Christopher Rouse in his Symphony No. 6 is the Ninth Symphony of Gustav Mahler, written 1908–10 when he was not yet 50 but already suffering from a serious heart condition that would end his life in May 1911. Mahler was acutely aware of his own mortality during those years but refused to curtail his strenuous schedule, which then included full seasons conducting the New York Philharmonic and Metropolitan Opera. Realizing that the pace of his career would probably soon cost him his life, he embedded in the Ninth Symphony a message of farewell and an acceptance of his own approaching death. Leonard Bernstein, decades later a successor to Mahler as Music Director of the Philharmonic and a masterful interpreter of his music, wrote a “personal introduction” to the Ninth Symphony that he titled Four Ways to Say Farewell. “In the Ninth,” Bernstein wrote, “each movement is a farewell: the 1st is a farewell to tenderness, passion— human love; the 2nd and 3rd are farewells to life—first to country life, then to urban society; and the finale is a farewell to life itself.”

Wolfgang Amadeus Mozart worked intermittently on his Requiem Mass during the last months of his life, when he suffered from swelling limbs, feverishness, pains in his joints, and severe headaches caused by a still-uncertain disease. He became obsessed with the Requiem, referring to it as his “swan-song,” convinced that he was writing the music for his own funeral: “I know from what I feel that the hour is striking; I am on the point of death; I have finished before I could enjoy my talent.... I thus must finish my funeral song, which I must not leave incomplete.” Mozart was unable to finish the Requiem before he died on the morning of December 5, 1791, six weeks shy of his 36th birthday.

Death has been woven through the history of music from time immemorial, in the plots of countless tragic operas, in sacred and secular works meant to remember the departed and console the living, and in compositions that grieve for humanity (Shostakovich’s Symphony No. 13, Babi Yar, about the Nazis’ slaughter of thousands in Ukraine in 1941, or Britten’s War Requiem, inspired by pity over World War I), but there have been few instances in which composers have directly addressed their own deaths in their music.

PROGRAM NOTES

Fanfare Magazine | 47 the Arts, Warner Brothers, American Music Center, Guggenheim Foundation and Pitney-Bowes, and honorary doctorates from Oberlin College and the State University of New York at Geneseo; in 2002, he was elected to the American Academy of Arts and Letters. In 2009, he was named “Composer of the Year” by Musical America magazine. In addition to his activities as a composer and teacher, Christopher Rouse was also a rock historian, writer on various musical subjects, and author of William Schuman Documentary, published jointly by Theodore Presser and G. Schirmer, Inc.

Check out our new digital program page for even more enriching content including program notes, contentbiographies,full-lengthdigitalandmore!Visit digital-programcincinnatisymphony.org/ , or point your phone’s camera at the QR code.

Johann Sebastian Bach’s last work was The Art of Fugue, which he planned to close with a stupendous Fuga a Tre Soggetti (“Fugue on Three Subjects”). His health and eyesight had failed completely by then, however, and he could not get beyond the 26th measure. He asked a scribe to head those ﬁnal pages of his life’s work with the title Vor deinen Thron tret’ ich—“I Come Before Thy Throne”—and then dictated the chorale prelude (BWV 668) he had created some 30 years before on Wenn wir in höchsten Nöten sein (“When We’re in Greatest Need”). Bach took his last Communion at home on July 22, 1750 and died on the evening of July 28 following a stroke.

—Dr. Richard E. Rodda

My choice of an “unusual instrument” in the Sixth Symphony was the fluegelhorn. The timbre of this dark-tinged member of the trumpet family seemed right for the elegiac quality of the Symphony’s opening idea, and it is a color that will return at various stages during the piece. My intent was to imbue the opening movement with a feeling of yearning as it strives to find an anchor in a sea of doubt. Each of the middle movements serves as an interlude in its own way, neither working with nor against the expressive grain of the opening Adagio. (For me, this is also how Mahler’s two middle movements largely function within the span of his Ninth Symphony; the essential connection in both symphonies is that between the opening and the closing movements.) The music continues its path towards the end. Ultimately there is a valedictory passage featuring the strings over a long droning E in the contrabasses. The drone is the lifeline. Fear and doubt give way to an uncertain serenity. Still the life drone sounds. Love adds its grace and its healing power. The drone continues. Gradually all begins to recede but for the drone. The drone holds and holds. At the end, the final step must be taken alone. The drone continues…and continues...until it stops.

The last note of the Sixth Symphony is a stroke on the gong alone, distinct but neither loud nor soft, marked funesto (“fatal”). In place of the legend Rouse usually placed beneath the last line of a score—Deo gratias (“Thanks be to God”)—he inscribed Finis “My main hope,” Rouse said, “is that the Symphony will communicate something sincere in meaning to those who hear it.”

He continued: I realized that I had largely avoided the standard four-movement form and recognized that this would be the time to tackle it. (To be fair, my Fifth Symphony does also exhibit many elements of fourmovement structure.) I ﬁrst chose to bookend the piece with two slow movements, and it then occurred to me that by placing a moderatetempo movement second and a fast one third I would have replicated overall the architecture of Mahler’s Ninth Symphony, though in a much more modest time span. (My Symphony lasts only about 40% as long as Mahler’s.) An immediate decision was required vis-à-vis how referential I would be in relation to the Mahler, and I elected not to employ any actual Mahler quotations. As in Mahler’s second movement, I would in mine present music in both slow and fast tempi, but my third movement would consist of fast music only. Throughout my piece I would make subtle reference to the “stuttering” motive that opens the Mahler Symphony.

48 | 2022–23 SEASON PROGRAM NOTES

—Christopher Rouse “One ﬁnal time my subject is death, though in this event it is my own of which I write,” wrote Rouse when he had completed the Symphony No. 6 at his home in Baltimore on June 6, 2019. He died three months later, in hospice, on September 21, and the Sixth Symphony was premiered on October 18 by Music Director Louis Langrée and the Cincinnati Symphony Orchestra, which had commissioned the work.

“One final time my subject is death, though in this event it is my own of which I write.”

These performances are approximately 90 minutes long, including intermission.

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

Allegro Intermezzo:affettuosoAndantino grazioso Allegro vivaceINTERMISSION

Richard STRAUSS Also sprach Zarathustra (“Thus Spake Zarathustra”), Op. 30 (1864–1949)

WGUCRichardson is the Media Partner for these concerts.

HÉLÈNE GRIMAUD, piano

Fanfare Magazine | 49 LOUIS LANGRÉE, conductor

Robert SCHUMANN Concerto in A Minor for Piano and Orchestra, Op. 54 (1810–1856)

FRI OCT 21, 7:30 pm SAT OCT 22, 7:30 pm SUN OCT 23, 2 pm Music Hall LANGRÉE CONDUCTS ALSO SPRACH ZARATHUSTRA | 2022–2023 SEASON

Listen to this program on 90.9 WGUC January 29, 2023 at 8 pm.

50 | 2022–23 SEASON ROBERT SCHUMANN

Composed: 1841–1845

Concerto in A Minor for Piano and Orchestra, Op. 54 Schumann’s Piano Concerto occupied a special place in his loving relationship with his wife, Clara. In 1837, three years before their marriage, Schumann wrote to her of a plan for a concerted work for piano and orchestra that would be “a compromise between a symphony, a concerto and a huge sonata.” It was a bold vision for Schumann who had, with one discarded exception, written nothing for orchestra. In 1841, the second year of their marriage, he returned to his original conception and produced a Fantasia in one movement for piano with orchestral accompaniment. That memorable year also saw the composition of his Symphony No. 1 and the ﬁrst version of the Fourth Symphony, a burst of activity that had been encouraged by Clara, who wanted her husband to realize his potential in forms larger than the solo piano works and songs to which he had previously conﬁned himself. Schumann had really drawn up his own blueprint for the piano and orchestra work in a prophetic article he wrote in 1839 for the journal he edited, the Neue Zeitschrift für Musik (“New Music Journal”): We must await the genius who will show us, in a newer and more brilliant way, how orchestra and piano may be combined; how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.

The public’s initial reaction to the new Concerto, however, was cool. The composition did not have any of the flamboyant virtuosity that was then routinely expected from a soloist (Liszt dubbed it “a concerto without piano”), and the originality of its formal concept put audiences off. Clara, undeterred, was convinced of the work’s value, and she was determined to have it heard. The style of the Concerto even helped her to find a new direction for her own concertizing, since she thereafter left behind the vapid virtuoso showpiece and concentrated instead on the more substantive music of Bach, Beethoven and her husband. As the Schumanns’ French biographer Victor Basch wrote, Clara felt that this change in attitude and repertory “reconciled the discrepancy between her aspiration as an artist and her duties as a wife.” Clara’s perseverance had its reward— she lived to see not only this magnificent Concerto but much of her husband’s music become beloved throughout the world.

Born: June 8, 1810, Zwickau, Germany Died: July 29, 1856, Endenich, near Bonn, Germany

The Fantasia seemed to satisfy the desires of both husband and wife. Clara ran through the work at a rehearsal of the Leipzig Gewandhaus Orchestra on August 13, 1841, and Robert thought highly enough of the piece to try to have it published. His attempts to secure a publisher for the new score met with one rejection after another, however, and, with much disappointment, he laid the piece aside. In 1844, Robert had a difficult bout of the recurring emotional disorder that plagued him throughout his life. After his recovery, he felt a new invigoration and resumed composition with restless enthusiasm. In May 1845, the Fantasia came down from the shelf with Schumann’s determination to breathe new life into it. He retained the original Fantasia movement and added to it an Intermezzo and Finale to create the three-movement Piano Concerto, which was destined to become one of the most popular works in the keyboard repertory.

Premiere: December 4, 1845, Hôtel de Saxe in Dresden, Ferdinand Hiller, to whom the score is dedicated, conducting; Clara Schumann, pianist Instrumentation: solo piano, 2 ﬂutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings CSO performances:notable First Performance: March 1897, Frank Van der Stucken conducting and Adèle aus der Ohe, piano. Most Recent November/DecemberPerformance: 2019, James Conlon conducting and Lise de la Salle, piano. Notable pianists who have performed this work with the CSO include José Iturbi (1935), Jesús María Sanromá (1948), Arthur Rubinstein (1955), Claudio Arrau (1967), and Alicia de Larrocha (1969). Duration: approx. 31 minutes

OCT 21–23 PROGRAM NOTES

Schumann’s Piano Concerto is memorable not only for the beauty of its melodies and the cogency of its expression, but also for the careful integration of its structure. Were the manner in which the work was composed unknown, there would be no way to tell that several years separate the creation of the first from the second and third movements. The Concerto’s sense of unity arises principally from the transformations of the opening theme heard throughout. This opening motive, a lovely melody presented by the woodwinds after the fiery prefatory chords of the piano, pervades the first movement, serving not only as its second theme but also appearing in many variants of tone color, harmony and texture in the development section. Even the coda, placed after a stirring cadenza, uses a double-time marching version of the main theme.

RICHARD STRAUSS Born: June 11, 1864, Munich Died: September 8, 1949, Garmisch-Partenkirchen Also sprach Zarathustra (“Thus spake Zarathustra”), Op. 30 Though each of Richard Strauss’ tone poems—Macbeth, Death and Transfiguration, Don Juan, Don Quixote, Till Eulenspiegel, Ein Heldenleben, Also sprach Zarathustra—was inspired by what he called “a poetical idea,” he never described the programmatic elements, plot or “meaning” of these works in any detail, preferring to let critics and scholars contend over such matters. (Of Till Eulenspiegel, he once said, “Let them guess at the musical joke that the Rogue has offered them.”) Strauss approved almost all of these efforts (they were, after all, good publicity, and Strauss—and his very large income—thrived on publicity), so the latter-day reader is left with often contradictory evidence.Suchis the case with Also sprach Zarathustra, which was derived, in some manner at least, from the universal vision of Friedrich Nietzsche’s poem (left unfinished at his removal to a mental hospital in 1889). Strauss provided titles for the nine continuous sections of the piece, but attempts to equate them with specific passages from the poem have been largely unconvincing. Some of the music even goes against the meaning of the text. Of the Inhabitants of the Unseen World deals in Nietzsche’s work with his belief in the folly of religion. Strauss’ analogous music, which was originally titled “Of the Divine” and quotes a Credo from the ancient Catholic liturgy, is marked “with devotion” and creates a prayerful mood. Strauss’ Dance-Song is not some vision of gods on Mount Olympus hymning the beauties of life, but a lilting Viennese waltz. The sensuality of Strauss’ interpretation of Joys and Passions has nothing to do with the self-abnegation

PROGRAM NOTES

Fanfare Magazine | 51

The second movement, the “very essence of tender romance” according to Eugene Burck, is a three-part form with a soaring cello melody in its middle section. The movement’s initial motive, a gentle dialogue between piano and strings, is another derivative of the ﬁrst movement’s opening theme.

The principal theme of the sonata-form ﬁnale is yet another rendering of the Concerto’s initial motive, this one a heroic manifestation in energetic triple meter; the second theme employs extensive rhythmic syncopations. After a striding central section, the recapitulation begins in an unexpected key so that the movement ﬁnally settles into the expected home tonality only with the syncopated second theme. The soloist has another rousing cadenza before the work’s close.

Though its philosophical associations are tenuous, there has never been any doubt about the expressive powers of this music. (It was the Budapest premiere of Also sprach Zarathustra that convinced the young Béla Bartók to devote his life to composition.) The sections of Strauss’ tone poem mirror several strong emotional states, as indicated by the following program note (authorized but not written by the composer) that appeared at the work’s premiere. “First movement: Sunrise, Man feels the power of God. Andante religioso But still man longs. He plunges into passion (second movement) and ﬁnds no peace. He turns toward science, and tries in vain to solve life’s problems in a fugue (third movement). Then agreeable dance tunes sound and he becomes an individual, and his soul soars upward while the world sinks far below him.”

