Score Magazine Sept/Oct 2016 by Paducah Symphony Orchestra

SEPT|OCT 2016 T H E M A G A Z I N E O F T H E PA D U C A H S Y M P H O N Y O R C H E S T R A

Beethoven's 5th Piano Concerto 17 SEPTEM B ER 2016

Thomas Pandolfi Piano Recital

18 SEPTEM B ER 2016

Mendelssohn, Hanson, & Debussy 15 OC TO B ER 2016

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CONTENTS

FEATURES

Board & Staff......................................................7

Boys Like Peter Are Not Afraid of Wolves

Executive Director’s Letter.................................9

Beethoven’s 5th Piano Concerto...................... 11

The Symphony has selected Peter and the Wolf as its contribution to the Class Acts Series presented by the Carson Center.

Orchestra Personnel....................................13 Meet Thomas Pandolfi.................................15 Program Notes.............................................17

Underneath A Mountain of Paper Sits Debbie Shelton

42 Young Artist Gives An Unsung Instrument The Spotlight

MSU’s Max Crofton competed in the 2016 Young Artist Competition. He won with a solo on the tuba.

IN THIS ISSUE

Debbie Shelton has volunteered to spend one afternoon a week literally sitting under the mountain of documents that the Symphony has collected since its inception in 1979.

Thomas Pandolfi Piano Recital........................ 21 Misaligned Minds Bicycle Tour.........................22 Mendelssohn, Hanson, & Debussy..................27 Orchestra Personnel...................................29 Program Notes............................................32 Sponsors...........................................................46 Donors...............................................................46

Karen Elizabeth (Bailey) Drew 1939 – 2016

Karen helped found the PSO. We shall always be gratified for her contributions.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

THE MAGAZINE OF THE PADUCAH SYMPHONY ORCHESTRA Volume 38, Issue 1 SEPTEMBER/OCTOBER 2016

1/6 HORIZONTAL 4.75 x 2.25

PADUCAHSYMPHONY.ORG

PUBLISHER/EDITOR Daniel Sene daniel@paducahsymphony.org ADVERTISING DIRECTOR Gina Leeper gina@paducahsymphony.org DESIGN/ART DIRECTION Horizon Media Group horizonmediagroup.com WRITERS Jessica Perkins Jamie Sears Rawlings Dick Roberts Casey Northcutt Watson PHOTOGRAPHY Brad Rankin PRINTING/FULFILLMENT Paducah Printing

Score is published four times a year (November, February, April, September) for $25 per year by the Paducah Symphony Orchestra. Non-Profit Postage paid at Paducah, KY. POSTMASTER: Send address changes to Paducah Symphony Orchestra, 760 Broadway, Paducah, KY 42001-6806 SUBSCRIPTIONS & PURCHASES Annual subscriptions are $25. To subscribe, call 270.444.0065 or email info@paducahsymphony.org PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

From PSO Executive Director Daniel Sene

GOVERNING BOARD Clay Howerton, President Dick Holland, Secretary Mickey Brown, President Elect Mary Grinnell, Vice President Richard Roof, Vice President Roger Truitt, Past President Edward Bach Jimmy Cargill Nancy Duff Charles Folsom Juliette Grumley James Gwinn, Jr. Mardie Herndon Anthony Hunter Theodore S. Hutchins Shirley Trail Lanier Carol Ann Narozniak Phyllis Petcoff Michael Resnick Debbie Reynolds Bonnie Schrock Carol Ullerich Brad Wallace Gary Zheng

TRUSTEES Mickey Brown Anne Gwinn Richard Smith Roger Truitt Ken Wheeler

DIRECTORS EMERITUS Margaret Hunt Arnold John Drew Ted Hirsch (deceased) C.P. Orr, MD (deceased) Harolyn Rasche Richard Roberts John Shadle, Jr Jack Tick (deceased) John Williams, Jr.

ARTISTIC STAFF Raffaele Ponti, Artistic Director & Conductor Bradley Almquist, Director of Choruses Samantha Veal, Youth Chorus Conductor Steve Schaffner, Fiddlers Philharmonic Conductor

ADMINISTRATIVE STAFF

ver since we published our first issue of Score magazine in November 2014, we have always featured a cover photo of either Maestro Ponti, or another individual or small grouping of individuals. For this issue we thought we would showcase a great photo from the last performance of the season, which shows the orchestra and Maestro Ponti standing and the audience applauding with a standing ovation. I love this photo because it represents (for me) the pride our audience feels toward the PSO after hearing another stellar performance. This time of year is always exciting at the Paducah Symphony Orchestra, and this year is certainly no exception! Obviously, there is a tremendous amount of energy and excitement generated with the start of the subscription concerts, but this year in particular is proving to be a record year for auditions and enrollments for our education programs. Our education committee and staff have been busy over the last few months planning and preparing for the start of the Youth & Children’s Chorus, Fiddlers Philharmonic, PSO Education Concerts, PSO High School Tour, Maestro Visits, Musical Story Time, Young Artists Competition, and a new Group & Private Lesson educational initiative geared toward Middle and High School Band and Orchestra Students. The Lesson program uses professional musicians from the PSO on the Saturday mornings of every PSO Concert to give these students a “leg-up” on their development as musicians. In addition to the new Music Lesson Program, we decided to go even further this fall by contracting with Jeff Dayton to offer a real-time songwriting and team-building program called Making Music Nashville Style to two local schools as part of a two week Artist-in-Residency program for the PSO. Dayton is one of Music Row’s busiest touring artists, writers, producers and session musicians, and is best known for his 15 years as bandleader for the legendary Glen Campbell. On Saturday, September 24 at 7:30pm at the Clemens Fine Arts Center, the PSO presents Dayton in a special concert titled “Nashville Songwriters in Concert” to raise funds for the song-writing residency. Tickets can be purchased for only $25 ($15/students) at PaducahSymphony.org or 270-444-0065 or at the PSO office at 760 Broadway. See you in the audience!

Daniel Sene, Executive Director Gina Leeper, Development Director Janine Zerger, Operations Manager Morgan Walker, Box Office Manager Reece King, Personnel Manager Rhonda King, Librarian

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

BEETHOVEN’S 5TH PIANO CONCERTO SATURDAY, 17 SEPTEMBER 2016, 7:30 P.M. • Luther F. Carson Four Rivers Center

Paducah Symphony Orchestra Raffaele Ponti, Artistic Director & Conductor

Beethoven’s 5th Piano Concerto Raffaele Ponti, conductor Thomas Pandolfi, piano

JOHAN WAGENAAR

RICHARD STRAUSS

Cyrano de Bergerac Overture 15’ Tod und Verklärung, TrV 1588, op.24 (Death and Transfiguration)

23’

Intermission LUDWIG VAN BEETHOVEN Piano Concerto No.5, op.73, E-flat major (Emperor) Allegro Adagio un poco mosso Rondo: Allegro

20’ 8’ 10’

We gratefully wish to acknowledge the following sponsors of this performance:

AS A COURTESY TO THE PERFORMERS AND FELLOW AUDIENCE MEMBERS, PLEASE TURN OFF ALL CELL PHONES AND PAGERS. PHOTOGRAPHY AND AUDIO/VIDEO RECORDING OF ANY KIND IS NOT PERMITTED AT PADUCAH SYMPHONY ORCHESTRA CONCERTS.

