Score Magazine Sep/Oct 2017 by Paducah Symphony Orchestra

SEP|OCT 2017 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 222 Kentucky Ave Ste 10, Paducah, KY 42003

Porgy & Bess 9 SEPT 2017

Bolero

14 O C TO B ER 2017

Behind the Scenes of a World Class Orchestra

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CONTENTS

FEATURES Summer with the Symphony

The Paducah Symphony Orchestra (PSO) was on the minds of many during the month of June as individuals and families ramped up their summer plans with PSO sponsored events.

IN THIS ISSUE

Big Plans with New President Mickey Brown

As the President of the PSO, Mickey Brown’s first order of business later this month will be to “take a look at everything we do and how and why we do it. Then we will begin planning for our 40th Year season and celebration.”

Behind the Scenes of a World Class Orchestra

Beat Beethoven: Thanks to Our Sponsors & Volunteers

This year’s Beat Beethoven fundraiser was a huge success, thanks to our sponsors and volunteers.

The audience of the Paducah Symphony Orchestra knows to expect a high-quality performance of excellent music by talented musicians. It takes a combination of administrative and artistic staff, professional musicians, and financial support to put together a truly spectacular concert.

Board & Staff..........................................9 Board President’s Letter........................9 Porgy & Bess......................................... 11 Orchestra Personnel.........................13 Program Notes.................................15 Bolero...................................................27 Orchestra Personnel........................29 Program Notes.................................31 Sponsors..............................................47 Donors..................................................47

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

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EDITOR Morgan Walker morgan@paducahsymphony.org

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Member SIPC

GOVERNING BOARD

Mickey Brown, President Debbie Reynolds, Secretary Connie Poat, Vice President Richard Roof, Vice President Clay Howerton, Past President Edward Bach Jimmy Cargill Nancy Duff Charles Folsom Juliette Grumley James Gwinn, Jr Zach Hosman Theodore S. Hutchins Harold Jones Shirley Trail Lanier Gerry Montgomery Carol Ann Narozniak Allison Ogden Phyllis Petcoff Michael Resnick Bonnie Schrock Roger Truitt Carol Ullerich Brad Wallace

TRUSTEES

Mickey Brown Anne F. Gwinn Richard Smith Roger Truitt Ken Wheeler

DIRECTORS EMERITUS Margaret Hunt Arnold John Drew Bill Ford 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 Steven Page, Summer Music Camp Director

ADMINISTRATIVE STAFF

Katie Smith, Executive Director Morgan Walker, Operations Manager Cindy Poat, Administrative Assistant Reece King, Personnel and Finance Manager Rhonda King, Librarian

From PSO Executive Director Katie Smith

elcome to a new season of the Paducah Symphony Orchestra. We are so excited to bring you another year of inspired music, great education programs and exciting events. Our season this year is a season of diversity designed to appeal to a wide range of music lovers. For me this holds particular significance because this is the beginning of my first full season with the orchestra. The PSO membership welcomed both new and honored legacy leadership July 27, 2017 at the Annual Party. Four new board members were elected, Bill Ford was named Director Emeritus and Mickey Brown officially started her term as the new President of the Board of Directors. Mrs. Brown is passionate about the symphony and full of ideas for new initiatives for the organization. I invite you to learn more about her and her plans on page 25. June was an all-hands-on-deck month for the orchestra as we had three major events very close together. The Beat Beethoven at PaBREWcah 5K Run and PaBREWcah Beer Fest were on June 17th and our week long Summer Music Camp started June 19th. It was a lot of work for the staff, members of the board and volunteers but our efforts paid off. The PaBREWcah events raised over $20,000 for the symphony and camp had the highest enrollment to date with 147 campers. I want to personally thank all of our sponsors, staff and volunteers. Between the three events we had over 50 sponsors, 21 staff and 162 volunteers that contributed. We could not have done this without your help! As I was reflecting on our summer events, I started thinking about the effort that goes into what it takes to have a professional, world-class orchestra. Many times, as I share vignettes about what it is that we do with people in the community, I routinely hear, “I had no idea, that’s amazing!” Other staff, members of the board and even Maestro have received similar reactions. So we decided that we wanted to dedicate an issue of Score magazine to giving all of our readers a behind the scenes look at what we do and a sense of the level of professionalism this orchestra has achieved. I am so proud to be a part of this organization and hope that in turn we make you proud. Thank you for your continued support for the arts in our community and of your Paducah Symphony Orchestra!