52 | 2022–23 SEASON

Though Strauss supplied individual titles for the nine sections of Also sprach Zarathustra, the work is performed continuously. It opens with one of music’s greatest fanfares—a tonal depiction of a radiant sunrise, based on the Nature theme proclaimed by unison trumpets. (The unforgettable image that director Stanley Kubrick supplied for this music in his film 2001: A Space Odyssey could not have been more appropriate.) Von den Hinternweltern (“Of the Inhabitants of the Unseen World”) presents three thematic elements in quick succession: a tortuous figure on tremolo cellos and basses; an upward fragment in pizzicato strings (the theme of Man, in the key of B); and the first

PROGRAM NOTES RICHARD STRAUSS Also Zarathustrasprach (“Thus spake Zarathustra”), Op. 30

Composed: 1896 Premiere: November 27, 1896, Frankfurt; Richard Strauss led the Orchestra of the Museum Concerts Instrumentation: 3 flutes (incl. piccolo), piccolo, 3 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, 2 tubas, timpani, bass drum, chimes, crash cymbals, glockenspiel, suspended cymbals, triangle, 2 harps, organ, strings CSO performances:notable First Performance: November 1926 with Fritz Reiner conducting. Most Recent: May 2017 at the Taft Theatre conducted by Robert Treviño. The Prelude was recorded for the Cincinnati Pops album Time Warp Duration: approx. 35 minutes professed by the poet. The truth of the matter seems to be that Strauss’ music and Nietzsche’s poem share little more than a title and a few pretentious ideas. Strauss’ Also sprach Zarathustra is a musical composition and not a philosophical tract. One possible way to view Also sprach Zarathustra was given by Strauss himself in a letter to his friend Otto Florscheim at the time of the work’s Berlin premiere. “I did not intend to write philosophical music or to portray in music Nietzsche’s great work,” he wrote. “I meant to convey by means of music an idea of the development of the human race from its origin, through the various phases of its development, religious and scientific, up to Nietzsche’s idea of the Superman. The whole symphonic poem is intended as my homage to Nietzsche’s genius, which found its greatest exemplification in his book Thus spake Zarathustra.” These objectives are, in themselves, more than enough to ask of any piece of music. To go further and “attempt to reveal [in sound] a specific philosophical system or detailed philosophical teaching,” wrote George R. Marek in his biography of Strauss, “must end in failure.” Against this background, it seems probable that Nietzsche’s book was little more than the source of generating Strauss’ “poetical idea,” a literary hook upon which to hang a piece of music. In his exhaustive study of the composer, Norman Del Mar brought out the most salient point about Strauss’ magnificent tone poem: “Ultimately it is the sheer quality of the musical material and its organization that counts, while the greater or lesser degree to which it succeeds in the misty philosophizing which conjured it into being is wholly immaterial.”

Three motives unify the work. The ﬁrst, a unison call by four trumpets based on the most fundamental pitches in the musical spectrum—C-G-C—heard immediately at the outset, is the theme of Nature. The second motive is a sinister theme, perhaps depicting Fate, introduced by the trombones in the section Of Joys and Passions. The third is the conﬂict between the tonalities of C—representing Nature— and B, which stands for Man’s Aspirations. The unsettled struggle between these two polarities (the technical term is bi-tonality) is most clearly heard at the close of the work, but it occurs throughout.

The dance turns out to be a fully developed Viennese waltz, accompanied by ﬁguration in the oboes derived from the Nature theme. The theme of Man returns and achieves its grandest expression. Gradually, the Fate theme overtakes the joy of this passage.

PROGRAM NOTES

Der Genesende (“The Convalescent”), the longest section thus far, utilizes several of the work’s motives. The fugue is re-activated by the trombones before the Fate motive comes to dominate this section. The music reaches a sustained climax followed by complete silence before Man’s theme reappears, timidly at ﬁrst, but with growing vigor. A sudden hush comes over the music, with only twitterings from woodwinds and a sustained version of the Nature theme introducing the following section, Das Tanzlied (“The Dance-Song”).

notes of the ancient liturgical chant Credo in unum deum (“I believe in one God”) in the muted horns. This brief passage is followed by a chorale-like hymn—marked “with devotion”—for strings divided into 19 parts, organ and horns, which rises to a climax before subsiding.

Andrew J. Brady Neighborhood Concert Series took place this summer in neighborhoods throughout Cincinnati. The shows featured everything from R&B to jazz, Latin to soul. Families spread out blankets and lined up lawn chairs in the sun, enjoyed face painting, popcorn and art projects, and stopped by food trucks for barbecue and free popsicles. They watched the Golden Gloves Boxers perform two-minute drills to the Theme from Rocky and danced along with the Q-KIDZ Dance Studio to “Happy.” And most important, they enjoyed a sense of community. The next Brady Neighborhood Concert Series will kick off in the summer of 2023. out our new digital program page for even more enriching content including program notes, contentbiographies,full-lengthdigitalandmore!Visit digital-programcincinnatisymphony.org/ , or point your phone’s camera at the QR code.

Fanfare Magazine | 53 Check

Von der grossen Sehnsucht (“Of the Great Longing”) returns the theme of Man. An intonation based on the Magniﬁcat is given by the organ; horns again sound the Credo. A wide-ranging motive in the low strings generates a passage of rushing scales and leaps whose impetuosity carries over into the next section, Von den Freuden und Leidenschaften (“Of Joys and Passions”). The music acquires a heroic but stormy character from which the trombones intone the sinister Fate motive, which gains importance as the work unfolds. Das Grablied (“Dirge”), more a nostalgic remembrance of youthful pleasures than a threnody, combines the bounding motive of Man with the rhythmically active themes of the preceding section. The music quiets to lead into Von der Wissenschaft (“Of Science”). To represent Science, Strauss used that most learned of all musical forms, the fugue, which rumbles up from the depths of the basses into the violas and bassoons, maintaining its lugubrious tone throughout. This carefully calculated theme derives from the open intervals of the Nature motive (C–G–C) and encompasses all 12 notes of the chromatic scale. Quick rhythmic motion returns with the recapitulation of the theme of Man and a sweet melody played by the ﬂutes and violins.

Nachtwandlerlied (“Night Wanderer’s Song”) begins with a display of power, but slowly the energy drains from the music. Calm, or perhaps mystery, overtakes the music as it reaches its close, with the B major chord of Man fading softly into the highest ether of the orchestra while the insistent C of Nature lingers in the depths of the basses. The conﬂict is left unresolved. —Dr. Richard E. Rodda OF TheNOTEinaugural

A dance-like stanza high in the orchestra is followed by a mysterious presentation of the Nature theme (trumpet) accompanied by chirping calls from the woodwinds based on the Fate theme. (Strauss was adept at transforming a theme into an astonishing number of variants suitable to almost any emotional context.)

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54 | 2022–23 SEASON GUEST ARTIST: Oct 21–23, 2022

Grimaud has been an exclusive Deutsche Grammophon artist since 2002. Her recordings have been critically acclaimed and awarded numerous accolades For her most recent recording, The Messenger, Grimaud created an intriguing dialogue between Silvestrov and Mozart.

Grimaud began the 2022–23 season with a recital of her 2018 Memory recording in Santa Fe. Forthcoming plans include performances with the Dallas Symphony Orchestra, Vancouver Symphony Orchestra, and St. Louis Symphony Orchestra, and in recital at Carnegie Hall. The new year starts with her European tour with Camerata Salzburg, followed by recitals in Vienna, Luxembourg, Munich, Berlin and London, to name a few. helenegrimaud.com

HÉLÈNE GRIMAUD, piano Hélène Grimaud is a woman with multiple talents that extend far beyond the instrument she plays with such poetic expression and technical control. The French artist has established herself as a committed wildlife conservationist, a compassionate human rights activist and as a writer. Grimaud was born in 1969 in Aix-enProvence and began her piano studies at the local conservatory with Jacqueline Courtin, before going on to work with Pierre Barbizet in Marseille. She was accepted into the Paris Conservatoire at just 13 and won ﬁrst prize in piano performance a mere three years later. She continued to study with György Sándor and Leon Fleisher until, in 1987, she gave her well-received debut recital in Tokyo. That same year, renowned conductor Daniel Barenboim invited her to perform with the Orchestre de Paris; this marked the launch of Grimaud’s musical career, characterized ever since by concerts with most of the world’s major orchestras and many celebrated conductors. A committed chamber musician, she has performed at the most prestigious festivals and cultural events with a wide range of musical collaborators. Her prodigious contribution to and impact on the world of classical music were recognized by the French government when she was admitted into the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight).

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COMMON | 2022–2023 SEASON TUES OCT 25, 7:30 pm Music Hall

Academy Award, Emmy and GRAMMY-winning artist, actor, author, and activist, Common joins the Pops and Principal Guest Conductor Damon Gupton for a special one-night-only performance! After dazzling a sold-out crowd with the CSO at Classical Roots in 2016, the legendary R&B and hiphop icon takes the stage at Music Hall to make his debut with the Pops. Selections will be announced from the stage.

The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC

COMMON COMMON, singer-songwriter DAMON GUPTON,conductor

Fanfare Magazine | 55

56 | 2022–23 SEASON COMMON, singer-songwriter Academy Award-, Emmyand aspectscontinueddiverseofbarrierscontinuesandartist,Grammy-winningactor,authoractivist,Commontobreakdownwithamultitudecriticallyacclaimed,rolesandsuccessinallofhiscareer.Commonmostrecently

starred opposite Keke Palmer in the film Alice, which premiered at the 2022 Sundance FilmHisFestival.latestalbum, A Beautiful Revolution Part 2 was released on September 10through Loma Vista Recordings. The album is a timely and inspiring follow up to Common’s previous album, A Beautiful Revolution Part 1, which was released in October 2020 (Loma Vista). In 2021, Common starred in season two of Mindy Kaling’s hit Netflix series Never Have I Ever, which premiered on July 15, 2021 He starred in the Oscar nominated film, Selma; alongside John Legend, he won the Academy Award in 2015 and a Grammy in 2016 for “Best Original Song in a Motion Picture” for “Glory,” which was featured in the film. Other roles for film and television include El Tonto, Ava, The Informer, The Kitchen, The Hate You Give, Smallfoot, and many more. In August 2019, Common released the hit album Let Love, inspired by his work and experiences while writing his second memoir, Let Love Have the Last Word (May 2019). In early 2021, Common launched The Stardust Kids, an incubator and accelerator collective for emerging artists and creative entrepreneurs. He launched Imagine Justice in 2018, which is dedicated to leveraging the power of art to advocate for communities around the country, to fight for justice and equality, and to stand united against injustice wherever it appears. Through his Common Ground Foundation (Chicago), Common is dedicated to empowering high school students from underserved communities to become future leaders. thinkcommon.com

GUEST ARTIST: Oct 25, 2022 Check out our new digital program page for even more enriching content including full-length biographies, digital content and more! Visit digital-programcincinnatisymphony.org/ , or point your phone’s camera at the QR code. ©Brian Bowen Smith All AAC 2022 Senior Thesis Exhibitions Are Available Online. Scan the QR Code to View All Six Shows While You Wait for the Concert to Begin (A) Long Story Short Sentire Somnium Out of Frame The StateSchoolShop+BeerofAffairs 1212www.artacademy.eduJacksonStreet,Cincinnati,OH45202 The CollegeofArtandDesign forthe Radiant and Radical

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.

YOU’RE INVITED to greet the musicians after the concert.

Allegro ma non troppo AndanteScherzo cantabile Finale: Vivace Charles Morey, violin Christopher Fischer, viola Daniel Culnan, cello Dror Biran, INTERMISSIONpiano

Adagio et Allegretto Andante cantabile HenrikFinaleScherzoHeide, ﬂute Lon Bussell, oboe Emily Beare, oboe Christopher Pell, clarinet Ixi Chen, clarinet Martin Garcia, bassoon Jennifer Monroe, bassoon Elizabeth Freimuth, horn Lisa Conway, horn

Robert SCHUMANN Piano Quartet in E-flat Major, Op. 47 (1810–1856)

Ludwig van BEETHOVEN String Quintet in C Major, Op. 29, “Storm” (1770–1827) Allegro moderato Adagio molto espressivo Scherzo. Allegro MinyoungPresto Baik, violin Eric Bates, violin Gerald Itzkoff, viola Caterina Longhi, viola Theodore Nelson, cello

Fanfare Magazine | 57 Charles GOUNOD Petite symphonie (1818–1893)

FRI OCT 28, 7:30 pm

Harry T. Wilks Studio, Music Hall CSO CHAMBER PLAYERS | 2022–2023

SEASON PlayersChamber

This performance is approximately 100 minutes long, including intermission.

58 | 2022–23 SEASON CHARLES GOUNOD

OCT 28 PROGRAM NOTES

Duration: approx. 17 minutes

Born: June 17, 1818, Paris Died: October 18, 1893, Saint-Cloud (near Paris), France Petite symphonie Gounod is more familiar to audiences for his operas Faust (1859) and Roméo et Juliette (1867), as well as his setting of the Ave Maria text with J.S. Bach’s C Major Prelude as the accompaniment, than he is for his chamber music like the Petite symphonie He also was deeply religious. While at the French Academy in Rome, Gounod heard performances of Palestrina’s music and was deeply moved. He was also drawn into the circle around JeanBaptiste Henri-Dominique Lacordaire, a member of the Dominican Order who was touted as the greatest pulpit orator of the 19th century. Gounod’s mother became concerned that Charles would enter the priesthood, which he did consider in 1847 when he enrolled in the St. Sulpice seminary. Why he didn’t ﬁnish his priestly education is mostly unknown, but rumors of a faked faith and extra-marital affairs abound. Nevertheless, Gounod, as one annotator writes, “produced a small ocean of sacred compositions, including three oratorios and 21 masses.”

Gounod wrote his Petite symphonie late in his life, after he had gained fame as a composer of opera and sacred music. He had written two symphonies (in 1855/1856) but their success was short lived. This “little symphony” owes its creation to two primary factors: technical advances in instrument manufacturing and a personal connection to PaulTheTaffanel.woodwind family of instruments, in particular, benefited from advancements in instrument design. Theobald Boehm (1794–1881), credited with perfecting the modern Western concert flute, made improvements to the flute’s fingering system (still in effect on today’s flutes), allowing for greater dynamic range and improved intonation. Inspired by Boehm and based on his principles, Hyacinthe Klosé (1808–1880) worked with Louis-Auguste Buffet to employ similar key work on clarinets. Guillaume Triébert (1770–1848) and his sons Charles and Frederic used Boehm’s ideas to improve the key work of the oboe, which F. Lorée continued to develop into the late 19th century. Boehm’s work on the flute also inspired changes to the bassoon. With all these improvements, by the late 19th century woodwind instruments were much more stable in intonation, capable of a larger dynamic range, and had increased technical facility than their earlier century counterparts. The technical advances in the instruments themselves afford the composer a more robust palette of colors to explore and the ability to feature virtuosic displays throughout the nonet configuration.PaulTaffanel was the leading flute player of his day and developed the primary French school of playing and teaching. In 1879, Taffanel founded the Société de Musique de Chambre pour Instruments á Vent (The Society for Chamber Music for Wind Instruments), and its concert ensemble, La Trompette, which he directed for 15 years. This Society created a need for new pieces to be written for wind chamber groups. Taffanel asked his friend Gounod for such a piece and Gounod responded with Petite symphonie.