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

ORCHESTRA PERSONNEL SATURDAY · 17 SEPTEMBER 2016 Chair Sponsors

VIOLIN I Sue-Jean Park, Concertmaster Mr. & Mrs . Steven Grinnell

Michael Barta, Associate Concertmaster Ms . Shirley Trail L anier

Brandon Christensen, Assistant Concertmaster

Ching-Yi Lin Erik Rohde Emily Hanna-Crane Steven Kinnamon Shaina Graff Flora Nevarez David Johnson Isabella Christensen Jeffrey Chow

VIOLIN II Ray Weaver, Principal Mr. Charles McGinness

Rebecca Neely Anna Blanton Brittany Washam Mel Gilhaus Steve Schaffner Megan Thompson Melissa Bogle Ashley Darnell Rachel Crick

VIOLA Andy Braddock, Principal Dr. & Mrs . Wally Montgomery

Joshua Shepherd Michael Holub Amaro Dubois Patty Story Lisa Weaver Rossana Cauti Stephanie Wooley

Small Caps

VIOLONCELLO Eric Lenz, Principal Cecilia Huerta Sara Edgerton Richard Davis Sunhaeng Lee Adrian Lauf Byron Farrar Nikki Fuller CONTRABASS Greg Olson, Principal John Ownby Jacob Siener Rolland Mays In Memory

L arry Phifer

Charlie Blanton

FLUTE Lisa Read Wolynec, Principal Mrs . Jean Truitt

HORN Jennifer Presar, Principal Mr. & Mrs . Fletcher Schrock

John Dressler Jessica Thoman Gail Page

TRUMPET Kurt Gorman, Principal Keith Bales TROMBONE Reece King, Principal Mrs . Mary Louise K atterjohn

Robert Conger Anthony Brown

TUBA Morgan Kinslow, Principal Mr. & Mrs . Charles Folsom

Stephanie Rea Sara Michaels

TIMPANI Chris Nelson, Principal

OBOE Katherine Alberts, Principal

PERCUSSION Todd Sheehan, Principal

Dr. & Mrs . Paul Grumley

Sharon Sauser Kane Phillip Farrow

CLARINET Gabrielle Baffoni, Principal Rebecca Hill Elizabeth Aleksander

Mr. Bill Ford

HARP Barbara Wehlan Miller, Principal Claire Davis

BASSOON Dong-Yun Shankle, Principal Mr. & Mrs . James Petcoff

Doug Owens Scott Erickson

ORCHESTRA LODGING ASSISTANCE PROVIDED BY DAYS INN You can sponsor a chair for one concert for only $25 a month. Call 270.444.0065 to sign up. PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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Meet

thomas pandolfi

merican pianist THOMAS PANDOLFI is an exciting virtuoso who, with each passing season, is becoming more and more sought after by audiences worldwide, and showered with superlatives by critics for his passionate artistry and amazing technique. His orchestral appearances often feature not only the beloved masterpiece concerti by Tchaikovsky, Rachmaninov and Liszt, but also the equally brilliant ones by Paderewski, Rubinstein and Moszkowski. Additionally in the “Pops” genre, Thomas’ critically acclaimed performances of Rhapsody in Blue (Gershwin), Concerto in F (Gershwin), Warsaw Concerto (Addinsell) and the James Bond Concerto (Proctor) are immensely popular. Among his engagements during the 2015-16 season, were as guest soloist with The National Philharmonic, Ohio Valley Symphony, North Charleston Pops, Cheyenne Symphony, Maryland Symphony, Alexandria Symphony, Symphonicity, Amadeus Orchestra, McLean Orchestra and Frederick Symphony. During 2016-17, he will also be guest soloist with The Paducah Symphony, the Charlotte Symphony (FL), and the Washington Metropolitan Philharmonic. His recital touring schedule will take him to New Mexico, Kentucky, Indiana, Arkansas, Virginia, Maryland, South Carolina, the District of Columbia, Georgia, Florida, Connecticut, New Jersey, North Carolina, Idaho, Pennsylvania, Tennessee, Oregon, Montana, Ohio and New Hampshire. Thomas’ international concerts have carried him across the globe to China and Europe; last season, he also made his debut in British Columbia. He has collaborated with conductors such as Piotr Gajewski, Dimitru Goia, Sabin Pautza, Emil Seigbert Maxim, Peter Schmelzer, Mihail Agafita, Grigori Moseico, David Russell Hulme, Andreas Delfs, Elizabeth Schulze, Miriam Burns,

Sebrina Alfonso, Nicholas Palmer, William Intrilligator, Kim Allen Kluge, Robert Hart Baker, Crafton Beck, Ray Fowler, Glenn Quader, Lawrence Rapchak, and Gordon Johnson. An outstanding cross-over artist, Thomas Pandolfi’s virtuoso transcriptions of the music of Andrew Lloyd Webber and Marvin Hamlisch are in much demand. For the 2016-17 season, he is offering further such transcriptions in unique programs entitled “Burt, Barry and Beyond” (the music of Burt Bacharach and Barry Manilow) and “Somewhere Tonight in America: A 20th Century Celebration”, including a magnificent transcription of Leonard Bernstein’s “West Side Story.” British composer, Simon Proctor, has also written a “Sinatra Piano Concerto” for Thomas, which coincided with the 100th birthday celebration of Mr. Sinatra during last season, and a brand new “Andrew Lloyd Webber Concerto”, also for Thomas. Following a violin concerto for Midori, and a saxophone concerto for Brandford Marsalis, film and concert composers Kim Allen Kluge and Kathryn Vassar Kluge composed The American Piano Concerto for Thomas, which was an absolutely smashing success at its world premiere in May, 2016 with Thomas as soloist, cocomposer Kim Kluge on the podium and The Alexandria Symphony. During 2016-17, he will also be guest soloist with The Paducah Symphony, the Charlotte Symphony (FL), the Washington Metropolitan Philharmonic, and The Amadeus Orchestra. A graduate of The Juilliard School, Pandolfi earned both his Bachelor’s and Master’s degrees as a scholarship student. He is the proud father of a wonderful son and daughter, and resides in Washington, DC. Follow Thomas on Facebook: @ThomasPandolfiPianist or on Twitter: @TPandolfiPianoion.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PROGRAM NOTES

CYRANO DE BERGARAC SATURDAY · 17 SEPTEMBER 2016

CYRANO DE BERGERAC OVERTURE JOHAN WAGENAAR (1862 – 1941) Johan Wagenaar (November 1, 1862 – June 17, 1941) was a Dutch composer and organist. He did not begin to receive a formal education in music until age 13, with subsequent instruction in piano, organ, violin, theory, and composition with composer Richard Hol. In 1892, he studied with Heinrich von Herzogenberg in Berlin, specifically taking lessons in counterpoint. In 1888, he succeeded Richard Hol as organist of Utrecht Cathedral. Later on, Wagenaar became a teacher at the music school in 1896, and the school’s director in 1904. Between 1919 and 1937, Wagenaar was director of the Royal Conservatory at The Hague. A local artistic society, called Shelfishclub, was the platform for some of his musical jests, especially the cantata De schipbreuk, and the operas De doge van Venetië and De Cid. The main body of his compositions are choral and orchestral works. Most of the orchestral compositions are programmatic or theatrical, like the overtures Cyrano de Bergerac and De getemde feeks (‘the taming of the shrew’), and the symphonic poems Saul en David and Elverhöi. Wagenaar was a conservative representative of the romantic orchestra tradition. Wagenaar’s Cyrano de Bergerac Overture is based on Edmond Rostand’s 1897 play and features several musical themes, all portraying aspects of the hero’s personality. The Overture begins with the work’s principal theme, a vaulting figure that, according to a notation in the score, depicts Cyrano’s “Valor” (many commentators have noted the similarity of this theme to its counterpart in the 1889 tone poem, Don Juan, by Wagenaar’s contemporary, Richard Strauss). Tremolo strings inaugurate a slow-tempo episode. An extended, flowing melody, played by the violins, violas and cellos, is titled “Love, Poetry.”