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

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PORGY & BESS SATURDAY, 9 SEPTEMBER 2017, 7:30 P.M. LUTHER F. CARSON FOUR RIVERS CENTER

Paducah Symphony Orchestra Raffaele Ponti, Artistic Director & Conductor

Porgy & Bess Raffaele Ponti, conductor

LEONARD BERNSTEIN GEORGE GERSHWIN

Candide: Overture Porgy and Bess: Symphonic Picture Intermission

GIOVANNI SGAMBATI

Symphony No.1, op.16, D major

5’ 24’

Allegro vivace, non troppo Andante mesto Scherzo: Presto Serenata: Andante Finale: Allegro con fuoco

10’ 11’ 6’ 8’ 8’

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

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ABOUT THE MUSIC

PORGY & BESS SATURDAY • 9 SEPTEMBER 2017

LEONARD BERNSTEIN (1918-1990) OVERTURE TO CANDIDE COMPOSED 1955-56 “I have decided to go along with Lillian on Candide,” Leonard Bernstein wrote to his wife Felicia in 1953. “Imagine, after having written her a letter saying no and tearing it up.” Bernstein and playwright Lillian Hellman had been in conversation for months, searching for the perfect subject for a musical. The discussion included notable historical figures such as Eva Perón, First Lady of Argentina (Andrew Lloyd Webber would release the blockbuster Evita two decades later), but it was the French satirist Voltaire’s Candide that, in Hellman’s words, felt “so obviously right.” Bernstein’s torn up letter may have proved prophetic. The creative process became a years-long slog, with the work undergoing numerous revisions among a rotating cast of writers and producers. Letters to colleagues and family reveal growing frustrations with the work: in 1959, six years after he started composing Candide and three years after its disappointing Broadway debut, Bernstein wrote resignedly to friend and fellow composer David Diamond that, “Candide is limping, & [sic] I guess always will.”

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Voltaire’s hero is the hapless Candide, a naive, optimistic youth who faces the random trials and tribulations of what his teacher insists is “the best of all possible worlds.” Though set in eighteenth-century France, Candide, like Arthur Miller’s The Crucible, examines the events of previous eras to provide a biting critique of the present. Hellman began work on Candide shortly after being subpoenaed by the infamous House Un-American Activities Committee, where she f latly refused to testify against any of her fellow artists. Bernstein too had felt the insidious sting of McCarthyism. Weeks before setting to work on Candide, he had been forced to pen a lengthy “loyalty oath” in order to apply for a passport. Bernstein’s vocal support for progressive causes led to the creation of an FBI file on him that extended into the 1970s. The miniature overture opens with brassy fanfare. Lighthearted and pompous with a knowing wink, f luttering strings and woodwinds spar with the clunky oom-pah rhythms of the brass and percussion. The Candide overture is Bernstein at his best, containing some of his catchiest and most effervescent melodies, including Candide and Cunegonde’s Act I love duet “Oh, Happy We” and, in its last moments, the final bars of Cunegonde’s high-f lying coloratura aria “Glitter and Be Gay.”