Composed: 1885, dedicated to the Society for Chamber Music for Wind Instruments

Premiere: April 30, 1885, at the Salle Pleyel in Paris, France, played by ﬂutist Paul oboistsTaffanel,Georges

For Petite symphonie, the woodwind octet (2 oboes, 2 clarinets, 2 bassoons and 2 horns) was expanded to include a ﬂute for Taffanel

Gillet and Alfred Boullard, clarinetists Charles Turban and Prosper Mimart, hornists Jean Garigue and François Brémond, and bassoonists Jean Espaignet and Adolphe Bourdeau

—Daniel Culnan LUDWIG VAN BEETHOVEN Born: baptized December 17, 1770, Bonn, Germany Died: March 26, 1827, Vienna String Quintet in C Major, Op. 29, “Storm”

Composed: started in 1800 and ﬁnished in 1801 Premiere: unknown, published in 1802 Duration: approx. 30 minutes

ROBERT SCHUMANN

Composed: October 25 and November 26, 1842

Born: June 8, 1810, Zwickau, Germany Died: July 29, 1856, Endenich (near Bonn), Germany

The first movement of the Piano Quartet begins with a brief sostenuto, reminiscent of Beethoven, which introduces the thematic material of the following allegro. Except for another appearance of the sostenuto, there are almost constant eighth notes propelling this energetic movement to a close. In the second movement, instead of a traditional slow movement, Schumann gives us a scherzo, again with almost constant eighth notes except for the two trios (the second tries to trick the listener—what actually is the third beat of each bar sounds like the downbeat). The third movement andante sounds like one of Schumann’s lieder, with all three string voices singing the beautiful tune. Sadly, this theme is never shared with the piano. This andante also has a Beethovenesque middle section. The finale begins with a driving fugue, followed by a flowing, yet impatient, second theme. A short, lyrical section gives a moment of repose, but the fugue subject is insistent and finally takes over as this piece races to a conclusion.

Premiere: April 5, 1843 at a private performance in the InselstrasseSchumanns’home in Leipzig. The ﬁrst public performance was December 8, 1844 at Leipzig Gewandhaus with Clara Schumann, piano; Ferdinand David, violin; Niels W. Gade, viola; and Franz Karl Wittmann, cello. Published in May 1845 and dedicated to Count Matyev Yuryevich Weilhorsky Duration: approx. 29 minutes to play. The form follows the basic structure of a classical fourmovement symphony but tinted with Romantic harmony, operatic melodies and virtuosic displays.

Fanfare Magazine | 59

At the age of 32 and around the same time as he wrote his Second Symphony and Third Piano Concerto, Beethoven wrote his Op. 29 String Quintet—the only quintet in his oeuvre speciﬁcally composed as a multi-movement string quintet. Beethoven did, however, transcribe or rework other pieces for this combination of instruments. Op. 29 is dedicated to Count Moritz von Fries, to whom Beethoven also dedicated his Violin Sonatas Nos. 4 and 5 and his Seventh Symphony. The autograph score was completed in 1801 and set aside for Count Fries’ use for about a year and half. Beethoven sold the publication rights to Breitkopf & Härtel in Leipzig and sent the publisher the engraver’s copy in April 1802. Unknown to the composer, the Viennese publisher Artaria had the work engraved and published in December

PROGRAM NOTES

Robert Schumann was a playwright and poet as well as a composer. He also was a pianist, and all of his compositions, until 1840 when he married Clara Wieck, were for solo piano. That year, he was inspired to compose most of his lieder (“art songs”). The year 1841 was devoted to writing symphonic literature and 1842 to chamber music. Early in 1842, Schumann studied at length the string quartets of Haydn, Mozart and Beethoven, and when Clara returned from a concert tour (she was a skilled pianist and more celebrated than he at that time), Robert put into practice the knowledge he had gathered from the masters. He composed his three string quartets, the piano quintet, a piano trio that later became the Fantasiestücke, and the piano quartet all during that year.

—Tyler M. Secor

Piano Quartet in E-ﬂat Major, Op. 47

60 | 2022–23 SEASON 1802. On January 22, 1802 in the Wiener Zeitung, Beethoven publicly criticized the Artaria edition. According to court documents, Artaria came to have the parts via the manuscript copy provided to Count Fries. Nevertheless, Beethoven did edit two copies for Artaria to reissue a corrected edition by the end of 1802. A lawsuit ensued over publication rights of Op. 29 and a need for Beethoven to retract his January 1802 writing in Wiener Zeitung. The lawsuit was not resolved until a compromise was ﬁnally reached in 1805. (For more see Donald W. Macardle’s “Beethoven, Artaria, and the C Major Quintet” article in Vol. 34, Issue 4, 1948 in Musical Quarterly.)

—Tyler M. Secor phone’s camera at

the QR code.

In 1787 the young Beethoven had met the middle-aged Mozart; as fate would have it, they met during the weeks in which Mozart would have been finishing his own string quintet in C major, K. 515. Beethoven was eager to study with Mozart or Haydn, and, while on leave from the Bonn Court Orchestra, Beethoven traveled to Vienna for an audience with his idol, Mozart. The older composer agreed to the meeting, but, as the story is told, was not particularly happy about it. Beethoven started to play one of Mozart’s piano concertos and Mozart quickly cut him off, asking him to play something original. Mozart’s wife, Constanze, was in the next room and, as Constanze later reported, Mozart said, “Watch out for that boy. One day he will give the world something to talk about.” Mozart agreed to take Beethoven on as a pupil but died shortly thereafter. Beethoven’s C Major String Quintet was composed some 15 years later and Beethoven left no record of having used Mozart’s K. 515 as a model, but he was certainly familiar with this work. The florid and lyrical melody of Op. 29’s slow movement is reminiscent of Mozart’s slow movements, but Op. 29 more closely corresponds to Beethoven’s own stormy and explosive Fifth and Sixth Symphonies. The tragedy of Beethoven’s deafness is well-known. To pinpoint the exact date and time that Beethoven realized that his hearing was failing is almost impossible. However, in June 1801 Beethoven wrote to his friend Franz Gerhard Wegeler to communicate the secret of his increasing deafness. Wegeler was trained in medicine and was uninvolved with Vienna society—a well-suited person to receive this information. Beethoven wrote: I must confess that I am living a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession it would be easier, but in my profession it is a terrible handicap. As for my enemies, of whom I have a fair number, what would they say? Beethoven’s increasing deafness clearly caused him emotional torment; in his own words, “my poor hearing haunted my everywhere like a ghost.” As a composer, a life without the ability to hear probably seemed like no life at all. This is the internal context that most likely surrounds Op. 29. A composer coming to grips with his impending deafness, all the while putting on a front for his “enemies.” The storm (this work’s moniker) that must have been raging within Beethoven himself, perhaps found its way into the forceful, explosive and, at times, lyrical String Quintet.

PROGRAM NOTES Check out our new digital program page for even more enriching content including program notes, contentbiographies,full-lengthdigitalandmore!Visit digital-programcincinnatisymphony.org/ , or point your

Vision I Vision II Vision III

MICHAEL FRANCIS, conductor BEHZOD ABDURAIMOV, piano

Andrzej PANUFNIK Sinfonia Sacra (Symphony No. (1914–1991) Hymn Sergei RACHMANINOFF a Theme of Paganini (1873–1943) for Piano and Orchestra, Op. 43 Charles IVES The Unanswered Question Ralph(1874–1954)VAUGHAN Symphony No. 6 in E Minor (1872–1958)

SAT OCT 29, 7:30 pm SUN OCT 30, 2 pm Music Hall

Listen to this program on 90.9 WGUC February 5, 2023 at 8 pm.

INTERMISSION

Fanfare Magazine | 61

These performances are approximately 120 minutes long, including intermission.

The appearance of Behzod Abduraimov is made possible by a generous gift from the William Hurford and Lesley Gilbertson Family Fund for Guest Pianists

Rhapsody on

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer WGUCRichardson is the Media Partner for these concerts.

Scherzo:ModeratoAllegroAllegro vivace Epilogue: Moderato

RHAPSODY ON A THEME OF PAGANINI | 2022–2023 SEASON

WILLIAMS

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

ANDRZEJ PANUFNIK

Panufnik based his entire symphony on the medieval hymn Bogurodzica (“Mother of God”), believed to be the oldest surviving melody in the Polish language. Bogurodzica is both a religious song and a battle hymn, as a reminder that the young Polish state had to fight extended wars against the Holy Roman Empire and Kievan Rus. This is why the symphony begins and ends with loud military fanfares. (In his autobiography, Panufnik recalled that he first heard Bogurodzica during his wartime military service, while listening to the radio. He was completely transfixed by the experience.)

The symbolic birthdate of the Polish state is April 14, 966, when Duke Mieszko I converted to Christianity and, at the same time, imposed the religion throughout his entire realm. This move had great political signiﬁcance, as it was the precondition of Poland’s acceptance as a sovereign nation among the countries of Europe.

62 | 2022–23 SEASON

The actual hymn, and the variations on it, are preceded by three “Visions”: three distinct sections based on the predominant intervals of Bogurodzica. The first of these Visions is a vigorous fanfare, played by four trumpets placed in four different corners of the stage. The second Vision, in stark contrast to the first, is slow, extremely soft, and played by muted strings with bows on the fingerboard to create a more muffled, eerie sound (sul tasto). Vision III, the longest of the three, starts out as an energetic percussion solo, soon bringing in the entire orchestra in what feels like a violent war scene. Only after this triple introduction does the actual Hymn begin, soft and distant, with the mystical harmonics of the violins. The orchestra enters gradually, and the hymn gradually grows in volume and intensity. At the end, the hymn tune is combined with the trumpet fanfares from Vision I, to give the symphony a triumphant and grandiose conclusion.

Instrumentation: 3 ﬂutes (incl. piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, snare drum without snare, suspended cymbals, tam-tam, tenor drums, triangles, strings CSO performances:notable These performances are the work’s CSO premiere. Duration: approx. 22

Panufnik OF NOTE With over 200 auditions from the region’s most talented young musicians, the Cincinnati Symphony Youth Orchestras are delighted to announce and welcome their 2022–23 season orchestra members Congratulations! To view the CSYO rosters, visit cincinnatisymphony.org/youth-programs.

Born: September 24, 1914, Warsaw, Poland Died: October 27, 1991, Twickenham (London), United Kingdom Sinfonia Sacra (Symphony No. 3)

When the 1,000th anniversary of this historic event approached, Poland was a Communist dictatorship. Although the Catholic Church was much stronger there than elsewhere within the Soviet sphere of inﬂuence, the religious character of Poland’s early history was something of a problem for the ruling Party, which tried hard to deemphasize the Christian element and focus only on the political aspect of the nation’s founding. Elaborate celebrations took place all over the country, beginning years before the actual anniversary and spanning most of the 1960s. Andrzej Panufnik, one of the leading Polish composers of the time, had been living in London since his defection in 1954. He was thus free to celebrate what the Poles called chrzest Polski, the “baptism of Poland.” His Sinfonia sacra (the third of his ten published symphonies) was written to honor this historic milestone. The symphony won ﬁrst prize in an international competition held in Monte-Carlo and became one of the composer’s most-performed works.

OCT 29–30 PROGRAM NOTES

Composed: 1963 Premiere: August 12, 1964, Monte Carlo, Louis Frémaux conducting the Monte Carlo Opera Orchestra.

Composed: 1934 Premiere: November 7, 1934, Baltimore, Maryland, Leopold pianistSergeiPhiladelphiaconductingStokowskiTheOrchestra,Rachmaninoff, Instrumentation: solo piano, 2 ﬂutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, glockenspiel, snare drum, suspended cymbals, triangle, harp, strings CSO performances:notable First Performance: October 1937 with Eugene Goossens conducting and Sergei Rachmaninoff, piano. Most Recent: February 2016 with Giancarlo Guerrero conducting and Conrad Tao, piano. Notable pianists who have performed this work with the CSO include Arthur Rubinstein (1944 & 1951), Leon Fleisher (1959) and Van Cliburn (1970).

The Rhapsody (which Rachmaninoff introduced to Cincinnati in 1937) begins by stating the intervals of a ﬁfth on which the Paganini theme is built. Rachmaninoff’s procedure is similar here to that followed by Beethoven in the last movement of the “Eroica” symphony, where the appearance of the theme is preceded by its “skeleton.” Rachmaninoff then introduces the actual Paganini theme in the orchestra, while the solo piano keeps on playing the “skeleton.” Soon, the piano takes over the melody, and starts ornamenting it right away. In the ﬁrst six variations (there will be 24 in all), the vast harmonic potential of the theme is explored, with much pianistic brilliance and exquisite orchestral coloring. Then, a surprise awaits in Variation 7: the Gregorian melody of the Dies irae (“Day of Wrath”) suddenly appears. Rachmaninoff was positively obsessed with this melody, which he quoted in many of his works. But what is this gloomy theme from the Mass of the Dead doing in a sparkling virtuoso composition? We shouldn’t look for a philosophical explanation. If we listen to Variation 7 carefully, we hear the Dies irae melody in the piano while the orchestra plays the Paganini theme. Quite simply, Rachmaninoff discovered that these two melodies “worked” well together contrapuntally, and he wanted to exploit that fortunate discovery. The Dies irae theme dominates the next four variations, bringing into relief what one commentator has called the “sinister” aspects of the theme. (After all, wasn’t Paganini called the “violinist of the Devil” in his own day?)

PROGRAM NOTES

What is it in the melody of the 24th violin caprice by Niccolò Paganini (1782–1840) that has made it so irresistible to composers as diverse as Robet Schumann, Franz Liszt, Johannes Brahms, Witold Lutosławski and many more? The answer lies in the theme’s extreme simplicity, which seems to cry out for embellishment in the form of virtuoso variations. The melody moves from its fundamental note to the note a fifth above, then back to the fundamental and back to the fifth again— what could, in fact, be simpler? The number of melodies that can be derived from this elementary gesture is endless. Of course, Paganini himself was the first to realize this when he created a bravura piece based on the theme. At a time when Rachmaninoff had all but stopped composing (due to his emigration from Russia and his heavy schedule as a concert pianist), Paganini’s caprice provided him with just the impulse he needed. In the 1930s, Rachmaninoff built a villa on Lake Lucerne in Switzerland, which he named “Senar” (after the first letters of SErgei and NAtalia Rachmaninoff). Happy to find a permanent home after so many years of incessant concertizing, he saw his creativity return: the Paganini Rhapsody was immediately followed by the Third Symphony.