The “Valor” and “Love” themes interact, as the tension builds, finally resolving to sprightly winds accompanying the strings’ introduction of a theme representing Cyrano’s “Faithfulness” and “Strength of Character.” A

playful sequence depicts, in rapid succession, “Cheerfulness, Chivalrousness,” “Humor,” and “Satire.” The themes return in various forms, with the “Valor” motif serving as the basis for the Overture’s heroic conclusion.

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PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

PROGRAM NOTES

TOD UND VERKLÄRUNG SATURDAY · 17 SEPTEMBER 2016

TOD UND VERKLÄRUNG, TRV 158, OP.24 RICHARD STRAUSS (1864 – 1949) Richard Georg Strauss (June 11, 1864 – September 8, 1949) was a leading German composer of the late Romantic and early modern eras. Born in Munich, he was the son of Josephine née Pschorr and Franz Strauss. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six and continued to write music almost until his death. During his childhood Strauss attended orchestra rehearsals of the Munich Court Orchestra where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father’s cousin. In early 1882, in Vienna he gave the first performance of his Violin Concerto in D minor. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bülow. Strauss’s compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father’s teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of modern horn repertoire. Some of Strauss’s first compositions were solo and chamber 18

works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost. Strauss’s style began to truly develop and change when, in 1885, he met Alexander Ritter. Strauss went on to conduct one of Ritter’s operas, and at Strauss’s request Ritter later wrote a poem describing the events depicted in Strauss’s tone poem Tod und Verklärung (Death and Transfiguration). Strauss began composition of Death and Transfiguration in the late summer of 1888, and completed the work on November 18, 1889. The music depicts an artist on his deathbed. At Strauss’s request, this was described into a poem by the composer’s friend Alexander Ritter as an interpretation of Death and Transfiguration, after it was composed. Death and Transfiguration opens with an extended episode in broad tempo. Muted violins and violas, followed by the timpani, play a rhythmic portrayal of the dying man’s faint heartbeat and breathing. Lyrical passages for the harp, winds and muted solo violin evoke his “friendly dreams,” soon shattered by a violent outburst. The tempestuous music that follows reflects the man’s feverish agony. Toward the close of this section the orchestra briefly introduces the ascending “transfiguration” motif. The mood finally calms, leading to an extended passage in which the man recalls the happiness of his childhood and his youthful “strivings and passions.” The music turns tranquil and heroic, although echoes of the previous episode remind us of the man’s dire physical state. The return of the transfiguration motif portrays his lifelong search for “the ideal.” A reprise of music from the two opening sections indicates that death is imminent. Finally, the tam-tam’s sepulchral tones seal his fate. The concluding section features a resplendent presentation of the transfiguration motif, as the man’s “soul leaves the body in order to find things that could not be fulfilled here below.”

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

PROGRAM NOTES

PIANO CONCERTO NO.5 SATURDAY · 17 SEPTEMBER 2016

PIANO CONCERTO NO.5, OP.73, E-FLAT MAJOR (EMPEROR) LUDWIG VAN BEETHOVEN (1770 – 1827) Ludwig van Beethoven (December 17, 1770 –March 26, 1827) was a German composer. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa solemnnis), and songs. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811, he gave up conducting and performing in public but continued to compose; many of his most admired works came from the last 15 years of his life. The Emperor concerto was Beethoven’s last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven’s patron and pupil. The first performance took place on November 28, 1811, at

the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider. The nickname for the Piano Concerto in E-flat, “Emperor,” did not come from Beethoven. It is not clear how “Emperor” came to be associated with Beethoven’s final piano concerto, although there is an apocryphal story about a French officer who, upon hearing the work performed in Vienna in 1812, exclaimed, “C’est l’Empereur!” If, as many have assumed, the emperor in question refers to Napoleon, Beethoven, suffering under Napoleon’s continuous bombardment on Vienna, would certainly have disapproved. By this point in his compositional career, Beethoven’s penchant for innovation in the opening measures of his concertos had become a signature. After an introductory orchestral chord, the piano enters with a cadenza. Cadenzas are unaccompanied virtuoso passages filled with scales and trills created from fragments of thematic material, usually heard at the close of a movement. By opening the concerto with a cadenza full of hints about what is to come, Beethoven telegraphs the themes and ideas of the opening movement to the listener. The seamlessness of the opening movement gives listeners a sense of inevitability, as if the music could unfold in no other way. Beethoven’s semi-subversive opening cadenza acts as a subliminal suggestion, planting the basic elements of later themes in our ears without our noticing. In the Adagio un poco mosso, we can picture Beethoven, surrounded by aural and emotional chaos, escaping from the turmoil of his surroundings into an etheral soundworld. All too soon Beethoven brings us back to earth as the whole orchestra drops down a half-step, from B to B-flat; it sustains that note while the piano storms into the Rondo with renewed vigor. Piano and orchestra present a series of variations on this theme, each more elaborate than the next. The playful, humorous aspects of Beethoven’s personality reveal themselves here in the “false ending,” abrupt key changes and generally buoyant mood throughout.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

THOMAS PANDOLFI PIANO RECITAL ENCORE SERIES PERFORMANCE SUNDAY · 18 SEPTEMBER 2016 · 3:00 PM Luther F. Carson Four Rivers Center WOLFGANG AMADEUS MOZART Sonata in F Major, K. 332 Allegro Adiago cantabile Allegro assai

ERNESTO LECUONA

ALBERTO GINASTERA

La Danza de la Moza Donosa

ENRIQUE GRANADOS

Allegro di Concierto

MANUEL DE FALLA

Danza Ritual del Fuego (Ritual Fire Dance)

FREDERIC CHOPIN

Etude No. 1 in A Flat Major, Op.25 (“Aeolian Harp”)

FREDERIC CHOPIN

Etude No. 12 in C Minor, Op.10 (“Revolutionary”)

arr. THOMAS PANDOLFI

MANUEL PONCE

Malaguena

Intermezzo No. 1

Virtuoso Transcription of Marvin Hamlisch’s most beloved melodies

We gratefully wish to acknowledge the following sponsors of this performance:

THIS PERFORMANCE IS BROUGHT TO YOU WITHOUT INTERMISSION. AS A COURTESY TO THE PERFORMER AND FELLOW AUDIENCE MEMBERS, PLEASE TURN OFF ALL CELL PHONES AND PAGERS. PHOTOGRAPHY AND AUDIO/VIDEO RECORDING OF ANY KIND IS NOT PERMITTED.