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PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

ABOUT THE MUSIC

PORGY & BESS SATURDAY • 9 SEPTEMBER 2017

GEORGE GERSHWIN (1898-1937) PORGY AND BESS: A SYMPHONIC PICTURE COMPOSED 1935 Arranged by Robert Russell Bennett One muggy summer night in 1926, a sleepless George Gershwin descended from his Upper West Side penthouse for a spot of fresh air. Outside, he picked up a copy of a new book by DuBose Heyward, a former insurance salesman from Charleston, South Carolina. The book and its title character, a disabled black beggar, so captivated Gershwin that he stayed up all night reading it. He immediately wrote to Heyward suggesting they collaborate on an opera, though it would take nearly a decade before Porgy shuffled across the pages of a novel to the stage of the Alvin Theatre in America’s greatest opera, Porgy and Bess. Porgy, DuBose Heyward’s debut novel, sprang from a newspaper clipping from the Charleston News and Courier. It chronicled the arrest of Sammy Smalls, an old beggar who traveled around using a cart pulled by a malodorous goat. Heyward transformed the real-life Cabbage Row into Catfish Row, a poor Gullah community on the Carolina coast. Sammy became Porgy, the hero who wins and then loses the heart of the tortured Bess. George, his brother Ira, and Heyward began work on the opera in 1934. While they mostly collaborated via mail – Heyward would mail completed scenes to the Gershwins, who would then hammer out melodies and tinker with the lyrics – George insisted he needed to imbibe the sights and sounds of “Catfish Row” firsthand. He spent five weeks composing in a cottage on Folly Island off the coast of Charleston, drawing

inspiration from the Gullah living there and kept awake at night by the dull roar of chirping Carolina crickets. The Metropolitan Opera had hoped to collaborate with Gershwin on a “ jazz grand opera,” but he declined, insisting that a real jazz opera could only be sung by a black cast. At the time, the Met refused to hire black singers; contralto Marian Anderson would break this color barrier in 1955. After a successful out-of-town tryout in Boston, Porgy and Bess made its New York debut on October 10, 1935, on Broadway, with an almost all-black cast of professional singers. Audiences were unsure what to make of the production, a curious blend of sweeping operatic scale and drama with catchy Tin Pan Alley melodies. Gershwin himself defended the work in the New York Times, labeling it a “folk opera.” The Symphonic Picture introduces the opera’s main characters and some of Gershwin’s most enduring melodies. It opens with the noisy bustle of Catfish Row, the air filled with the twang of guitars and the calls of peddlers hawking their wares; upward clarinet slurs evoke the opening bars of Gershwin’s Rhapsody in Blue. Gershwin’s penchant for incorporating local sounds into his music – most famously in An American in Paris, which he insisted be performed with taxi horns imported from France – appears here in the ringing of the church bells. At Gershwin’s request, the pitches and rhythms are modeled on the bells of Saint Michael’s Church in Charleston, down to the slightly out-of-tune E natural. In the sultry “Summertime,” Bess sings a mournful lullaby to the orphaned baby of her friend Clara. Porgy expresses his happiness in the rollicking “I Got Plenty o’ Nuttin’,” but the seductive drug dealer Sportin’ Life steals Bess away with the jaunty refrains of “There’s a Boat Dat’s Leavin’ Soon for New York” and “It Ain’t Necessarily So.” Heyward’s novel ends with Porgy resigned to his fate, but Porgy and Bess provides a more optimistic ending as Porgy sets off to find Bess, he and the denizens of Catfish Row singing out “Oh, Lawd, I’m On My Way.”

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

ABOUT THE MUSIC

PORGY & BESS SATURDAY • 9 SEPTEMBER 2017

GIOVANNI SGAMBATI (1841-1914) SYMPHONY NO.1 IN D MAJOR, OP.16 As the nineteenth century drew to an end, German and Austrian composers such as Brahms, Mahler, Wagner, and Liszt were pushing the boundaries of harmony and musical structure to their extremes. Until the late 1800s, these radical developments in instrumental music went largely unnoticed on the Italian peninsula, ensconced as it was in its rich operatic traditions. The Alps, long a significant physical barrier between the Italian Peninsula and the rest of continental Europe, stood also as a towering metaphor for the divergence in musical style and form. Franz Liszt’s arrival in Rome in 1861 and its subsequent impact on Italian composer Giovanni Sgambati would trigger an avalanche of new musical ideas into Italy. Sgambati, a precocious conductor from Umbria, won an award to study in Rome in 1860. There he met the older Liszt, who became a mentor to the young Italian and introduced him to the great works of the German symphonic tradition. Enthralled by these new sounds, Sgambati became a champion of instrumental music, bringing some of the most important compositions of the nineteenth century to Italian audiences who had never heard them: Liszt’s symphonic poems, the orchestral arrangements of Richard Wagner (Liszt’s son-in-law, who also played a guiding hand in broadening Sgambati’s musical horizons), and several of Beethoven’s symphonies. Sgambati’s enthusiastic performances of these works would make way for future generations of Italian composers including Nino Rota and Ottorino Respighi. Sgambati conducted the premiere of his First Symphony in 1881 before an audience with arts patron Margherita of Savoy,