Rhapsody on a Theme of Paganini for Piano and Orchestra, Op. 43

Fanfare Magazine | 63

Duration: approx. 24 minutes

SERGEI RACHMANINOFF

Born: April 1, 1873, Oneg, near Semyonovo, Russia

Died: March 28, 1943, Beverly Hills, California

A new section begins with Variation 11, a dream-like cadenza that serves as a transition to No. 12, an elegant “Tempo di Minuetto.” Until now, the music has been moving in duple meter; as it changes to triple, Rachmaninoff gives the theme a new physiognomy, mixing elements of the minuet, the waltz and the lyrical character piece. Then the tempo speeds up and the next two variations are more dramatic and agitated. Variation 15, marked “Scherzando,” is light and extremely nimble, 16 is graceful and lyrical, while No. 17 is mysterious and intensely chromatic. Musicologist and critic Michael Steinberg wrote about the latter: “It is like making your way, hands along the wall,

Composed: 1906, rev. 1930–35

Premiere: May 11, 1946, New York’s Juilliard School, Theodore Bloomﬁeld (offstage) and Edgar Schenkman (onstage) with a chamber orchestra of Juilliard graduate students.

The Unanswered Question Brief and relatively unassuming as it is, The Unanswered Question is one of the key musical works of the 20th century. Written in 1906 and revised in the 1930s, it was not performed until 1946. Clearly, the musical world was not ready for the novelties of the score. Yet The Unanswered Question, far from being incomprehensibly complex, is actually a very simple piece, once you let go of any expectations based on the musical conventions of the 19th century. Ives’ main discovery, in this piece, is the direct and immediate musical expression of the characters he described in his commentary (see below); he totally bypassed conventional harmony, and phrase structure to arrive at his goal. At the same time, there is nothing arcane or contrived in his innovations, no modernity for modernity’s sake. If the different members of the ensemble play in different keys or tempos, it is because the point of the piece was precisely to represent various characters, attitudes, or planes of existence and to express their irreconcilable differences.

NOTES

The title The Unanswered Question comes from the poem “The Sphinx,” by one of Ives’ greatest sources of inspiration, Ralph Waldo Emerson, who was also memorialized in the ﬁrst movement of Ives’ celebrated Concord Sonata for piano. The original, full title was A Contemplation of a Serious Matter or The Unanswered Question. It was intended to be paired with another work, A Contemplation of Nothing Serious or Central Park in the Dark in “The Good Old Summer Time,” now known simply as Central Park in the Dark

CHARLES IVES

IVES ABOUT THE UNANSWERED QUESTION The strings play ppp [very softly] throughout with no change in tempo. They are to represent “The Silences of the Druids—who Know, See and Hear Nothing.” The trumpet intones “The Perennial Question of Existence,” and states it in the same tone of voice each time. But the hunt for “The Invisible Answer” undertaken by the ﬂutes and other human beings, becomes gradually more active, faster and louder through an animando [more animated] to a con fuoco [with ﬁre].... “The Fighting Answerers,” as the time goes on, and after a “secret conference,” seem to recognize a futility, and begin to mock “The Question”—the strife is over for the moment. After they disappear, “The Question” is asked for the last time, and “The Silences” are heard beyond in “Undisturbed Solitude.”

Instrumentation: 4 ﬂutes, trumpet, strings CSO performances:notable First Performance: January 1959 with Max Rudolf conducting. Most Recent: October 2020 livestream concert with Louis Langrée conducting.

64 | 2022–23 SEASON through a dark cave.” We do ﬁnd our way out, however, emerging to the sunshine in Variation 18, which has one of Rachmaninoff’s greatest melodies, derived from Paganini by simple inversion: every rising interval in the theme is replaced by a falling one and vice versa.

Born: October 20, 1874, Danbury, Connecticut Died: May 19, 1954, New York City

This slow variation marks the emotional high point of the Rhapsody. What follows is a return to a more basic form of the theme, one in which the original fifths are prominent once again. Having thus reconnected with Paganini, Rachmaninoff heads for the finish line, with a grandiose development in which the initial duple meter returns as a march. The composition ends with a witty final flourish, but not before the Dies irae theme is recalled one last time.

Fanfare Magazine | 65 RALPH VAUGHAN WILLIAMS

Cooke was not alone in having such a strong response to the new work; it became one of the most successful symphonies of its time, with more than a hundred performances within two years of the premiere. Composed during and immediately after World War II, Vaughan Williams’ Sixth was widely assumed to be about the war, though the composer himself made no such statement and, in fact, strongly discouraged discussions of his music along programmatic lines. Yet no one could miss the fact that the dean of English composers, then in his mid-70s, had gone further than ever before in the exploration of dissonance and the large-scale integration of contrasts,” in the words of another prominent writer on music, Hans Keller. The work sharply contrasted with Vaughan Williams’ previous symphony, the serene Fifth; though also a wartime work, the Fifth was perceived as a fervent plea for peace and harmony, while the Sixth speaks a much harsher language, regardless of how we choose to interpret that harshness. The four movements of the symphony are played without pauses (or, as RVW put it: “Each of the first three has its tail attached to the head of its neighbour”). The work opens with the kind of climactic outburst one would normally expect only after a long crescendo. Gradually, however, the music reaches a state of greater calm. The second theme introduces a more regular rhythmic pulsation, but elements of tension remain, since the stresses in the melody do not always coincide with those in the bass. With the third theme, a lyrical cantabile, complete harmony is almost achieved: in spite of the lyrical character, the active pulsation of the previous section remains constantly present, as if trying to counteract the melodic flow unfolding over it. This pulsation then grows more and more powerful and leads into a recapitulation of the “cataclysmic” opening. As a concluding gesture, the cantabile (“songlike”) melody returns, this time free from any unsettling counterpoint. The lush chords of the harp, entering here for the first time, enhance the soothing atmosphere.Thesecond movement is built upon an insistent rhythmic motive, heard almost constantly during the opening section. Its development culminates in a timpani roll and a startling bass fanfare, followed, as a total contrast, by a new lyrical idea introduced by the strings. Yet the insistent motive soon returns, first in an understated manner but then increasing in volume until the music erupts in another dramatic climax, even more passionate than the one in the first movement.

Composed: 1944–47 Premiere: April 21, 1948, London, Sir Adrian Boult conducting the BBC Symphony Orchestra

The effect on the present writer, at the first performance, was nothing short of cataclysmic: the violence of the opening and the turmoil of the whole first movement; the sinister mutterings of the slow movement, with that almost unbearable passage in which the trumpets and drums batter out an ominous rhythm, louder and louder, and will not leave off; the vociferous uproar of the Scherzo and the grotesque triviality of the Trio; and most of all, the slow finale, pianissimo throughout, devoid of all warmth and life, a hopeless wandering through a dead world ending literally in niente [nothing]...

PROGRAM1921 NOTES

Born: October 12, 1872, Down Ampney, Gloucestershire, England

Died: August 26, 1958, London Symphony No. 6 in E Minor

Instrumentation: 3 ﬂutes (incl. piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, tenor saxophone, 2 stringstriangle,suspendedcrashtuba,4contrabassoon,bassoons,4horns,trumpets,3trombones,timpani,bassdrum,cymbals,sidedrum,cymbals,xylophone,harp,

The musicologist and author Deryck Cooke (best known for his completion of Mahler’s Tenth Symphony) recalled his ﬁrst impressions of the Vaughan Williams Sixth in his book The Language of Music:

CSO performances:notable First and Most Recent: April 2015 with Vassily Sinaisky, conducting. Duration: approx. 31byminutesE.O.Hoppé,

66 | 2022–23 SEASON

A meditative English-horn solo concludes the movement, leading directly into the ferocious scherzo. The latter is driven, once more, by its rhythmic momentum; this time the fundamental idea is the alternation between different kinds of rhythmic motion: quarter-notes followed by quarter-note triplets followed by eighth-note triplets. The scherzo’s central trio section is a haunting solo for tenor saxophone accompanied by the snare drum. Both sections of this solo are repeated by the full orchestra, before an expanded recapitulation, at the end of which the trio melody reappears, played fortissimo by the entire orchestra. A quiet transition, with clarinet and bass clarinet solos, connects the scherzo to the symphony’s last movement, the slow “Epilogue.”

—Peter Laki

Its opening theme—similarly to the opening theme of the second movement—had been originally intended for, but not actually used in, a score Vaughan Williams wrote for a wartime ﬁlm titled Flemish Farm. The symphonic ﬁnale unfolds as a succession of “whiffs of themes” (the composer’s own expression), with a great deal of contrapuntal development and meandering woodwind solos. In a rare concession to those who insisted on seeking extra-musical meanings in the work, the composer offered this quote from Shakespeare’s Tempest: “We are such stuff as dreams are made on, and our little life is rounded with a sleep.” In Prospero’s famous speech, all reality melts “into thin air” and “the great globe itself...shall dissolve”; similarly, at the end of Vaughan Williams’ symphony, the entire musical fabric disintegrates and only a faint E minor chord remains, in its most unstable inverted form, until that, too, fades into silence.

PROGRAM NOTES THANKYOU to RHAPSODY ON A THEME OF PAGANINI for sponsoring Check out our new digital program page for even more enriching content including program notes, contentbiographies,full-lengthdigitalandmore!Visit digital-programcincinnatisymphony.org/ , or point your phone’s camera at the QR code.

MICHAEL FRANCIS, conductor Currently holding three long-term positions with Rheinland-PfalzStaatsphilharmonieConductorsincethebeenMichaelinnovativecommunity-driven,organizations,FrancishasMusicDirectorofFloridaOrchestra2015–16,ChiefofDeutschesince

2019–20, and Music Director of the Mainly Mozart Festival in San Diego since 2014.

Fanfare Magazine | 67

BEHZOD ABDURAIMOV, piano Behzod diAccademiaincludeperformancesandphenomenalofanperformancesAbduraimov’scombineimmensedepthmusicalitywithtechniquebreathtakingdelicacy. 2022–23EuropeanconcertswithNazionaleSantaCecilia,Czech

Internationally established as a guest artist, Francis has brought his distinguished programming to audiences throughout North America, Europe and Asia. Among his collaborators are notable soloists such as Lang Lang, Arcadi Volodos, Itzhak Perlman, Christian Tetzlaff, Vadim Gluzman, Anne-Sophie Mutter, Nicola Benedetti, Javier Perianes, Jamie Barton, Truls Mørk, Håkan Hardenberger, Maximilian Hornung, Miloš, Benjamin Grosvenor, Emanuel Ax, Ian Bostridge, James Ehnes, Sting and RufusMentoringWainwright.young musicians is of an utmost priority. In addition to leading the Florida Orchestra’s community engagement initiatives, he has enjoyed collaborations with the New World Symphony, National Youth Orchestra of Scotland and National Youth Orchestra of Canada. Francis’s discography includes the Rachmaninoff piano concertos with Valentina Lisitsa and the London Symphony Orchestra, Wolfgang Rihm’s Lichtes Spiel with AnneSophie Mutter and the New York Philharmonic, and the Ravel and Gershwin piano concertos with Ian Parker. A former double-bass player in the London Symphony Orchestra (LSO), Michael Francis came to prominence as a conductor in 2007, stepping in for Valery Gergiev and John Adams with the FrancisLSO.makes his home in Tampa, FL, with his wife, Cindy, and daughter, Annabella. michaelfrancisconductor.com

Philharmonic Orchestra, Wiener Symphoniker, SWR Symphonieorchester, RundfunkSinfonieorchester Berlin, Philharmonia Orchestra, Swedish Radio Symphony Orchestra, and as part of the Belgian National Orchestra’s Rachmaninoff Festival. In North America he returns to The Cleveland Orchestra, San Francisco Symphony, Cincinnati Symphony Orchestra and Los Angeles Philharmonic, among others. He also returns to the NHK Symphony Orchestra (Tokyo) under Gianandrea Noseda. The summer of 2022 saw Behzod’s third appearance at the BBC Proms. He also returned to the Seoul Philharmonic Orchestra and to the Queensland and West Australian symphony orchestras. Recitals this season will include Meany Hall, Seattle; Spivey Hall, Atlanta; and La Società dei Concerti di Milano, to mention a few. Regular festival appearances include the Aspen, Verbier, Rheingau, La Roque Antheron and Lucerne festivals. 2021 saw the highly successful release of his recital album (Alpha Classics) based on a program of miniatures, including Mussorgsky’s Pictures at an Exhibition. In 2020, recordings included Rachmaninoff’s Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra, recorded on Rachmaninoff’s own piano from Villa Senar (Sony Classical), and Rachmaninoff’s Piano Concerto No. 3 with Concertgebouworkest (RCO Live). Both were nominated for 2020 Opus Klassik awards. Born in Tashkent, Uzbekistan, in 1990, Abduraimov began the piano at age ﬁve as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent. In 2009, he won First Prize at the London International Piano Competition with Prokoﬁev’s Piano Concerto No. 3. He studied with Stanislav Ioudenitch at the International Center for Music at Park University, Missouri, where he is Artist-inResidence. harrisonparrott.com

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Fanfare Magazine | 69 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. 2022–23 FINANCIAL SUPPORT PLATINUM BATON CIRCLE ($50,000+) CharlesArtsWaveH. 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 MargaretBankMcWilliams 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 Graeter’s Ice Cream TheHORANJewish 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 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 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 US Bank Foundation CONCERTMASTER’S CIRCLE ($5,000–$9,999) AARP Ohio Levin Family Foundation TheMetroWillard & 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’Addario Foundation d.e. Foxx and Associates, Inc. Mayerson Jewish Community Center PricewaterhouseCoopers LLP Charles Scott Riley III Foundation BUSINESS & FOUNDATION PARTNERS (up to $2,499) African American Chamber of Commerce Visit AlbertCincyB.Cord Charitable Foundation Earthward Bound Foundation Susan HixsonFriedlanderArchitecture Engineering Interiors Integrity Development Robert A. & Marian K. Kennedy Charitable Trust 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. SERIES SPONSORS Pops Season Lollipops Series CSO Season 2022 ARTSWAVE PARTNERS 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. Cincinnatialtaﬁber Business Courier Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies Cincinnati Reds Duke Energy The E.W. Scripps Company and Scripps Howard TheFoundationEnquirer | 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 WesternPNCP&G & Southern Financial Group U.S. Bank

Peter G.