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PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

MISALIGNED MINDS By: Jessica Perkins

vents often unite people in surprising ways at the most unexpected times of life. Julie Kleet and Sarah Atkinson knew one another through their church choir for many years. Both had musical interests, however neither had spent much time on a bicycle in their adult years. After serving as roommates during a mission trip to Romania a few years ago, the two women formed a friendship that soon sparked a passion for cycling and a desire to take part in the annual Misaligned Minds Bicycle Tour, to benefit the Paducah Symphony Orchestra (PSO). After about 15 years of not riding a bicycle at all, Julie began riding with then-friend and now-husband, Allan Kleet. The couple explored exciting places together as Julie reacquainted herself with riding a bike. Sarah, on the other hand, hadn’t given much thought to taking up cycling as a hobby until Julie encouraged her to give it a try after their trip to Romania. When Sarah and Julie returned home from their trip they began meeting regularly to ride together along the Greenway Trail and to explore other scenic Paducah routes along the way. Within a year or two the duo evolved into a trio when fellow choir member and friend Brenda Thompson joined their cycling group.

During the tour, they found the comradery of riding with other cyclists helpful in completing the course. “It’s important to have a buddy to ride with,” Julie says. “We really got tired around the 30-mile mark. Then a guy rode up next to us and began chatting a bit. Someone new coming into the conversation gave us a second wind. We rode the last 10 miles in with him.” Sarah remembers the thrill of being able to call her husband after that first ride to tell him she completed the course. “It’s a huge sense of accomplishment when you finish that ride,” Sarah says. “I’ll never forget the first time I finished the Misaligned Minds tour and called my husband. He didn’t know me as an athlete so it really meant something to me. He’s been very encouraging.” When Brenda joined the group, she was perhaps the most timid of all. She had a cruiser and found it difficult, at first, to keep up with the pace of her more experienced friends. She eventually purchased a road bike that made the journey more comfortable, however her confidence still waned. Sarah encouraged Brenda to keep going and invited her to ride the 25-mile tour of the PSO ride with her in 2014.

“It was daunting because I was a beginning rider,” Brenda says. “It’s a little daunting when you first start out,” Julie admits. “We “I had only been riding for about a year, if that much. I went started with about eight miles a day and eventually we got up to home and told my husband we were going to do the 25-mile ride and he looked at me as if I’d lost my mind.” 20 miles a day.” Sarah and Julie began to reason that if they could do twenty miles in a few hours then, given an entire day, with lots of drinks and snacks along the way, they could certainly do the 40-mile route of the Misaligned Minds bike tour and help raise money for PSO. So they signed up. 22

As surprising as her decision was to those who knew her best, Brenda decided to sign up. “I was bound and determined that Brenda was going to finish the course,” Sarah says.

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

“And we did! We made it the whole way,” Brenda says. Julie, Sarah and Brenda are not hardcore athletes by any means. They want others to understand that fact so that they are not intimidated at the idea of riding in this year’s Misaligned Minds Bicycle Tour. “I can’t imagine my mother riding a bike at age 70 and I’m about to turn 70,” Julie says. “(Cycling) makes me feel young.” Sarah shares the feeling. “We rode bikes as kids,” Sarah says. “(Cycling) gives you that kid feeling again.” This year’s tour will be held on Saturday, September 24, starting at Bob Noble Park. Cyclists can register in advance at misalignedminds.com or on the day of the event, starting at 7 a.m. and the race begins at 8. Cyclists of all ages and skill levels are welcome. This year’s tour includes a 10-mile course, in addition to the 25, 40, 65 and 100-mile routes. “You don’t have to be in perfect shape to get started,” Sarah says. “The beauty of cycling is that you don’t have to have a partner to get started. It’s something you can do by yourself and you can keep on riding even when you’re our ages.”

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PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

Boys Like

PETER

are not afraid of

WOLves By: Jamie Sears Rawlings

n the well-known and universally-loved musical symphony classic Peter and the Wolf, the titular character tells his grandfather that “Boys like me are not afraid of wolves.” His confidence earns him an immediate scolding but it also sets into motion a duel between man and animal that jockeys favor back and forth before culminating in a raucous capture and a rambunctious victory parade.

Composed in 1936 by Sergei Prokofiev at the behest of the Central Children’s Theatre in Moscow, Peter and the Wolf was intended to “cultivate musical tastes in children from the first years of school.” Fitting, then, that the Paducah Symphony Orchestra should choose this piece as its contribution to the 20162017 Class Acts Series presented by the Carson Center. In the 50-minute program, which will be presented in two shows on Friday, November 4, students from area schools will be invited to follow Peter and his animal friends and foes throughout their adventure as music blends with narration in a storytelling experience that is guaranteed to delight. Aimed at children in grades 2-6, Peter and the Wolf uses different instruments as a means to tell the story, 24

a characteristic that symphony Education Committee member Amy Allen believes will appeal to the younger audience and will help broaden their understanding of orchestras and classical music. “Each character in the story is represented by a different instrument of the orchestra so it will be a great way to introduce

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

the kids to the instruments of the orchestra and the way they can be used to portray characters in the story and even tell their own story at times,” Allen said. In perfect harmony with another symphony program, the Peter and the Wolf show will feature a performance by Olivia Gittens, the 2015-2016 Secondary School Division Winner of the symphony’s Young Artist Competition. Her participation in the show is one that symphony director Daniel Sene hopes will resonate with the audience in an impactful way. “For young students to look upon the stage and see grown-ups performing is one thing, but I hope that it will reach them more deeply to see someone closer to their own age who has not only embraced classical music, but is living it and practicing it at quite a masterful level,” said Sene of Gittens, who plays piano. On top of the auditory and visual musical experience that Peter and the Wolf will provide attendees, the Paducah Symphony Orchestra and Carson Center will also be offering some attendees the chance to touch, feel and experience orchestral instruments through an accompanying workshop called “Instrument Petting

Zoo.” Participating students will work with PSO volunteers along with students and faculty from University of Tennessee-Martin to learn the proper way to hold popular instruments and how to generate sound from them. Participation in The Carson Center’s Class Acts Series is just one of many educational programs that the PSO conducts throughout the year, all of which share a simple goal—to expose children of all ages to music. “We just want to get music to every child in the city, multiple times during the year and Class Acts is one way that we do that,” said Allen. “Many times, if a child doesn’t listen to classical music in their homes because their parents don’t, then they don’t even know what they are missing.” In those instances, Allen believes that educational initiatives like the PSO’s participation in The Carson Center’s Class Acts Education Series can be used to attract symphony-goers from the bottom up. “We hope that kids will love the performances so much that they go home and ask their parents to take them back, then we will be educating not only the children but the whole family,” she said. The Carson Center Class Acts Education Series runs September through May and features shows that include jazz music, political theatre, musical acrobatics and a performance of magic. For more information, please visit www.carsoncenter.org orwww.paducahsymphony.org.