Queen of Italy (the apocryphal namesake of Margherita pizza). Its enthusiastic reception led to repeat performances in London the following year, as well as at the Turin Exhibition of 1884, where one critic claimed the Symphony “caused a decided fanatismo.” Like his mentor Liszt, whose symphonic poems became one of the dominant forms of orchestral music in the latter half of the nineteenth century, Sgambati eschews the standard four-movement symphonic structure codified by Haydn and Mozart. In the first of five movements, Sgambati introduces three themes that transform and weave themselves throughout the orchestra like the restless spirit of an explorer. Though not devoid of melody, tunefulness is not the primary objective; none of these themes match the hallmark catchiness of Bernstein or Gershwin’s songs. The second movement is split into three main sections. Opening with low, foreboding strings, the pensive and melancholy first section seems especially dirge-like in contrast with the optimism of the first movement. In the second section, the gentle tones of flute and its harp accompaniment seem plucked from a bucolic dream. The mournful woodwind trio of the first section returns to end the movement. A sprightly scherzo (Italian for “jest”), the third movement begins with a lively dance in 3/4 time. The overly serious interludes that punctuate these graceful dances form a musical punch line, of sorts. In the fourth movement, labeled Serenata, a timid introduction blossoms into a tender yet restrained song for muted strings. Liszt’s influence on Sgambati is further evinced in the exuberant Finale. In this rondo, a principal motif repeats itself in a twist on the traditional theme-and-variation. If this symphony tells the story of an adventurer, the joyous finale sees them happily returning home. © Andrew McIntyre, 2017. Andrew McIntyre is the program annotator for the Paducah Symphony Orchestra.

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

Summer with the Symphony by Jessica Perkins

he Paducah Symphony Orchestra (PSO) was on the minds of many during the month of June as individuals and families ramped up their summer plans with PSO sponsored events. Parents made plans for their children to attend the PSO Music Camp on June 19–23. Beer aficionados cleared their palates for the PaBrewCah Beer Fest on June 17; and runners and walkers geared up for the Beat Beethoven 5K Run/Walk event on June 17. With so much to do, the PSO staff was pleased to have the assistance of many dedicated volunteers and the community support made each event a success. Here’s a recap of all that the PSO did this summer.

PSO MUSIC CAMP When talented, young musicians are on summer break from their respective schools, music education sometimes takes a backseat to other summer activities. That’s what makes the PSO Summer Music Camp such a delight. The camp gives students, fourth through twelfth grades, the opportunity to enhance their musical prowess with ensembles and elective coursework that might not be available to them in the traditional classroom setting during the school year. The program is also well-received by home school students who enjoy performing as part of an ensemble, an experience that is unique to most of them. “The camp isn’t just for serious music kids. It’s for any student who is doing music at school and wants to enhance their skills,”

Camp Director Steven Page says. Students spend four to five hours each day learning music, honing their techniques and rehearsing their music. It can be a challenging schedule, especially for young students. However, Page says the students all seem to have fun. “The kids were always laughing and having a good time,” Page says. “The best comment I hear from parents is when they tell me that this camp is their kid’s favorite time of summer.” While PSO Music Camp is a grand time for our young musicians, it’s also a chance for students to fine tune their skills as they learn how to perform as part of an ensemble. Instructors come from all over the nation to teach. They introduce

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

students to new ideas and new music as they seek to inspire and motivate the children to take their talents to new heights.