Stephen P. McKean Chair

Marvin Kolodzik Chair+ Al Levinson Chair

AshleyJamesIreneJaneTheOnaTsimarasCourlas–NicholasChairHixonDaterChairAnneG.&RobertW.DorseyChair+&DavidEllisChair&JohnJ.EmeryChairM.EwellChair&BarbaraFordChair

The Marc Bohlke Chair Given by Katrin & Manfred Bohlke Trish & Rick Bryan Chair

70 | 2022–23 SEASON FINANCIAL ENDOWEDSUPPORTCHAIRS

Grace M. Allen Chair Ellen A. & Richard C. Berghamer Chair

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

Dorothy & John Hermanies Chair

Charles Frederic Goss Chair

Patricia Gross Linnemann Chair+ Alberta & Dr. Maurice Marsh Chair

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

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

Otto M Budig Chair Family Foundation Chair

for Associate Conductor, CSO Ashley & Barbara Ford Chair for Assistant Conductor, Pops Ashley & Barbara Ford Chair Principal Tuba

Jean Ten Have Chair

Susan S. & William A. Friedlander Chair+ Charles Gausmann Chair Susanne & Philip O. Geier, Jr. Chair+ Emma Margaret & Irving D. Goldman Chair

Mary Alice Heekin Burke Chair

Robert E. & Fay Boeh Chair

for

Harold B. & Betty Justice Chair

Lois Klein Jolson 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 &PERFORMANCESENDOWEDPROJECTS 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 Mrs.EndowmentFriedlanderFund*+CharlesWmAnness*,Mrs.FrederickD.Haffner,Mrs.GeraldSkidmoreand 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 EndowmentStegmanFund*+ Mr. & Mrs. Joseph S. Stern, Jr. Fund for Great Artists U. S. Bank Foundation* Sallie and Randolph Wadsworth Endowment Fund+ 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. Educational Concerts Rosemary & Frank Bloom * Cincinnati Financial Corporation & The Cincinnati Insurance KateTheCompaniesMargaretEmbshoffEducationalFundForemanYoungPeoples Fund George & Anne Heldman+ Macy’s Foundation Vicky & Rick Reynolds*+ William R. Schott Western-SouthernFamily**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 NatalieFordLindaMaintenanceRiverbend&HarryFathEndowmentFundFoundationFundWurlitzer&WilliamErnestGriessCello Fund Fred L. & Katherine H. Groll Trust Music Director Fund for WilliamExcellenceHurford 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 **DenotesFundsupport for the 2nd Century +DenotesCampaignsupportfor the Fund for Musical Excellence

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. SUPPORT

From left: Mark Schlachter, Cincinnati City Council member Meeka Owens, and DeeDeeWest at the Symphony Circle reception on March 27, 2022. Moe Rouse and Music Director Louis Langreé at the Conductor’s Circle Dinner on May 3, 2022. John and Ramsey Lanni join Thea Tjepkema and Cincinnati Pops Conductor John Morris Russell for the May 3, 2022 Conductor’s Circle Dinner.

Dr. Barbara R. Voelkel Mr. and Mrs. Daniel Wachter Nancy C. Wagner and Patricia M. Wagner § Mrs. Ronald F. Walker Mrs. Paul H. Ward § Jonathan and Janet Weaver M. L. AnonymousIreneCathyDonnaWellsA.WelschS.WillisA.Zigoris(2)

Fanfare Magazine | 71

§ Elizabeth C. B. Sittenfeld § Mr. and Mrs. Gerald Skidmore § Michael and Donnalyn Smith Nancy Steman Dierckes § Brett Stover § Mr. and Mrs. David R. Valz Christopher and Nancy Virgulak

HONOR ROLL OF CONTRIBUTORS

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. §

ARTIST’S CIRCLE Gifts of $3,000–$4,999 Mr. and Mrs. Richard N. Adams William Albertson Mr. and Mrs. Gérard Baillely Joe and Patricia Baker Glenn and Donna Boutilier Thomas A. Braun, III § Dr. Ralph P. Brown Janet and Bruce Byrnes Mr. Raul Chabali Miss Norma L. Clark § 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 Ann A. Ellison Hardy and Barbara Eshbaugh Mr. and Mrs. Richard Fencl Mrs. Michelle Finch Gail F. Forberg § Yan FrankFridmanandTara Gardner Mrs. James R. Gardner Naomi Gerwin Dr. and Mrs. Ralph A. Giannella Thomas W. Gougeon Lesha and Samuel Greengus John and Elizabeth Grover Dr. and Mrs. Jack Hahn Dr. and Mrs. T. R. Halberstadt 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 Karolyn Johnsen Dr. Robert W. Keith and Ms. Kathleen Thornton Don and Kathy King Lynn Klahm Jeff and Mary Ann Knoop Marie and Sam Kocoshis Mr. Frank P. Kromer Dr. Carol P. Leslie

GOLD BATON CIRCLE Gifts of $25,000–$49,999 Dr. and Mrs. Carl G. Fischer Karlee L. Hilliard § Edyth B. Lindner Calvin and Patricia Linnemann Mrs. Susan M. McPartlin Moe and Jack Rouse § Ann and Harry Santen § In memory of Mary and Joseph S. Stern, Jr Scott and Charla Weiss Anonymous (1) SILVER BATON CIRCLE Gifts of $15,000–$24,999 Dr. and Mrs. John and Suzanne Bossert § Mr. Gregory D. Buckley and Ms. Susan Berry-Buckley Robert and Debra Chavez Mrs. Thomas E. Davidson § Mr. and Mrs. John C. Dupree Mrs. Charles Fleischmann Ashley and Bobbie Ford § CCI Design, Molly and Tom Garber Tom and Jan Hardy § Mr. and Mrs. Joseph W. Hirschhorn § Dr. and Mrs. Stephen Joffe Marvin P. Kolodzik § Mrs. Erich Kunzel Peter E. Landgren and Judith Schonbach Landgren Mr. and Mrs. Timothy Maloney G. Franklin Miller and Carolyn Baker Miller Joseph A. and Susan E. Pichler Fund* Elizabeth Schulenberg Mrs. Theodore Striker Sarah Thorburn Dale Uetrecht Mrs. James W. Wilson, Jr. Mr. and Mrs. James M. Zimmerman § CONDUCTOR’S CIRCLE Gifts of $10,000–$14,999 Mr. and Mrs. Lars C. Anderson, Sr. Mr. and Mrs. John Becker Michael P Bergan and Tiffany Hanisch Robert D. Bergstein Ms. Melanie M. Chavez Stephen J Daush Dianne Dunkelman Dr. and Mrs. Alberto Espay Ms. Sarah Evans L. Timothy Giglio Clifford J. Goosmann and Andrea M. Wilson § Mr. and Mrs. Scott Gruner Mr. and Mrs. Brian E. Heekin Mrs. Harry M. Hoffheimer Mr. and Mrs. Stephen Hone Patrick and Mary Kirk John and Ramsey Lanni Will and Lee Lindner Mrs. Robert Lippert Whitney and Phillip Long Eleanor S. McCombe Mr. Michael E. Phillips David and Jenny Powell Terry and Marvin Quin Melody Sawyer Richardson § Mark S. and Rosemary K. Schlachter § Mr. Dennis Schoff and Ms. Nina Sorensen Doug and Laura Skidmore Kelly Dehan and Rick Staudigel Ralph C. Taylor § Pamela and Paul Thompson Tomcinoh Fund* Mr. and Mrs. JD Vance DeeDee and Gary West § Anonymous (1) CIRCLECONCERTMASTER’S Gifts of $5,000–$9,999 Dr. Charles Abbottsmith Drs. Frank and Mary Albers Thomas P. Atkins Mrs. Thomas B. Avril Kathleen and Michael Ball Robert and Janet Banks Dava Lynn Biehl § Louis D. Bilionis and Ann Hubbard Mr. Henry Boehmer Robert L. Bogenschutz Mr. and Mrs. Larry Brueshaber The Otto M. Budig Family Foundation Gordon Christenson Sally and Rick Coomes K.M. DennisDavisW. and Cathy Dern Jean and Rick Donaldson Nancy and Steve Donovan Connie and Buzz Dow Mrs. Diana T. Dwight David and Kari Ellis Fund* Mr. Shaun Ethier Mrs. Nancy Finke Mr. and Mrs. James T. Fitzgerald Marlena and Walter Frank Dr. and Mrs. Harry F. Fry Anne E. Mulder and Rebecca M. Gibbs Kathy Grote in loving memory of Robert Howes § Mr. and Mrs. Lawrence Hamby Mr. and Mrs. John B. Hansen William and Jo Ann Harvey Dr. James and Mrs. Susan Herman Mr. and Mrs. Bradley G. Hughes Mr. Marshall C. Hunt, Jr. Linda Busken and Andrew M. Jergens § Mr. and Mrs. Geoffrey Keenan Mr. and Mrs. Lorrence T. Kellar Dr. and Mrs. Lionel King Michael and Marilyn Kremzar Richard and Susan Lauf Mrs. Jean E. Lemon § Adele Lippert Mark and Tia Luegering Elizabeth and Brian Mannion Alan Margulies and Gale Snoddy David L. Martin Mr. Jonathan Martin Mandare Foundation Mary Ann Meanwell Linda and James Miller Mr. and Mrs. James Minutolo Jennifer Morales and Ben Glassman George and Sarah Morrison III Mr. and Mrs. David W. Motch Miami University College of Creative Arts David and Beth Muskopf Arlene Palmer Dr. Manisha Patel and Dr. Michael Curran Drs. Marcia Kaplan and Michael Privitera Mr. and Mrs. Thomas H. Quinn, Jr. Ellen Rieveschl § Elizabeth and Karl Ronn § James Rubenstein and Bernadette Unger Bill and Lisa Sampson Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson Martha and Lee Schimberg Sandra and David Seiwert Sue and Glenn Showers

FINANCIAL

Scheffler George Palmer Schober James P. Schubert Mark M. Smith (In memory of Terri C. Smith) Stephanie A. Smith Stephen and Lyle Smith David Snyder § Bill and Lee Steenken Christopher and

Susan E. Noelcke Rick Pescovitz and Kelly Mahan Sandy Pike § Patsy & Larry Plum James W. Rauth § Diane and Alex Resly Drs. Christopher and Blanca Riemann Stephen and Betty Robinson Nancy and Raymond Rolwing Jens G Dr.NancyMarianneRosenkrantzRowe§RuchhoftandMrs.Michael

Donald and Susan Henson Mr. Fred Heyse Ms. Lisa Hillenbrand Mr. Joe Hoskins Mr. Bradley Hunkler Mr. and Mrs. Paul Isaacs Heidi Jark and Steve Kenat Barbara M. Johnson Ms. Sylvia Johnson Lois and Kenneth Jostworth 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 Patricia Lambeck Evelyn and Fred Lang Charles and Jean Lauterbach Mary Mc and Kevin Lawson Alexander and Emily Levatte Mr. Peter F. Levin § Elizabeth Lilly* Mr. Arthur Lindsay Paula and Nick Link Drs. Douglas Linz and Ann Middaugh Mr. and Mrs. Clement H. Luken, Jr. Edmund D. StephanieMr.Mr.Allen-McCarrenLyonBernardMcKayGerronMcKnightandArthur

Meghan Stevens Lowella B. Stoerker Mrs. Donald C. Stouffer Shannon Michael Taylor Mr. Fred Tegarden Kathy Teipen Rich and Nancy Tereba Janet Todd Neil Tollas and Janet Moore Barbie Wagner Mr. and Mrs. James L. Wainscott Dr. and Mrs. Matthew and Diana Wallace Michael L. Walton, Esq Mr. Robert and Mrs. Leslie Warnock continued Pops Beauty and the Beast: Sept. 10–11 Ivan & Elena Ivanov Family George & Sue Lewis Family Pops Hear Me Roar: Sept. 16–18 Cincinnati Police Seasons Retirement Community Twin Lakes at Montgomery Berkeley Square Kelly AndersonDehanSenior Center ENJOY THE MUSIC, TOGETHER! • Groups of 10+ save 25% on most concerts and seniors and students save even more! • Curate your own event with a private reception, guided tour or meet and greet— the possibilities are endless. Contact CSO Group Sales: 513.864.0196 or cincinnatisymphony.org/groupsgroupsales@cincinnatisymphony.org CSO Tchaikovsky & Rouse: Sept. 30–Oct. 2 Twin Lakes at Montgomery The Kenwood by Senior Star The Knolls of Oxford Barrington of Oakley Maple Knoll Village Otterbein Retirement Community CSO Also Sprach Zarathustra: Oct. 21–23 Miami University College of Creative Arts WELCOME TO SEP–OCT GROUPS! (as of July 20, 2022)

McMahon

72 | 2022–23 SEASON FINANCIAL SUPPORT Dr. and Mrs. Lynn Y. Lin Merlanne Louney Mr. and Mrs. Julian A. Magnus Mr. and Mrs. Donald Marshall Lynn and Glen Mayﬁeld Barbara and Kim McCracken § Ms. Amy McDiffett Ms. Sue Miller Mrs. Patricia Misrach Mr. and Mrs. David E. Moccia § Mrs. Sally A. More 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 Ms. Thienthanh Pham Alice and David Phillips Mark and Kim Pomeroy Mr. Aftab Pureval Michael and Katherine Rademacher Marjorie and Louis Rauh Beverly and Dan Reigle Sandra Rivers Mr. and Mrs. Marcus Rose James and Mary Russell Mr. and Mrs. Peter A. Schmid Rev. Dr. David V. Schwab Mr. Rick Sherrer and Dr. Lisa D. Kelly Rennie and David Siebenhar Jacqueline M. Mack and Dr. Edward B. Silberstein William A. and Jane Smith Elizabeth A. Stone Margaret and Steven Story Lora and Scott Swedberg Mr. and Mrs. Ronald Tinklenberg Mr. Richard Uhle Robert and Audrey Varley § 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 (4)

SYMPHONY CIRCLE Gifts of $1,500–$2,999 Jeff and Keiko Alexander § Mr. and Mrs. Rob Altenau Mrs. Gail Bain Lois G. Benjamin David and Elaine Billmire Mr. and Mrs. Rodd Bixler Dorothy Anne Blatt Dr. and Mrs. William Bramlage Mrs. Jo Ann C. Brown Peter and Kate Brown Ms. Jaqui Brumm Rachelle Bruno and Stephen Bondurant Chris and Tom Buchert Ms. Deborah Campbell § Mr. and Mrs. Thomas Carothers Tom Carpenter and Lynne Lancaster Dr. Alan CatharineChambersW.Chapman

§ Dr. George I. Colombel Randy K. and Nancy R. Cooper Marjorie Craft Mr. and Mrs. Charles E. Curran, III § George and Joan Daumeyer Mr. Louis M. Dauner and Ms. Geraldine N. Wu Ms. Laura Doerger-Roberts Mrs. Shirley Duff Jason Dunn Mr. and Mrs. John G. Earls § Barry and Judy Evans Harry J. Finke IV Dr. Charles E. Frank and Ms. Jan Goldstein Richard Freshwater § Carol S. Friel Linda P. Fulton § Mrs. Jay N. Gibbs

Stephanie McNeill Charles and JoAnn Mead Becky Miars John and Roberta Michelman Michael V. and Marcia L. Middleton Terence G. Milligan Dr. Stanley R. Milstein § Regeana and Al Morgan Kevin and Lane Muth Mr. William Naumann