Prokofiev ’s

WOLF Friday, November 4, 2016 9:30 a.m. & 11:30 a.m.

at The Carson Center

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

2016-08-11_BlytheWhite_Catherine_PAFMAd_F.pdf

8/15/16

4:21 PM

CMY

Rotary Club of Paducah paducahrotary.org 26

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

MENDELSSOHN, HANSON, & DEBUSSY SATURDAY, 15 OCTOBER 2016, 7:30 P.M. • Luther F. Carson Four Rivers Center

Paducah Symphony Orchestra Raffaele Ponti, Artistic Director & Conductor Max Crofton, tuba (2016 Young Artist Competition Winner) LUDWIG VAN BEETHOVEN

Egmont: Overture 9’

Allegro Moderato from Concerto for Tuba

BRUCE BROUGHTON

FELIX MENDELSSOHN Symphony No. 5, op.107, D major (Reformation) Andante – Allegro con fuoco Allegro Vivace Andante Chorale: Andante con moto – Allegro vivace

4’ 10’ 5’ 4’ 8’

Intermission HOWARD HANSON Merry Mount: Suite Overture Children’s Dance Love Duet Prelude to Act II and Maypole Dances

3’ 2’ 4’ 6’

CLAUDE DEBUSSY La mer De l’aube à midi sur la mer (From Dawn to Noon on the Sea) Jeux des vagues (Play of the Waves) Dialogue du vent et de la mer (Dialogue of Wind and Sea)

8’ 7’ 8’

We gratefully wish to acknowledge the following sponsors of this performance:

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

ORCHESTRA PERSONNEL SATURDAY · 15 OCTOBER 2016 Chair Sponsors

VIOLIN I Sue-Jean Park, Concertmaster Mr. & Mrs . Steven Grinnell

Brandon Christensen, Assistant Concertmaster

Ching-Yi Lin Steven Kinnamon Elizabeth Kitts Paula Melton Shaina Graff Grace Carbonell Flora Nevarez David Johnson Caitlin Edwards Jeffrey Chow

Mr. & Mrs . Paul Haywood

Tina Simpson Melanie Franklin Tricia Wilburn Mel Gilhaus Steve Schaffner Julie Morrison Constance Stilwell Melissa Bogle Brittany Washam

VIOLA Andy Braddock, Principal Dr. & Mrs . Wally Montgomery

Metiney Moore Michael Hill Laura De St. Croix Patty Story Lisa Weaver Austin Han Rossana Cauti

Small Caps

VIOLONCELLO Cecilia Huerta, Principal Sunhaeng Lee Sara Edgerton Richard Davis Felix Borges Adrian Lauf Byron Farrar Nikki Fuller CONTRABASS Greg Olson, Principal John Ownby Jacob Siener Rolland Mays In Memory

VIOLIN II Ray Weaver, Principal

L arry Phifer

Charlie Blanton

FLUTE Lisa Read Wolynec, Principal Mrs . Jean Truitt

Charles Lewis Sara Michaels

OBOE Doug Owens, Principal Sharon Sauser Kane Nathan Nix CLARINET Gabrielle Baffoni, Principal Mrs . & Mrs . R andy Fox

Rebecca Hill Elizabeth Aleksander

BASSOON Dong-Yun Shankle, Principal Mr. & Mrs . James Petcoff

HORN Jennifer Presar, Principal Mr. & Mrs . Fletcher Schrock

John Dressler Ashley Cumming Gail Page

TRUMPET Kurt Gorman, Principal Keith Bales Ped Foster John Oelrich Rhonda King TROMBONE Reece King, Principal Joseph Fry Anthony Brown TUBA Morgan Kinslow, Principal Mr. & Mrs . Charles Folsom

TIMPANI Chris Nelson, Principal PERCUSSION Julie Hill, Principal Mr. Bill Ford

Josh Smith Josh Powell Chris Butler Shane Mizicko D.J. Culp

HARP Barbara Wehlan Miller, Principal Claire Davis

Jaqueline Wilson Nina Morwell Scott Erickson

gives

unsung INSTRUMENT YOUNG ARTIST

the SPOTLIGHT By: Casey Northcutt Watson

musician needs only talent and skill to produce a beautiful song. The instrument itself is less important.

On February 21, Murray State University’s Max Crofton competed in the collegiate division of the Paducah Symphony Orchestra’s (PSO) 2016 Young Artist Competition. In the final round, he faced off against clarinetist Sarah McMichen, a student from the Tennessee Technological University in Cookeville, Tennessee. He won with a solo on the tuba.

“I really wanted to do well in this competition because I wanted to show people, especially in this area, … that the tuba can be a solo musical instrument and it can hold its own weight and compete against any instrument out there,” Max says, explaining the importance of this win, as opposed to others he’s achieved with ensembles and bands. Establish in 1992, the Young Artist Competition is an annual event designed to showcase up and coming talent across the country, and it includes students from grades nine through college. This is the second year in a row that a young musician from western Kentucky has won the collegiate division. In 2015, Wesley Skinner, a Paducah native studying at the Cleveland Institute of Music, took home the title. After winning, Max now has the opportunity to play 30

with the Paducah Symphony Orchestra on October 15 at the Carson Center. Months before that concert, Max sits in the Farrell Recital Hall at Murray State University and performs a few measures of “Concerto for Tuba” by Bruce Broughton, the piece that won him first place. The hall is empty and he wears jeans instead of a tux, but Max still plays like a pro, producing notes at a fast pace and adding his own flare to the famous piece. He recalls his thoughts as he prepared for competition. Winning with a tuba involved a bit of strategy. “I’m going against a different instrument, so how can I portray that the tuba can be a musical instrument?” he says, getting back into the competition mindset. “How you do that is you exaggerate every single dynamic, articulation and musicality point that you have in the piece.” The 21-year-old currently studies music education at Murray State University and plans to graduate in May 2017. He has played music since he was a child, starting on the piano at the age of 6, moving to the trombone in the sixth grade and then gradually switching to the tuba in high school. He says he always loved music, but when he started playing the tuba, his skills fell into place. The tone and articulation he struggled to master on the trombone suddenly came out of that new, bulky horn.

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

“All the things I had worked on the trombone were starting to click for me on a different instrument,” he says. “I just needed something else to be put in front of me to make those things work.” Growing up, Max often competed with school bands but the Young Artist Competition is the first solo title he has won. When he heard about it, he had already prepared and recorded “Concerto for Tuba” for another contest entry. So, applying was simple—performing wasn’t. PSO wanted him to memorize his piece. “I was nervous because I’ve never had to memorize something on the tuba before,” he admits. “Brass players never have to memorize stuff. We can do it, but it’s scary for us and we usually don’t.” Of course, on competition day, Max played with control and expertise. He says he didn’t believe that performance was his best, but apparently, it impressed the judges. Honored, he thinks he might have won for his uniqueness—for his solid performance on an instrument not usually used in solos. “The piece I played was very, very fast and very technically challenging,” he says. “So, when you hear a tuba play something like that well, I think that stands out.” That performance has now earned him $1,000 in prize money and the October solo with the PSO. Raffaele Ponti served as one of the three final round judges who awarded him first place. The others were Gary Levinson, of the Dallas Symphony Orchestra, and Dr. Anthony Weinstein, a faculty member at DePauw University. As maestro of the PSO, Raffaele looks forward to adding Max and his tuba to the symphony. “I am … pleased that we will have an opportunity to experience, in concert with your Paducah Symphony Orchestra, an instrument and repertoire seldom heard in the solo spotlight,” he says. “Plus, he is a local boy from Murray State University, which showcases the wonderful faculty!”