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Assistant Camp Director Cindy Poat says, “These instructors are teaching our kids to push themselves, to challenge themselves. You’re learning anywhere from three to five pieces in four days. It can get pretty intense.”

While the main objective of hosting Paducah’s only craft beer festival is to help raise funds for the PSO, a nice bonus to the event is the opportunity to raise community awareness of all of the great concerts and educational programs the PSO brings to area schools.

For those students who have rarely played with an ensemble, the camp experience provides new opportunities for growth. “The students are pushed by the music. If they are used to private lessons, then playing in a group is different for them,” Page says. “They have to sacrifice a little bit, especially of their own personal objectives. It takes teamwork.” After four days of classwork and rehearsals, the students give a grand performance on the fifth day of camp. Parents are invited to observe all that their children have learned in such a short amount of time. “The Friday showcase just blew me away…all the pieces these kids were able to learn,” Poat says. “At the center of the music camp’s success is good leadership. Steven’s enthusiasm and love of life brings out the best in these kids.”

PABREWCAH BEER FEST There’s nothing quite so delicious as the taste of a wellcrafted beer. At least, that’s what the attendees at this year’s PaBrewCah Beer Fest believe. This year’s event included over two dozen breweries, including selections from Paducah’s 20

“The community really does come out and support us at this event,” volunteer Cindy Poat says. “They’re not just coming and leaving. They’re talking to people and thanking us for the programs we offer. It makes me feel good to be a part of this. Our community really is interested in what the Symphony does.” PaBrewCah was held on June 17 from noon to 5 p.m. in historic downtown Paducah. The event raised about $12,000, funds that will help support PSO’s many educational programs and concerts.

BEAT BEETHOVEN 5K RUN/WALK This was the first year that the Beat Beethoven 5K Run/Walk was included as a main event leading up to the PaBrewCah Beer Fest on the morning of Saturday, June 17. One hundred and sixty-five participants joined the ranks of runners and walkers all determined to “beat Beethoven” at this year’s festive event. The event has been hosted in the spring at Noble Park for five

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

years. However, this year event planners decided to change things up a bit and transformed it into a summer event hosted in Paducah’s historic downtown. While there are always challenges that come with changing the date and logistics of an annual event, Event Coordinator John Shadle, with the support of volunteers, PSO staff and the City of Paducah, says that this year’s event was worth the time everyone invested. “It was a nice experience,” Shadle says. “We had a few challenges to overcome to make the course acceptable, but I think, all in all, the event went very well.” What made this year’s course particularly interesting was its unique route that wound its way behind Paducah’s floodwall. Through the leadership of Shadle and the expertise of runner Craig Felker, the Beat Beethoven course was custom designed to trail along the riverfront, offering runners and walkers a few more challenges, hills and waterfront views as they worked their way to the finish line. The feedback from participants at this year’s event was positive. Participants and onlookers enjoyed the convenient location of downtown restrooms and parking, while runners appreciated the variety of hills along this new course. “This was not a flat route. There were more hills that made it challenging for some of our runners,” Shadle says. “A lot of people said they really liked it.”

Few may realize how much time and energy goes into coordinating an event like Beat Beethoven. In addition to coordinating the logistics and promotion of the event, a great deal of time is spent on raising sponsorship dollars and securing in-kind donations in the months leading up to the main event. Shadle and volunteers went above and beyond to organize and conduct an event that raised over $12,000 for the Paducah Symphony Orchestra.

A BIG THANKS TO YOU The Paducah Symphony Orchestra could not perform the caliber of musical performances and conduct state of the art educational programs without the support of dedicated volunteers, event sponsors and individual donors. Thank you for making this summer a season of success.

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to Our Volunteers and Sponsors TM

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PADUCAH SYMPHONY ORCHESTRAâ&#x20AC;&#x201D;SCORE SEPT/OCT 2017

BIG PLANS with

NEW PRESIDENT MICKEY BROWN By Jamie Sears Rawlings

continuing financial support and their volunteerism at our events,” Brown says. “This community stands behind us and that’s what makes the Symphony and all of the arts such a vital part of the fabric of Paducah!”

ickey Brown minces no words when showering praise upon the Paducah Symphony Orchestra.