Donn Goebel and Cathy McLeod John B. Goering Ms. Arlene Golembiewski 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 § Mr. and Mrs. Byron Gustin Suzanne and Frank Hall Ms. Delores Hargrove-Young Mrs. Jackie Havenstein Howard D. and Mary W. Helms

CONCERTO CLUB Gifts of $500–$1,499 Christine O. Adams Judith RomolaAdamsN.Allen § Mr. and Mrs. Jay Allgood Lisa Allgood Mr. Thomas Alloy & Dr. Evaline Alessandrini Mr. Brian Anderson Paul and Dolores Anderson Mr. and Mrs. Frank Andress Dr. Victor and Dolores Angel Nancy J. Apfel Mr. and Mrs. Keith Apple Carole J. Arend § Mr. and Mrs. E. Thomas Arnold Judy Aronoff and Marshall Ruchman Bruce and Jeanine Aronow Ms. Laura E. Atkinson Mr. David H. Axt and Ms. Susan L. Wilkinson Ms. Patricia Baas Dr. Diane S. Babcock § Mrs. Mary M. Baer Beth and Bob Baer Todd and Ann Bailey Jerry and Martha Bain Mr. and Mrs. Carroll R. Baker Mr. Sean D. Baker Jack and Diane Baldwin Terry WilliamBangsand Barbara Banks Chris and Jeanne Barnes Peggy Barrett § Mrs. Polly M. Bassett Michael and Amy Battoclette Ms. Shirley Bear Ms. Bianca Gallagher Mr. Jerome D. Becker Dr. and Mrs. Thomas E. Bell Mr. Oliver Benes Fred Berger Dr. Allen W. Bernard Dr. David and Cheryl Bernstein Glenda and Malcolm Bernstein Melanie Garner and Michael Berry Ms. Marianna Bettman Sharon Ann Kerns and Mike Birck Walter B. Blair § Randal and Peter Bloch Ava Jo Bohl Ms. Sandra Bolek Ron and Betty Bollinger Clay and Emily Bond Mr. and Mrs. Kenneth Borisch Dr. Carol Brandon Marilyn and John Braun Mr. Hunter Bridewell Briggs Creative Services, LLC Robert and Joan Broersma Ms. Kathleen Albers Mr. and Mrs. Don H. Brown Marian H. Brown Dr. Rebeccah L. Brown Mr. and Mrs. Robert S. Brown Ralph and Diane Brueggemann Jacklyn and Gary Bryson Mr. Steven G. Buchberger Dr. Leanne Budde Bob and Angela Buechner Alvin W. Bunis, Jr. Donald L. and Kathleen Field Burns Daniel A. Burr Jack and Marti Butz John and Terri Byczkowski Harold and Dorothy Byers § Catherine Calko Ms. Cindy Callicoat Mr. and Mrs. Christopher Canarie Mr. and Mrs. James Cauhorn Denise and Martin Chambers Mike and Shirley Chaney Paul and Deborah Chellgren Ms. Sunjoo Chun Dee and Frank Cianciolo Fund* James Civille Bob and Tisha Clary James Clasper and Cheryl Albrecht Beverly Kinney and Edward Cloughessy Alan & Vivian Cochrane Mr. Robert Cohen and Ms. Amy J. Katz Carol C. Cole § Fred W. Colucci Dr. Pearl J. Compaan Marilyn Cones Dr. Margaret Conradi Jean and Gene Conway Janet Conway Robin Cotton and Cindi Fitton Dennis and Patricia Coyne Martha Crafts Bev and Bob Croskery Tim and Katie Crowley Mrs. Linda D. Crozier Mr. and Mrs. Brendon Cull Susan and John Cummings Lynne Mr.JacquelineCurtissCutshallandMrs.HenryF. Dabek, Jr. Donald and Victoria Daiker 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 George Dostie Roger and Julie Doughty Jack and Diane Douglass David and Kelley Downing 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 Ken and Melodie Dunn Michael D. and Carolyn Camillo Eagen Joseph and Kristi Echler Mr. and Mrs. James Eigel Ms. Ruth Engel Mr. Daniel Epstein Barbara Esposito-Ilacqua EXAIR Corporation Mr. Robert Faelten Dr. Douglas K. Fairobent and Dr. Paulette M. Gillig Dr. and Mrs. William J. Faulkner Walter & Mary Ann Feige Ms. Barbara A. Feldmann Mr. and Mrs. Robert Fender Richard and Elizabeth Findlay Dr. and Mrs. Thomas Fischer Michael and Bonnie Fishel William and Carol Fisher Anne Feczko and Daniel Flynn Ms. Nancy B. Forbriger Mr. and Mrs. James Foreman Janice and Dr. Tom Forte Mr. and Ms. Bernard Foster Mr. and Mrs. William Fotsch Susan L. Fremont Mr. Gregrick A. Frey In memory of Eugene and Cavell Frey Mr. and Mrs. Joseph Fricke Mr. and Mrs. Fred Friedman Michael and Katherine Frisco Michael Frye and Chris Schoeny Mr. and Mrs. James Fryman Marjorie Fryxell Dudley Mr.MarkMs.DrusillaJustinChristopheFultonGalopinR.GarabedianGarmsJaneGarveyS.GayandMrs.Edward E. Geier Dr. Michael Gelfand Jean R. Gerhardt Mrs. Theresa C. Deters Gerrard A. Franklin Gibboney V Kathleen Gibboney David J. Gilner Mary and Jack Gimpel Louis and Deborah Ginocchio Dr. and Mrs. Charles J. Glueck Dr. and Mrs. Richard Goetz Mr. Ken Goldhoff Mr. and Mrs. Jim Goldschmidt Robert and Cynthia Gray Carl and Joyce Greber Mary Grooms

Ted and Mary Ann Weiss Maryhelen West David F. and Sara K. Weston Fund Virginia Wilhelm Rev. Anne Warrington Wilson Robert and Judy Wilson Jeff DavidYangand Sharon Youmans Andi Levenson Young and Scott Young Mr. and Mrs. Dan Zavon Ms. Nancy Zimpher John and Mary Ann Zorio

Fanfare Magazine | 73

Anonymous (14)

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 Mr. Kevin Harshberger Dr. Catherine Hart Mariana Belvedere and Samer Hasan Amy and Dennis Healy Kenneth and Rachel Heberling Mrs. Betty H. Heldman § Mrs. E. J. Hengelbrok, Jr. Michelle and Don Hershey Curtis & Katrina Hinshaw Kyle and Robert Hodgkins Ms. Leslie M. Hoggatt Mr. and Mrs. Sam R. Hollingsworth Richard and Marcia Holmes Stanley A. Hooker, III Ms. Susan K. Hopp Noel and Angela Horne Mr. Mike Hostetler and Ms. Erica Pascal Mr. Thomas J. Hotek Melissa Huber Deanna and Henry Huber Karen and David Huelsman Dr. and Mrs. G. Edward Hughes Mr. Gordon Hullar Nada Christine Huron Dr. Maralyn M. Itzkowitz Mrs. Charles H. Jackson, Jr. Mr. William K. Jackson Mr. Thaddeus Jaroszewicz Mark and Caitlin Jeanmougin Marcia Jelus Dale and Cheri Jenkins David and Penny Jester Mr. and Mrs. Scott Johncox Frank Jordan § Tom and Geneva Jordan Scott and Patricia Joseph Jay and Shirley Joyce Mr. and Mrs. Robert Judd Dr. Jerald Kay Dr. James Kaya and Debra Grauel John and Molly Kerman Dr. and Mrs. Richard Kerstine Mr. and Mrs. Dave Kitzmiller Carol Grasha and Christopher Knoop Georgianne and Tom Koch Pamela Koester-Hackman Paul and Carita Kollman Carol and Scott Kosarko Mr. Robert Kraus Kathleen B. and Michael C. Krug Fund* Dr. Diane Krumanaker, DVM Patricia and Randolph Krumm § Mr. and Mrs. John L. Kuempel Mark EverettKuhlmanandBarbara Landen Asher Lanier Ms. Sally L. Larson Mrs. Julie Laskey Joe Law and Phil Wise Mr. and Mrs. John C. Layne Mr. Alvin R. Lee Mr. Nathan C. Lee Mrs. Judith A. Leege in memory of Philip B. Leege Dr. Margaret Lemasters Patricia E. Leo Donna Levi Mr. and Mrs. Lance A. Lewis Mrs. Maxine F. Lewis Iris Libby Ms. Presley Lindemann Mr. and Mrs. James A. Link Mrs. Marianne Locke Mr. Steven Kent Loveless Dr. and Mrs. Robert R. Lukin Timothy and Jill Lynch Marshall and Nancy Macks Neil B. AndrewMarksandJean Martin Ms. Cynthia Mason David Mason § Mr. and Mrs. Warren L. Mason Dave and Nancy Masters Mr. and Mrs. Dean Matz Dr. Janet P. McDaniel Tim and Trish McDonald Robert and Heather McGrath Ms. Mary McKeown Mark McKillip and Amira Beer Mrs. Karin McLennan Ms. Carol M. Meibers Ms. Nancy Menne Arnold and Nancy Merrow Dr. and Mrs. Richard A. Meyer Dr. Karen Meyers and Mr. Bill Jones Rachel and Charlie Miller Mr. Roger Miller Ms. Terry S. Miller Sonia R. Milrod Ms. Laura Mitchell Mr. Steven Monder Eileen W. and James R. Moon Mr. Jason Moore Dr. and Mrs. Joseph J. Moravec Mrs. Ivan Morse Mr. Scott Muhlhauser Mrs. and Mr. Katie Murry Alan Flaherty and Patti Myers § Ms. Henryka Bialkowska-Nagy Mr. and Mrs. Norman Neal Mr. Ted Nelson and Ms. Ixi Chen Mr. Gerald Newfarmer Jim and Sharon Nichols Ms. Jane Nocito Jane Oberschmidt § Maureen Kelly and Andrew O’Driscoll Dr. Brett Offenberger and Mr. Douglas Duckett Mr. Gerardo Orta Mrs. Janet K. Osborn Nan L. Mr.MarilynElizabethOscherwitzOsterburgZ.OttandMrs.Michael Palmer Eric Paternoster Don and Margie Paulsen The Pavelka Family John and Francie Pepper * Ken and Linda Phelps Mr. Mark Phillips Mr. and Mrs. Paul Piazza Ann and Marty Pinales Martin and Pamela Popp Mr. and Mrs. Richard Post Mr. Robert Przygoda Glenn and Jane Rainey Jerry Rape Ms. Mary Redington Mrs. Angela M. Reed Dr. and Mrs. Robert Reed Mrs. Hera Reines Catherine E. Rekers In MemoryReverendof Robert Reynolds Mr. and Mrs. Brian T. Rhame Dr. Robert Rhoad and Kitsa Tassian Rhoad Stephanie Richardson Roz and Jeff Robbins Mr. David Robertson Laurie and Dan Roche Mr. and Mrs. Samuel A. Rodner Mr. and Mrs. Ian Rodway Ms. Jeanne C. Rolfes Stanley and 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 Mr. and Mrs. Thomas R. Ruthman Cheryl A Sallwasser Dr. Richard S. Sarason and Ms. Anne S. Arenstein David and Judy Savage Mr. Christian J. Schaefer Mr. Joseph Schilling FINANCIAL SUPPORT

Mr. Andrew Bateman Mr. Barry Bates Ms. Glenda Bates Ron Bates and Randy Lasley Mr. and Mrs. Blair Battistini Mr. Bruce Batts Mr. Stephen Baum Mr. and Mrs. Terry Baum Doug and Sherry Baxter Michael E. Beall Clark Beck N. Lorraine Becker Stephen and Joy Becker Mr. and Mrs.

74 | 2022–23 SEASON

Towne Properties Dr. Ilse van der Bent William and Bonnie VanEe Dr. Judith Vermillion Rev. Francis W. Voellmecke Jacob Wachtman Ms. Barbara Wagner Mike and Diane Wagner Mary and Jack Wagner § Jane A. Walker Sarella HermanWalton&Margaret Wasserman Music Fund* Mrs. Louise Watts Mr. Gerald V. Weigle, Jr. David and Sandy Westerbeck Mr. Donald White Ms. Elizabeth White Janice T. Wieland Ms. Lisa Williams 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 Mrs. Darleen Young Ms. Dona Young Judy and Martin Young Mr. David Youngblood and Ms. Ellen Rosenman Dr. Cynthia Yund David A. and Martha R. Yutzey Dr. and Mrs. Daryl Zeigler Meg Zeller and Alan Weinstein Ms. Joan Zellner Moritz and Barbara Ziegler Mr. and Mrs. Robert L. Zierolf Thomas and Joyce Zigler John and Shannon Zimmerman Mr. Richard K. Zinicola and Ms. Linda R. Holthaus David and Cynthia Zink Ms. Jayne Zuberbuhler Mrs. Beth AnonymousZwergel(29)

Ms. Sheila J. Brown Mr. and Mrs. James P. Bruckmann Mr. Thomas G. Bruckmann Paul and Mary Ellen Bruening Mrs. Maureen Bruns Mary Bryan and Ken Lay Mr. Larry Bucher Lynn Bullard Mrs. Joann Bullock Gay Ms.Mr.Ms.Dr.DavidElizabethMs.HeatherMr.BarbaraDr.Ms.Mr.Mr.JosephMs.Ms.Ms.BrandonMs.Ms.TheMs.Ms.EdmundMs.RandallIchunSteveMr.RichardDr.PhilipMr.Mr.GaryMaryMs.Mr.Mr.MichaelBillMrs.Mr.WilliamDr.Mr.SusanMs.BobKarenMr.ErinMichaelShannonJosephMs.VinceMr.NinaJackieMs.JanetMs.Mr.Mr.Mr.Drs.JerryVickiMs.Ms.DanMr.JennyMs.Mr.Mr.Ms.Dr.Mr.Ms.DavidMrs.KateBullockBunaskyNancyBunnellandRobinBurbrinkMaryK.BurdenandMrs.FrankBurdickAndrewandDr.MaryBurgerSusanBuringandMrs.RobertBurkhartandMrs.FredBurnettAnneBurnsandDaveBurnsandMrs.BrianA.BurressandSueBurtonElynBuscaniAndreaBussardL.ButlerandJonBrydAlanB.CadyandAnneK.NestorandMrs.ThomasCahillandMrs.CaryR.CainJonCalderasandDr.CorinneLehmannJudithCalhounC.CallifGwendolynCameronDiekmanandMikeCameryS.CampbellVictorCanﬁeldandMr.RichardSackstederandMaryCapassoAnnCappelP.CardoneandBillCareyCarnesCarpenterandMrs.ChrisCarrandSteveCarrandLucyCarrollSusannaCarrollL.CarsonDanCarterJuliaH.CarterCarterJamesE.CartledgeMariaI.CarverandPatCaseandEllenCashmanJohnCastaldiandMr.TerryBazeleyDavidCastelliniGabyCastroCatalanottoR.CattJeffCaywoodandDr.RobNeelEdwardChamberlinandMs.ColettaHughesandSoyeonChangSandersChangChapmanandMrs.WayneChapmanandRobertaBorgattiChiaoSmithandChristineChoK.AnnChoeChoiandKieranDalyJoanCholakJanetteChristiansenChristosFamilyPatriciaCiccarellaKathrynM.ClariseyandJalynnClarkeMargaretClarkeSusannaClasonS.DeAnneCleghornClemansDavidClodfelterandMrs.RobertA.CodyJoannaCohenandMrs.JohnS.CohenColburnAnthonyColeandJeddColeNancyJ.ColegroveColeyCollinsandSarahRiceJohnandBarbaraCollinsKarenCollinsandMrs.TomCollinsTeresaColon FINANCIAL SUPPORT