For now, Max is preparing for that event and getting excited about playing alongside Murray State faculty members who perform with the symphony. In the coming months, he’ll be practicing “Concerto for Tuba” and generally improving his musical articulation and artistry. And he’ll learn more music for an instrument that rarely gets the spotlight. PSO also will offer another opportunity soon for young orchestral musicians, like Max, to get their own solos— regardless of their instrument. The 2017 Young Artist Competition will take place early next year, and the deadline for application is set for December 19. Interested students should pull out their instruments and start practicing.

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PROGRAM NOTES

EGMONT: OVERTURE SATURDAY · 15 OCTOBER 2016

EGMONT: OVERTURE LUDWIG VAN BEETHOVEN (1770 – 1827) Ludwig van Beethoven (December 17, 1770 –March 26, 1827) was a German composer. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa solemnnis), and songs.

Egmont, Op. 84, by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine pieces for soprano, male narrator and full symphony orchestra. Beethoven wrote it between October 1809 and June 1810, and it was premiered on June 15, 1810. The subject of the music and dramatic narrative is the life and heroism of a 16th-century Dutch nobleman, the Count of Egmont. It was composed during the period of the Napoleonic Wars, at a time

when the French Empire had extended its domination over most of Europe. Beethoven had famously expressed his great outrage over Napoleon Bonaparte’s decision to crown himself Emperor in 1804, furiously scratching out his name in the dedication of the Eroica Symphony. In the music for Egmont, Beethoven expressed his own political concerns through the exaltation of the heroic sacrifice of a man condemned to death for having taken a valiant stand against oppression. The Overture later became an unofficial anthem of the 1956 Hungarian revolution.

Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811, he gave up conducting and performing in public but continued to compose; many of his most admired works came from the last 15 years of his life. PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

PROGRAM NOTES

ALLEGRO MODERATO SATURDAY · 15 OCTOBER 2016

ALLEGRO MODERATO FROM CONCERTO FOR TUBA BRUCE BROUGHTON (1945 – ) Bruce Broughton (born March 8, 1945) is an American film, and television soundtrack composer who has composed several highly acclaimed soundtracks over his extensive career. He has been nominated for over 20 Emmy Awards, winning a record ten, as well as a Grammy nomination for his Young Sherlock Holmes and an Academy Award nomination for his work on Lawrence Kasdan’s hit western Silverado. Broughton currently serves on the Board of Directors for the American Society of Composers, Authors and Publishers (ASCAP) and as governor for the Academy of Motion Pictures Arts and Sciences, in addition to giving lectures in Advanced Film Music Studies at UCLA and USC. Broughton originally composed his Concerto for Tuba as a sonata for tuba and piano in 1978 for himself and a juggernaut from the tuba world, Tommy Johnson. The two had collaborated frequently in concerts and recitals, so Broughton decided it was time to compose a piece that they could perform together, and the Sonata was born. Broughton, while primarily a pianist, played French horn as a secondary instrument and was therefore extremely familiar with brass technique, and from working closely with Johnson he had also become familiar with the capabilities and repertoire of the tuba. He set out to compose a piece that presented the tuba as an agile melodic instrument, but one that was also entertaining to listen to and fun to play. The duo premiered the piece a few months after its completion in 1978, and received rave reviews. Today the piece exists in three versions, all done by the composer: as a sonata with piano, as a concerto with orchestral winds, and as a concerto with full orchestra. PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PROGRAM NOTES

SYMPHONY NO. 5 SATURDAY · 15 OCTOBER 2016

forceful. It has a standard sonata form, but after the Amen cadence returns to announce the recapitulation, the main theme is as hushed as it originally was assertive.

SYMPHONY NO. 5, OP. 107, D MAJOR (REFORMATION) FELIX MENDELSSOHN Felix Mendelssohn (February 3, 1809 – November 4, 1847) was a German composer, pianist, organist and conductor of the early Romantic period. Born in Hamburg, Mendelssohn was recognized early as a musical prodigy, but his parents were cautious and did not seek to capitalize on his talent. Mendelssohn enjoyed early success in Germany and in his travels throughout Europe. He was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. Mendelssohn wrote symphonies, concerti, oratorios, piano music and chamber music. His best-known works include his Overture and incidental music for A Midsummer Night’s Dream, the Italian Symphony, the Scottish Symphony, and many others. His Songs Without Words are his most famous solo piano compositions. After a long period of relative denigration due to changing musical tastes and anti-Semitism in the late 19th and early 20th centuries, his creative originality has now been recognized and re-evaluated. Mendelssohn is now among the most popular composers of the Romantic era. Symphony No.5 opens with the well-known transposed four-note theme of Mozart’s Jupiter finale, which sets a serious, dignified, “historical” tone as it leads to the first quiet statement of the Dresden Amen. The main body of the movement is rapid, stern, and

The second movement is a scherzo triggered by a single rhythmic figure repeated in nearly every measure till the very last. The tone is one we now know as quintessential Mendelssohnian fleetness, offset by a genial waltz-like middle section. The Andante is a brief, gracious song for violins. At its final chord, a flute begins to sing Luther’s great hymn, unaccompanied at first and quickly drawing in more and more voices until it is richly harmonized and proudly proclaimed. The strings then lead the music in a new direction, climaxing with a grand, vaulting theme of triumph and celebration. Ein’ feste Burg weaves in and out of the development section and then takes over, in majestic splendor, at the symphony’s close.

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PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

PROGRAM NOTES

MERRY MOUNT: SUITE Honoring music and the lives it impacts. SATURDAY · 15 OCTOBER 2016

MERRY MOUNT: SUITE HOWARD HANSON (1896 – 1981)

Howard Harold Hanson (October 28, 1896 – February 26, 1981) was an American composer, conductor, educator, music theorist, and champion of American classical music. As director for 40 years of the Eastman School of Music, he built a high-quality school and provided opportunities for

commissioning and performing American music. He won a Pulitzer Prize in 1944, for his Symphony No. 4 and received numerous other awards. Hanson was born in Wahoo, Nebraska, to Swedish immigrant parents, Hans and Hilma Hanson. In his youth he studied music with his mother. Later, he studied at Luther College in Wahoo, receiving a diploma in 1911, then at the Institute of Musical Art, the forerunner of the Juilliard School, in New York City, where he studied with the composer and music theorist Percy Goetschius in 1914. In 1921 Hanson was the first winner of the Prix de Rome in Music (the American Academy’s Rome Prize), awarded for

34 | PADUCAH SYMPHONY ORCHESTRA - SCORE APRIL/MAY 2015 38 PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

both The California Forest Play and his symphonic poem Before the Dawn. In 1925, Hanson established the American Composers Orchestral Concerts. Later, he founded the Eastman-Rochester Orchestra, which consisted of first chair players from the Rochester Philharmonic Orchestra and selected students from the Eastman School. He followed that by establishing the Festivals of American Music.