OVERTURE CLUB Gifts of $125–$499 Profs. David and Marjorie Aaron Mr. and Mrs. Fred H. Abel Barbara Aberlin Mr. Robert Abrahams Mr. and Mrs. Roger Ach Ms. Julie Kugler Mr. and Mrs. Hiro Adachi Alice E. Adams Donald and Susan Adick Mr. Joe Adkins Dick and Mary Lu Aft Mr. Christopher A. Ahlquist Teresa and Steven Ahrenholz Marc and Julie Aiello Dr. and Mrs. John Aiken III Drs. Gordon and Dorothy Air Ms. Laurie D. Alagha James Albert Julie Albright and Brian Haas Patti Alderson Mr. and Mrs. Leland R. Alexander Mary Allardyce Ms. Mary Ellen Allen Kenneth and Lois Allen Deborah Allsop Ms. Ruth Alpers Sherman Alter Jose Thomas Alvarez Dr. F. Javier Alvarez-Leefmans Mrs. Tracy L. Anders Dr. Greg Anderson Peter & Tamara Anderson R. Bruce and Patricia A. Anderson Theresa M. Anderson Mr. and Mrs. Tyler Andrew Mr. and Mrs. Albert Andrews Larry and Sandy Andrzejewski Richard B. and Cynthia P. Annett Dr. Jean S. Anthony Alejandro Aragaki Dr. Michael and Lynne Archdeacon Elizabeth Arend Mr. and Mrs. Armour Rick and Kate Arnold Alissa Ms.Mr.AlJohnMr.LindaDr.Mr.GordonMrs.Mr.DougMs.GailQuianaLouiseJeanRuthMr.Mr.Ms.Ms.ShelbyMs.Mr.KenFredMs.JohnPamelaMr.KarenMrs.NancyMrs.StefanAshworthAthanasiadisKayAtkinsAubkeMaryLouAufmannAverbeckandMrs.JacobAvrahamBachandMaryBachhuberCamillaP.Bader-BakerandMarySueBahrandKathyBaierNathanBaileyMargaretE.BairdBairdJudithThompsonStacieBaldwinandMrs.MichaelD.BallandMrs.FranchotBallingerBambergerBangeGomerBangelBarbeeBarkerHenriettaBarlag§andBeckyBarnacloJohnBarnesArnoldBarnettBarnhartandJanieStevensandMrs.PaulS.BarnhartandMrs.RobertBarnhornPBaronDevonBarrettandMrs.JenniferMcFarlandBarrettF.BarrettBarrowandMrs.W.D.Baskett,IIIJanaBass Philip Beckmann Mr. and Mrs. James Plum Ms. Kathleen Bedree Daniel and Terri Beebe Amy C Beegle Jenny Beene-Skuban Mr. and Mrs. Herbert J. Beigel Dr. and Mrs. Daniel D. Beineke Mr. David Bella Ms. Mary Bender Joyce M. Benge Mr. Leonard Berenﬁeld Mr. and Mrs. Andrew R. Berger Mr. David Berry Mr. Jeffrey Berry Ms. Jan Mr.JenniferBeslBestandMrs.Robert T. Betz Mr. Dave Beverly Lisa Biedenbach and Robert Wuerth Kathy and Steve Biedenbach Mr. and Mrs. Richard Biedinger Douglas and Susan Bierer Mr. James Billiter Mrs. Sarah Bingcang Doug and Karen Williams Mrs. Julie F. Bissinger Dr. Karla R. Blackmore Barbara C. Carr and Bren Blaine Morgan and Kathy Blair Mr. Russell Blanck Mr. Norman Jeffrey Blankenship Milt and Berdie Blersch Diann and Tony Blizniak Richard and Susan Bloss Ms. Geradine Blust Michael and Pamela Boehm Dr. Connie Williams Boehner Mr. Katherine Boerger Ken and Barb Boesherz Drs. Kurt and Mary Boﬁnger Richard Bollman, S.J. Nathaniel Bond Ms. Kate Bondoc Ms. Pattie Bondurant Anna BartMs.Mrs.EricMr.CharlotteMs.RobMs.Ms.GeneMs.Ms.RossMs.Mr.Mr.Mr.Mr.Mr.DavidMr.Ms.R.W.Ms.Rev.JeromeMr.BarbaraMs.KevinMr.Mr.Mr.Dr.Mr.Mrs.JaneKariLaurenceBonham-WhiteandHildyBonhausandJohnBookandGaryBoothJoyceR.BorkinandMrs.GilbertBornandMrs.KevinBoveDrewBowersLarryBowlingDavidBowmanandDianeBoysMaryBradfordElizabethBradyCliffBrahmandLindaBrainardJamesA.BramlageLaurenN.BrandstetterandM.C.BrandstetterChyrlBrandtandMrs.JamesBrannonA.BrashearandMrs.HerbBrassandMrs.BrianBravardCharlesG.Bretz,Jr.andMrs.RobertA.BrewsterGeneBreyerElizabethBriceBrickerLoriBridgersArleneJ.BrillBrimmKimberlyBrindleyJenniferBrinkmanBrodrickandHannahWilliamsonKathrynBrokawBrooksWilliamBrooksBrownEugeneA.BrownMarinellBrownandMaryBrown

Ms. Carol Schleker Jane and Wayne Schleutker Marcia A. Banker and Jeffrey S. Schloemer Dr. and Mrs. Michael Schmerler Mr. and Mrs. William C. Schmidter, III Jacqueline K. Schneider Tim and Jeannie Schoonover Glenda C. Schorr Fund* Carol J. Schroeder § Mr. and Mrs. Mark Schultheis Mary D. Schweitzer Joe Segal and Debbie Friedman Ms. Beverly Seibert Mr. and Mrs. Thomas P. Semancik Saira Shahani and Rick Warm Judith Sharp Drs. Mick and Nancy Shaughnessy The Shepherd Chemical Company Michael Shepherd Hal and Sandy Shevers Alfred and Carol Shikany Dr. and Mrs. Donald E. Shrey Ms. Joycee Simendinger Mr. and Mrs. Kenneth Skirtz Ms. Martha Slager Susan and David Smith Ms. Margaret Smith Dr. and Mrs. Eugene Somoza Mrs. John A. Spiess Mr. and Mrs. Phil Spiewak Paula Mr.MarianSpitzmillerP.StapletonandMrs.Timothy Stautberg Ms. Ruth M. Stechschulte Susan M. and Joseph Eric Stevens Mr. Jason V. Stitt Stephanie and Joseph Stitt Mr. and Mrs. Richard Stradling, Jr. Nancy and Gary Strassel Margaret L. Straub Ms. Susan R. Strick Mr. George Stricker, Jr. Patricia Strunk § Ms. Judi Sturwold Kathryn Sullivan Mr. and Mrs. Robert J. Sullivan Ann Swanson Mr. and Mrs. William R. Talbot, Jr. Thomas and Keri Tami Dr. Alan and Shelley Tarshis Carlos and Roberta Teran Tom and Sue Terwilliger Linda and Nate Tetrick Dr. Rachel Thienprayoon George and Pamela Thomas Joyce and Howard Thompson Mr. and Mrs. J. Dwight Thompson Matthew M and Anne N Thompson Cliff and Diane Thornsburg Mr. and Mrs. Joe Thrailkill Greg Tiao and Lisa Kuan Torey and Tom Torre

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76 | 2022–23 SEASON

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Joseph Raterman Paul and Ruth Ann Ravenna Mr. and Mrs. J. Kent Rawlings Chris and Mary Ray Mr. and Mrs. Neil Ray Dr. and Mrs. Ali Razavi Lynne Williams Reckman Cathy Rector Mr. and Mrs. Clinton C. Reese Mr. and Mrs. Allan Reeves The Rehm Family Mr. Brian T. Reilly Ms. Cheryl Reiman Anthony Rein Tammy Reiser Bartley Reitz Mr. James A. Remley Ms. Patricia Ressler Ms. Mary Rettig Kenneth and Danielle Revelson Mr. Troy Reynolds Helen

Family Mr. and Mrs. Melvin Shotten Mr. Eli E. Shupe, Jr. Richard and Kathy Siconolﬁ Ms. Kristi Siconolﬁ-Tolle Dr. Cindy Sieber Brian G. Ms.Mr.Mr.Dr.JenniferJayGeoffGaryGaryAdriennePatriciaTracyMrs.JohnNancyMr.Dr.Dr.Ms.StephanieJohnMr.Dr.MiriamLiseStephanieJamieandSiebold-ThompsonSiegristandKevinSigwardSilmanErikM.SimmsandMrs.JamesSimonandJanetSimpkinsonSimpsonBelindaSimsLeonardSingerDeboraSinnerDouglasE.SitzlerMcGaugheyandSallySkillmanPSlatteryJoanneSloviskyJoandDavidSmallSmart,PsyDAngstSmith§andJudithSmithA.SmithandRobinSmithandMicheleSmithS.SmithandMrs.JohnM.SmithJohnSmithKarlSmithMelanieSmith

Smith William and Joan Smith Drake Snarski Mr. Kevin Snyder Mrs. Randi Solomon Mr. John D. Sommer Paul Sonderman Ms. Patricia A. Songer Mr. and Mrs. Raymond Sonoff Mr. and Mrs. Richard W. Sorg Nicole Soria and Randy Myers Jean K Spangenberg Mr. and Mrs. C. Gregory Spangler David Spar and Barbara Wexelman Phillip and Karen Sparkes Mr. Paul Spearman Sue and Andrew Speno Jim and Cindy Spicer Dr. Harold B. Spitz Mr. Lee T. Spitznagel Jinny St. Ms.Ms.Mr.DonnaDavidMr.JohnJamesIngridMargyDr.TimothyRobertMs.KarlMr.DaveMs.TarzinskiGingerMs.JohnMr.Mr.Mr.Ms.Ms.TheresaDr.Mr.ThomasDennisMr.Ms.Mrs.Mr.Mr.Mr.RonaldMs.Mr.Ms.MichaelJamesMs.JoeMr.GarySarahRichardAnitaMr.Ms.FrankFrankEmilyMs.JuliaMarkJulieMartinMr.AhrenMs.BarryMr.JeromeMr.KennethDanaJoeElizabethGoarRabkinandLindaStaneckA.StangStangDonaldStanleyIIIandJosetteStanleyandMrs.MichaelStanleyandSharlynStare§KatherineStarksStaubitzandMrs.RobertSteinerandMarleneStengleAStenken,Ph.D.andAnneStepaniakColeStephenKaitlinStephensandJustinStephensonandAliceStephensonandRoseStertzKarenStevensandMrs.RichardStevieandGeorgeB.StewartandKarenStewartStirsmanandLeslieStoeltingandMrs.ArnoldStollerandGladysStolzMyraStoneHowardStormandBarbaraStoughDoloresStoverBillStowellCandaceStrangeStraubMarkStroudandMrs.EmmettStubbsandMrs.RodneyStuckyGarﬁeldL.SuderElaineSuessandMrs.RobertSugermanandHelenSullivanandPatriciaSullivanDuaneSulskiLesterSunaandPeterSuranyiJenniferSwendimanDonnaTabbandMs.StephenTagarielloWilliamJ.TaggartThomasL.TallentireTallmadge&PamBachJenniferTandocTannenbaumFamilyCarleyTaylorandMaureenTaylorandMrs.AlexanderW.TeassandMarilynTechnowNicoleTepeandRosaMarthaThalerGThalheimerandMrs.LouisThibodeauxandGregTholeandStephenThomas,Ph.D.L.ThompsonM.andElsieA.ThompsonandMrs.AlexanderThomsonandChristineThornburyH.ThorpRobertW.ThurstonandMs.MargaretZiolkowskiJanTimmelCicelyTingle FINANCIAL SUPPORT

Smith Randall Smith Mr.

Menah Pratt-Clarke Mr. Dan Prevost Phil and Susan Price Dr. Robert and Jackie Prichard Joshua Privett Mrs. Stewart Proctor Dr. Michael J. and Mrs. Maureen T. Prokopius Ms. Joetta Prost Gary L. Purnell Mr. James Quaintance II and Mrs. Catherine Hann Gordon and Diana Queen Mrs. and Mr. Megan Rachford Dr. Justin Rackley Mrs. Joseph F. Raga Barbara N. Ramusack Mr. and Mrs. Thomas Ranks Mr. and Mrs. Paul C. Rapien Mitch and Karen Rashkin

Fanfare Magazine | 77 Kate Mr.Ms.ThomasElaineMichaelRonJayMs.Mrs.DavidRonaldDr.EdLindaMr.ChrisMrs.Mr.Mr.Ms.Mr.Ms.Ms.ToddHelenDr.DonMs.Ms.JeffCourtneyMs.CarolMr.GrahamMr.MarkMs.MollyDr.Mr.Mr.Ms.Ms.Ms.Ms.Mr.PhyllisBillKathyMr.VickiMrs.Ms.Ms.RobertaMr.LeeMs.Dr.MihoMr.RichardMr.Mr.Ms.KarenMr.EdwardMrs.SylviaMr.BruceDr.Ms.Ms.Ms.Mr.KathrynDr.Mrs.Mrs.LuisMr.Mr.TomJackDrs.Mr.Mr.JacquelineBarbaraDouglasNesslerE.NestlerandJohnNeumannC.NeumannFredNeurohrandMrs.ChristopherNewcomerNickNewmanandLeilaSaxenaNiehausandAnneDudleyandRoccinaNiehausCraigNiemiandMrs.PaulNiklasandGiselaNinoAlfredK.NippertHiroshiNishiyamaGailBongiovanniandMr.EverettC.NisslyandBradleyNixaandMrs.DougNollGretchenA.NormanBarbaraNorrisDianeNorrisHeatherNortonandNedaNutleyandMrs.MichaelNutterI.O’BannonMickeyO’BrienA.O’ConnellandMrs.JamesO’ConnellO’ConnellKathleenO’ConnellandDr.H.KennethPetersonMartinO’ConnorandMr.JimPellegrinonandMrs.NeilJ.O’ConnorandMaryOertelThomasO’FlynnOgawaCoraOgleAlanaOkoonandSusieOliverandMs.JamesOllierOltRebeccaOsinskiSylviaOsterdayElizabethW.OttOttingandMs.ChadOursandDaveOverbergandLindaOverholtOvermannRobertPalaceBethA.PalmMaryPalmoskiStephaniePanaroSoumyaPandalaiRobertParkStephenO.ParkandMrs.JohnParlinParrottReenaPatilandDonnaPattersonJosephA.PauleyandKarenPaxtonandMrs.StephensPaxtonandJimPearceMaryPearcePeGanandJamiPeliniNicoleCollinsandMr.PatrickPeltonDeborahPendlandJanPeranderandMrs.EliPerencevichandHenryPerkinsandMaryPerkinsSusanPerryKristinM.PeterTimPeterAnnaPetersenRichardPetersonandMrs.KennethPetrusRobertD.PhelpsPhillipsandMrs.StevePhillipsPieleandGwenPietzuchCourtneyPlattnerPlybonandHollacePoissantGenevaS.PomeroyJanicePoppandTeresaPorcaroandJudyPorgesPotticaryandTellervoJuula-PotticaryB.PowersPowersGaylePrattandMrs.WilliamPratt

FINANCIAL SUPPORT

GIFT OF MUSIC: March 1–June 30, 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.