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Howard Hanson’s only opera, Merry Mount, was commissioned by the Metropolitan Opera in New York and was given its Met premier in 1934. Four years later, Hanson adapted the Suite, a set of four short pieces, all brilliantly evocative and characteristically intense. Set in New England in 1625, the opera is based on Nathaniel Hawthorne’s “The Maypole of Merry Mount,” a fictional story based on a historical episode in the Plymouth Colony. The plot relates the clash between Puritans, with their rigid religiosity, and a group of Cavaliers, who come to town and scandalize everyone with their Maypole dancing and merrymaking. A tragic love story involves the Puritan pastor, his betrothed, and a visiting Cavalier woman. The Suite is in three movements beginning with the “Overture” to the opera, depicting the austerity of the Puritans. The brief “Children’s Dance” is happy and playful. A romantic “Love Duet” captures the pastor’s desire for the “other” woman. A rousing Prelude to Act II and “Maypole Dances” mark the conclusion.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

PROGRAM NOTES

LA MER SATURDAY · 15 OCTOBER 2016

work La mer, secured his reputation as one of France’s great composers.

LA MER CLAUDE DEBUSSY (1862 – 1918) Claude-Achille Debussy (August 22, 1862 – March 25, 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he himself disliked the term when applied to his compositions. Debussy was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed. Debussy’s music is noted for its sensory content and frequent usage of nontraditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant. Born in France, Debussy began piano lessons there at the age of seven with an Italian violinist named Jean Cerutti. His talents soon became evident, and in 1872, at age ten, Debussy entered the Paris Conservatoire, where he spent the next 11 years. There he studied composition and a full complement of musical subjects. Debussy was experimental from the outset, favoring dissonances and intervals that were not taught at the Academy. Like Georges Bizet, he was a brilliant pianist and an outstanding sight reader, who could have had a professional career had he so wished. After more than a decade of studies at the Paris Conservatoire, his receipt of the prestigious Prix de Rome in 1884 allowed him two years of work in Rome. Visits to Bayreuth in 1888-89 brought him under the spell of Wagner’s music, which he later rejected, and the 1889 Paris World Exhibition exposed him to the music of Asian cultures. His famous, revolutionary Prelude to the Afternoon of a Faun, as well as the opera Pelléas et Mélisande and the orchestral

La Mer (The Sea) was composed between 1903 and 1905. The piece was initially not well received, but soon became one of Debussy’s most admired and frequently performed orchestral works. Though the work is presented as a series of three sketches, it has a distinctly symphonic construction, it’s forceful, larger-scale outer movements contrasting with the playful middle movement that functions like a scherzo. Debussy gave pictorial names to each sketch, but he warned that they were not meant to be taken literally. Yet the work certainly conjures images of the sea, from gentle swells and sparkling surfaces to the crashing of breakers on the shore. The first movement, De l’aube à midi sur la mer (From Dawn to Noon on the Sea), develops from short thematic fragments above muted strings to a wonderful evocation of the swelling of waves, as a theme for divided cellos swells and subsides, subtly echoed by horns and timpani. Various brief melodies detach themselves from the complex texture, melodies that Debussy will later develop in the final movement. At present, however, he is content to let this movement surge and ebb, ending with a final brass chorus that swells from fortissimo back to piano. Jeux de vagues (The Play of the Waves) offers many rapid, brilliant figures from various sections of the orchestra. Its lighter, percussive texture includes harp and xylophone, perhaps suggesting the sparkle of light on wave. The swirling motion of this movement does not resolve, but dies away, leading us to an equally restrained opening of the final movement. But where the second movement was playful, the Dialogue du vent et de la mer (Dialogue of the Wind and the Sea) is powerful and urgent. The brass theme from the opening of the first movement is heard again, now a firm statement allowed to develop and grow within the larger dialogue, and contrasted against a theme of falling triplets that sound by turns either vigorous or languid. The full orchestra gathers its forces for a triumphant conclusion, timpani and bass drum accentuating the power of Debussy’s majestic sea.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

Underneath a

MOUNTAIN sits PAPERS Debbie Shelton

By: Jamie Sears Rawlings

here is a segment of the population that believes no mountain is too large to climb. We are glad that Debbie Shelton is one of those people because for the past five years, she has volunteered to spend one afternoon a week literally sitting under the mountain of documents that the Symphony has collected since its inception in 1979. Documents, financials, correspondence, programs, newspaper clippings—Debbie has seen it all in the boxes upon boxes that have been shuttled from Symphony location to new location for many years. It was, in fact, our latest move from the office at 2nd and Broadway to our current location, that spurred the idea that all of our decade’s worth of papers needed to be be examined, organized, archived and properly filed. Debbie, who calls herself a pinheaded type of person who loves to organize, did her research before tackling the organization job, making sure that the Symphony was archiving the appropriate documents needed for audits.

thus far and her progress really has been exhilarating for us to experience.” Estimating that she is about 65 to 70 percent finished with the task now, Debbie says that it has been very rewarding for her too. “I’ve really enjoyed it, although I’ve wished many times that I could devote more time to it because it does seem to be the world’s longest-running volunteer project,” she jokes. The project has reached a point that Debbie and Symphony staff can really see the benefit to having organized archives. “I feel like it’s helping them out in several ways because information that was mysteriously labeled or not labeled at all, now they can get their hands on it if it is required on the basis of an audit or if they need to know what has gone on in the past with a program or with a fundraising event,” she says, adding that she believes it will make the Symphony more efficient in its future. Debbie has even identified some corollary organization projects that she hopes another

“Armed with those rules and a willingness to go through mountains of paper, I got started,” she recalls of the project. “It really was a herculean type of endeavor that Debbie agreed to do for us,” says Executive Director Daniel Sene. “It has been of significant benefit to the organization 42

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“There are some really stimulating projects that could be done,” noting that the Symphony would like to create a database of past performances and a scrapbook of notable media clippings. For Debbie, the ability to volunteer her time is a goal that she hopes others will share. “I’ll be 67 in September and I just think that one of the rewards or certainly one of the joys of being this age and being in the position to volunteer is actually doing something hands-on for an organization like the Symphony or any of the very worthwhile organizations here in Paducah. I recommend it heartily to anybody who finds themselves in a position and is inclined to spend some time and give back to the community and exercise some of the talents they have.” “I can’t say enough about how important volunteerism is and how much I hope that, as we age, people will look upon it as a way to stay interested and vibrant and engaged with their community.”

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

Karen Elizabeth (Bailey) Drew 1939 – 2016 By: Dick Roberts

ultural institutions that

symphonic repertoire as a member

with the players after each concert,

withstand the tests of

of the Music Committee, selling

Karen proved that we could serve

time are the result of

a large block of season tickets, or

champagne as cheaply as Coca

tremendous vision and sacrifice

obtaining gifts of in-kind services,

Cola. Not only did music have to be

on the part of so many dedicated

Karen provided what was needed

selected from the elite of symphonic

supporters – those who conceive the

when it was needed.

repertoire, it had to be performed in

organization’s purpose in answer to community need, those who midwife it into existence, those who

She was thrilled to have the orchestra move into the former

the chronological order in which it had been composed.