78 | 2022–23 SEASON

Wilmer D. Tirado Thomas Tobias Samuel P Todd III Michael R. Toensmeyer Marcia and Bob Togneri Mr. Timothy Tolford Mr. Joseph Toman Michael and Jodi Toncar Mr. and Mrs. Daniel E. Toon Dr. and Mrs. Haig G. Tozbikian Mr. and Mrs. Dennis Trchka Paul and Diana Trenkamp Mr. Peter Trivella Timothy Troendle James and Susan Troutt Ms. Monica Troy Fran Turner Mr. and Mrs. Turner Mr. Andrew Ulmer Mr. Randy Ulses and Mr. Michael Smith Thomas Urban Mr. and Ms. Tom Vale Rosemary Valentine Dr. Nicolette van der Klaauw Johnnie W. Vance Thomas Vanden Eynden and Judith Beiting Mr. Ramaswamy Vasudevan Thomas and Angela Vaughan Mr. and Mrs. Andrew Verkamp Mr. and Mrs. Daniel Verney Stephen F. Voellmecke Family Gary and Donna Von Ms. Kimberly Vorholt Mr. and Mrs. James K. Votaw § Stephen & Casey Wadsack Mr. and Mrs. Walter Wagenknecht Mr. George Wagner Ms. Julia A. Wagner Mrs. Anne Marie Wagner Toi and Jay Wagstaff Ms. Susan Wajert Tony Walch Ms. Priscilla S. Walford Ms. Barbara Walkenhorst Derby Cynthia and Garret Walker Mr. and Ms. Lee Wallace Mr. and Mrs. Robert K. Wallace Rosemary Waller Mr. and Mrs. Chris Wallhausser Drs. Mark and Debra Wallingford Ms. Julliane Wallis Mr. and Mrs. Michael Walpole Ms. Geri Walsh Dr. George and Norma Walter Rabbi and Mrs. Gerry Walter Mr. Joseph Walton Ms. Christine Wands Dr. and Mrs. Stanley C. Wang Mr. T. C. Wanstrath Ms. Anita Ward Leann Ward Dr. David T. Ward Carole and Ed Warfel Ms. Fran Warm Dr. and Mrs. Jerry W. Warner Frederick and Jo Anne Warren § Chad and Betsy Warwick C. Ms.WatsonBarbara G. Watts James and Carol Waugh Mark and Jennifer Weaver Dr. and Mrs. Barry Webb Mr. and Mrs. Robert Webbink Mr. and Mrs. Dan L. Weber Dr. and Mrs. Robert Weber Herb and Jan Wedig Mrs. William N. Weed The Wegenhart Family Ms. Cassandra Weinel Sarah Elliston Weiner Ms. Alta Weinkam Dr. and Mrs. Alan Weinstein Sherry and Albert Weisbrot Dr. and Mrs. Jerome P. Wellbrock Livia Mr.JanetWendtWernkeandMrs.Joshua Werthaiser Mr. Ed Wertheimer Anne and John Westenkirchner Mr. and Mrs. Richard Westheimer Ms. Joan Wham Ms. Bonnie White Carolyn L. White Parnell and Jennifer White Stephen and Amy Whitlatch Nancy and Glay Wiegand Ann Wierwille, M.D. Ms. Mary Wiethe Mrs. Sarah Wilder Charles A. Wilkinson § Mr. and Mrs. George Wilkinson Angela and Jack Willard Ms. Diana Willen Beverly G. Williams Ms. Beverly P. Williams Mr. and Mrs. James A. Williams Mr. and Mrs. John E. Williams Ms. Lisa Williams Steve and Nancy Wills

Robert Willson Ted and Barbara Wilson Michael and Trisha Winland Mr. Stephen D. Winslow Mr. Jason Wise Analytics That Proﬁt Colleen Witchger-Furey David and Barbara Witte Mr. and Ms. John Woeste Mr. Guy Wolf and Ms. Jane Misiewicz Louise Wolf Mr. and Mrs. Matt Wolfgang Joan R. Wood § Gary and Marilyn P. Wooddell Mrs. Heidi A. Wooddell John and Nancy Woodin Mrs. Mark L. Woolsey Judith R Workman Mr. and Mrs. Robert D. Worsham Susan and William Wortman Mr. Timothy Wright Dr. and Mrs. Robert E. Wubbolding Ms. Barbara L. Wuest Betty A. Wuest J. Richard and Suzanne Wuest Mr. and Mrs. Daniel R. Wurtzler Travis CarolMs.Mr.Mr.BruceLeoEmelYingyingWyrickXuYakali&EdieYakutisandJudyYoakumDanielYoungJimYoungSharmaL.YoungJ.Yungbluth Mr. and Mrs. Michel Zalzal Zaring Family Foundation Todd Zeiger Mr. and Mrs. Ryan Zhang Mrs. Janet Ziegler Thomas and Gail Ziegler Marcy and Bob Ziek Mary and Steve Ziller, Jr. John and Kira Zimmerly John and Jeanie Zoller Mr. and Mrs. Daniel Zuck Mr. Walter AnonymousZuk(181) Honor of Louis Langrée Larry and Sue Coblentz

GIFTS IN-KIND Mrs. Katherine Anderson Ms. Melanie M. Chavez Drive Media House William and Anna Fluke Graeter’s Ice Cream In Honor of Mary Ellen Hutton Jones MayersonDayJewish Community Center Mr. John Morris Russell and Ms. Thea Tjepkema The Voice of Your Customer List as of June 30, 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. In Honor of Betty (Anne) Heldman’s Birthday David and Kari Ellis Fund* Julie and Roger Heldman Fund of the GCF In Honor of Carolyn Freeze Anonymous In Honor of John Morris Russell’s Anniversary Nancy C. Wagner and Patricia M. Wagner In

In Honor of Rennie Siebenhar Anonymous In Honor of William “Bill” Smith Anonymous In Memory of Anne Bullock Mr. and Mrs. Joseph W. Hirschhorn In Memory of Dr. David C. Reed Dr. Andrew Deak David N. and Mary Lou Evans Jane and Patrick Fischer James and Jody Flatt Margaret and Dick Kuck Francis Little Ms. Carol Lovdal Mr. and Mrs. Daniel MacConnell Ms. Carol E. Murrish Mr. and Mrs. Rick Oberschmidt Ron and Jackie Oester Thomas O. Popa George and Ann Stanton Dr. and Mrs. Howard Waldman Donna Grisez Weber Suzanne and Jay Yingling Ed and Mary Zins In Memory of Ervin Oberschmidt Bryan R. Wirtz In Memory of Herman and Margaret Wasserman James H. Wasserman In Memory of Joy J. Norwood Shelley K. Hamann In Memory of Linda Tong Jeffrey Gossard Mr. and Mrs. Robert R. Heidenreich In Memory of Louis H. Jacob Mr. and Mrs. Robert M. Cowen In Memory of Nancy Rosenthal The Poker Group In Memory of Nicholas Angelich Mr. and Mrs. Robert Drake

Dr. Brian Sebastian Mrs. Mildred J. Selonick Mrs. Robert B. Shott Sue & Glenn Showers Irwin and Melinda Simon 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 JoMr.*PatriciaNancyJackMr.Mr.Mr.ThomasDickNydiaDr.CarrieMindaConradRalphPatriciaDr.BrettMary*JohnNancySteinbergM.StemanandHelenStevenson&BobStewartStoverRobert&JillStrubM.Strunk&Brenda*TaylorF.ThiedeF.Thompson&PeterThrom&Mrs.ThomasToddTranter&JaneTutenVandenEyndenandJudithBeiting&Mrs.RobertVarley&Mrs.JamesK.Votaw&Mrs.*RandolphL.WadsworthJr.K.&MaryV.WagnerC.WagnerM.Wagner&Mrs.PaulWardAnne&FredWarren 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 Dr. & Mrs.* Steven Katkin Rachel Kirley & Joseph Jaquette Carolyn Koehl Marvin RandolphKolodzik&Patricia Krumm 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 SusanMyers&Kenneth Newmark Dr. & Mrs. Theodore Nicholas Patricia Grignet Nott* Jane Dr.JackJulieMarja-LiisaOberschmidtOgden&Dick*Okenfuss&MarilynOsborn&Mrs.RichardE.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 ElizabethRieveschl&Karl Ronn Moe & Jack Rouse Marianne Rowe Ann & Harry Santen Rosemary & Mark Schlachter Carol J. Schroeder Mrs. William R. Seaman

Mr. & Mrs. Charles Cordes Peter G. Courlas & Nick Tsimaras* Mr. & Mrs. Charles E Curran III Amy & Scott Darrah, Meredith & Will Darrah & CarolinechildrenH. 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 Linda & Harry Fath Alan Flaherty Mrs. Richard A. Forberg Ashley & Barbara Ford 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

FINANCIAL SUPPORT

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.

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 KarenMaceMargaretJordanH.JungC.JusticeKapella

Daniel J. Hoffheimer

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 Mr.JosephThomasBozicevichA.Braun,IIIBrinkmeyer&Mrs.Frederick Bryan, III Harold & Dorothy Byers Deborah Campbell & Eunice M. Wolf Myra CatharineChabutW. 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

Richard

Charlie

Penny

Tiffany

80 | 2022–23 SEASON ADMINISTRATION Learning Carol Dary Dunevant Director of Learning Hollie Greenwood Learning Coordinator Jaysean Johnson Education Programs Intern COMMUNICATIONS Felecia Tchen Kanney Vice President Communicationsof Tyler Secor Communications Content Manager

Balcom Social Media Manager Wajeeh Khan Communications Intern COMMUNITY ENGAGEMENT | DIVERSITY, EQUITY & INCLUSION Harold Brown The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

Crystal

Mary McFadden Lawson, CAP® Chief Philanthropy Officer Sean Baker Director of Institutional Giving Bhavya Nayna Channan Corporate Relations Manager

Cooper Director of EngagementCommunityandDiversity Amanda Franklin Community Engagement Manager Ian McIntyre Volunteer & EngagementCommunityCoordinator

St Jacques Institutional Giving Coordinator Leslie Hoggatt, CFRE Director of Individual Giving and Donor Services Catherine Hann, CFRE Assistant Director of Individual Giving Katelyn Conway Philanthropy Communications Manager

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 FINANCE & DATA SERVICES

Freshwater Vice President & Chief Financial Officer Finance Kristina Pfeiffer Director of Finance, CSO Elizabeth Engwall Accounting Manager, CSO Judy Mosely Accounting Clerk, CSO Monica Putnick Director of Finance, MEMI Marijane Klug Accounting Manager, MEMI Matthew Grady Accounting Manager, MEMI Deborah Benjamin Accounting Clerk, 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 Megan Inderbitzin-Tsai Payroll Manager Jenny Ryan Human Resources Manager Natalia Lerzundi Payroll Specialist OFFICE OF THE PRESIDENT & CEO Jonathan Martin President & CEO Andrea Maisonpierre Hessel Executive Assistant 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 Kristin Hill Assistant, Artistic Planning and Music Director Sam Strater Senior Advisor for Cincinnati Pops Planning Shuto Maeno Artistic Planning Intern Production Paul Pietrowski Vice President of Orchestra & Production Brenda Tullos Director of Orchestra Personnel Laura Bordner Adams Director of Operations Alex Magg Production Manager, CSO & May Festival Carlos Javier Production Manager, Pops Digital Content & Innovation KC DirectorCommanderofDigital Content & Innovation Lee Snow Digital TechnologyContentManager Corinne Wiseman Digital Content Manager Kaitlyn Driesen Digital Production Manager MARKETING Michael Frisco Vice President of Marketing Michelle Lewandowski Director of Marketing Stephen Howson Director of Web and Audience Insight Jon Dellinger Copywriter/Marketing Manager Stephanie Lazorchak Graphic Designer Amber Ostaszewski Director AudienceofEngagement Nic Bizub Group Sales Manager Kyle Lamb Box Office Manager Carmen Granger Subscriptions Marketing Manager Alexis Shambley Marketing Assistant Djenaba Adams Marketing Intern PATRON SERVICES Supervisors Ellisen LauraAbigailHannahBlairKaiserKarrRuple Representatives Rebecca Ammerman Drew Dolan Craig ImanAspenEmilyErikWendyHayleyGraceDoolinKimMaloneyMarshallNordstromSchaubSteinWilliams CINCINNATI CINCINNATIORCHESTRASYMPHONY&POPS Music Hall, 1241 Elm Street, Cincinnati, OH 45202 Administrative Offices: 513.621.1919 hello@cincinnatisymphony.org|

PHILANTHROPY

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CSO POPS Fanfare Cincinnati - September/October 2022

Articles inside

Administration

Financial Support

Concerts, CSO Program Notes, and Guest Artists

Welcome from the President & CEO

Directors & Advisors

Spotlight: William Hurford and Lesley Gilbertson Family Fund for Guest Pianists

Artistic Leadership: Louis Langrée, John Morris Russell Matthias Pintscher and Damon Gupton

Feature: Pops: Music of the People

Feature: From Darkness to Light: Opening the First Full Season in Three Years