Augusta Tilghman High School

Karen organized and rehearsed

auditorium, where she had

PSO’s first chorus when it performed

performed during two years of

Rachmaninoff’s Vespers during

school there. The hands-on work of

the orchestra’s second season. Her

Karen helped found Paducah

the Directors in those early years

commitment to and efforts on behalf

Symphony Orchestra, provided

was exemplified by Karen’s standing

of great music were not accidental.

substantial early support, and led

in an aisle of Symphony Hall with

She was active in choral activities in

efforts to produce quality music.

her sleeves rolled up and a broom in

high school (first class of Paducah

Karen was one of a group of

her hand saying, “Sorry, I don’t do

Tilghman High School), and college

contributors who paid expenses of an

windows.”

(B.A., Sophie Newcomb College).

help grow its mission, those who assure its future. Karen Drew was just such a person.

ad hoc orchestra that performed at the 1979 Paducah Summer Festival. That group founded Paducah Symphony Orchestra, Inc., and produced its first season in 1979-80. Whether it was insisting on standard

Quality and tradition permeated all Karen did. At Music Committee meetings, we were served coffee and

After earning a Master of Arts degree at Columbia University, she sang as a member of the Robert Shaw Chorale.

snacks from a silver urn on good

We shall always be gratified for Karen’s

china. When we held receptions

great contributions to the Paducah

for donors and potential donors

Symphony Orchestra.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

BRAHMS’ 2ND PIANO CONCERTO CONCERT SPONSORS

TCHAIKOVSKY’S 6TH SYMPHONY CONCERT SPONSORS

Mark & Pam Desmond

PADUCAH SYMPHONY ORCHESTRA IN-KIND SPONSORS & PARTNERS

Mark & Pam Desmond

GOVERNMENT SUPPORT

2016–2017 SEASON IN-KIND SPONSORS & SPONSORS PARTNERS

GOVERNMENT SUPPO

The Kentucky Arts Council, the state arts agency, supports The Paducah Symphony Orchestra with state tax dollars and federal funding from the National Endowment for the Arts.

The Kentucky Arts Council, the state arts ag supports The Paducah Symphony Orchestra state tax dollars and federal funding from th National Endowment for the Arts.

DONORS

The Paducah Symphony Orchestra gratefully acknowledges the following individuals and organizations for their financial contributions to support our programming and educational initiatives over the past 13 months, as of August 25, 2016.

SYMPHONIC CIRCLE Mr. and Mrs. Bill Brown Ms. Nancy Duff Mr. Bill Ford Dr. & Mrs. Paul Grumley Dr. & Mrs. James Gwinn Mr. & Mrs. Ted Hutchins Ingram Barge Company In Memory of H.E. Katterjohn by Mr. & Mrs. David Perry and Mr. & Mrs. Robert Walker Mrs. Mary Louise Katterjohn Ms. Shirley Trail Lanier Mr. & Mrs. George McGourty Mr. & Mrs. James Petcoff Mr. & Mrs. Eric Small Dr. & Mrs. Richard Smith Mr. & Mrs. Roger Truitt Ms. Carol Ullerich Mr. & Mrs. Ken Wheeler Mr. & Mrs. John Williams, Jr. Mr. & Mrs. John Williams, Sr.

MAESTRO’S CIRCLE $5,000+

PRESIDENT’S CLUB $2,500-$4,999

Baptist Health Paducah Bill Ford Interiors Carson-Myre Foundation City of Paducah Community Foundation of West Kentucky Ingram Barge Company Kentucky Arts Council Lourdes Hospital Dr. & Mrs. Wally Montgomery National Endowment for the Arts Mr. & Mrs. Jerry Page Ronald McDonald House Charities Mr. & Mrs. Roger Truitt United Propane Gas Wells Fargo Advisors Mr. & Mrs. John Williams, Sr.

BB&T Bank BlytheWhite Mr. & Mrs. Kevin Davis Mr. & Mrs. Mark Desmond Mr. & Mrs. Basil Drossos Ms. Nancy Duff Mr. & Mrs. Joe Frampton Mrs. Robin Gausebeck Mr. & Mrs. Steven Grinnell Dr. & Mrs. James Gwinn Fluor Hilliard Lyons Horizon Media Group Independence Bank Jackson Purchase Medical Associates James Marine, Inc. Drs. Shawn & Evelyn Jones Murray State University Paducah Bank Peel & Holland

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPTEMBER / OCTOBER 2016

DONORS continued Ms. Allison & Dr. Pamela Reed Regions Bank Mr. & Mrs. John Shadle Dr. & Mrs. Richard Smith Mr. Phillip Starks Superior Care Home US Bank Mrs. Belinda Weitlauf Mr. & Mrs. John Williams, Jr. WKMS

COUNCILOR $1,500-$2,499 Mr. & Mrs. Bill Brown Mr. & Mrs. Joe Burkhead Mr. & Mrs. Charles Folsom James Sanders Nursery Shirley Trail Lanier Mr. & Mrs. Ed Narozniak Mr. & Mrs. Richard Paxton Mr. & Mrs. Ken Wheeler

GUARANTOR $1000-$1499 Bikeworld Dr. & Mrs. Ted Borodofsky Ms. Patricia Brockenborough Mr. Tom DeCillis Ms. Anita Gale Mr. & Mrs. Mardie Herndon Judge & Mrs. William Howerton Mrs. Frances Hunt Dr. & Mrs. Jeff Johnson Keuler, Kelly, Hutchins & Blankenship, LLP Kiwanis Club of South Paducah Dr. & Mrs. David Krueger Drs. Carl & Polly LeBuhn Dr. & Mrs. James Long Mr. & Mrs. L.V. McGinty Mr. & Mrs. George McGourty Judge Shea Nickell & Dr. Carolyn Watson Paducah Running & Cycling Co. Mr. & Mrs. James Petcoff Mr. & Mrs. Richard Roof Rotary Club of Paducah Mr. & Mrs. Ken Schuppert Mr. & Mrs. Jerry Severns Rev. & Mrs. Tim Taylor Dr. & Mrs. Daniel Tkach Wellsprings Institute Mr. & Mrs. Ken Wheeler

Sponsor of the Paducah Symphony’s broadcasts on WKMS for the 3rd straight year.

BENEFACTOR $600-$999 Mr. & Mrs. Edward Bach Mr. & Mrs. William Bates Ms. Pat Beadles Mr. & Mrs. James Carbonel Comcast Rev. & Mrs. Paul Donner Dr. & Mrs. P. Tim Harris Mr. David Harrison Mr. & Mrs. Clay Howerton Rev. & Mrs. George Jaeger Kalleo Technologies Mr. & Mrs. Mark Keef

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPTEMBER / OCTOBER 2016

DONORS continued Dr. & Mrs. Ronald Kelley Mr. & Mrs. Reece King Mr. & Mrs. Bill Lentz, Jr. Dr. & Mrs. Nicholas Lopez Mr. & Mrs. Kerry Lynn Dr. & Mrs. David Meyer Mr. & Mrs. Ronald Miller Mr. & Mrs. Jerry McElya Dr. Thomas Nall Mr. & Mrs. Joe Powell Mr. & Mrs. Michael Resnick Mr. & Mrs. Fletcher Schrock Mr. Steven Stahl Mr. & Mrs. Donald Swearingen Mrs. Marie Taylor Mr. Richard & Dr. Catherine Trampe Mr. & Mrs. Robert Turok Mr. & Mrs. Brad Wallace Mr. & Mrs. Robert Worden Mr. Gary Zheng

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