“I think our Symphony is fantastic--one of the best!” As the President of the PSO, Brown’s first order of business later this month will be to “take a look at everything we do and how and why we do it. Then we will begin planning for our 40th Year season and celebration.”

For Brown, who came to Paducah and the Symphony just a few years ago, growing the number of season ticket holders is key. “Concerts are expensive due to the costs of the venue, performers, marketing and other Mi tie c ke , Ka y an r e t expenses. Our donors are so supportive, and h d her daug we can’t thank them enough for all they contribute.”

“I want to take a good look at what goes on behind the curtain,” she says, “and share more of that experience with our patrons and supporters.” In addition, Brown and the Board of Directors will work on several exciting events for the coming year, including the concert to celebrate our armed forces in November. “The artistic direction by Maestro Ponti is beloved by our PSO audience, and his musical selections for the upcoming season are designed to please a wide range of concert attendees,” she says. “Whenever we can, through concerts and other events, we will provide musical performances and entertainment for people of all ages and interests.” The PSO has a large group of long-time supporters.

She says so much work goes into a single concert before the first note is played. “Starting with the selection of the music at least a year beforehand to the many hours of practice by the musicians before they come to town, to the hours of practice at the Carson Center just prior to the concert, and all the work and coordination of marketing and selling tickets by the office staff. Adding on the education programs of the PSO makes for a very busy schedule, plus all the work that goes into managing special events throughout the year.” Brown invites patrons to buy tickets early and to invite friends who may not be regular season ticket holders. “If you come for the music, and fall in love, like I did, perhaps you will want to get even more involved,” she says. “We can always find something for you to do as a volunteer.”

“We never want to forget their love of the music, their PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

PADUCAH SYMPHONY ORCHESTRAâ&#x20AC;&#x201D;SCORE SEPT/OCT 2017

BOLERO SATURDAY, 14 OCTOBER 2017, 7:30 P.M. LUTHER F. CARSON FOUR RIVERS CENTER

Paducah Symphony Orchestra Raffaele Ponti, Artistic Director & Conductor

Bolero

Raffaele Ponti, conductor Phyllis Pan, piano (2017 Young Artist Competition Winner) David Godar, piano (2017 Young Artist Competition Winner) HOWARD HANSON

Symphony No.3, op.33 Andante lamentando Andante tranquillo Tempo scherzando Largamente e pesante PIOTR ILYICH TCHAIKOVSKY Piano Concerto No.1, op.23, B-flat minor Allegro non troppo e molto maestoso Intermission FRANZ LISZT Piano Concerto No.2, A major Adagio sostenuto assai – Allegro agitato assai Allegro moderato Allegro deciso – Marziale un poco meno allegro Allegro animato MAURICE RAVEL Bolero

10’ 8’ 6’ 9’

17’

7’ 8’ 7’ 2’ 13’

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

ABOUT THE MUSIC

BOLERO

SATURDAY • 14 OCTOBER 2017

to constitute such a mighty force in the conquering of the West.”

HOWARD HANSON (1896-1981) SYMPHONY NO.3, OP.33 COMPOSED 1937-1938 While Howard Hanson’s Third Symphony may be the newest work on tonight’s program, its origins extend nearly 400 years into America’s past. On March 29, 1638, a group of Nordic settlers made anchor on a rocky outcropping in what is now Wilmington, Delaware, establishing the colony of New Sweden. To commemorate the 300th anniversary of the settlement, the CBS Symphony Orchestra commissioned Hanson to write a work honoring the Swedish pioneers. Born to Swedish immigrants in a modest two-story home on the plains of Nebraska, Hanson made an ideal candidate for the task. His “Nordic” Symphony No. 1, composed in 1922, had already displayed what a program notes annotator for the Boston Symphony Orchestra deemed “the composer’s reverence for the spiritual contribution that has been made to America by the sturdy race of northern pioneers who … were in later centuries

A self-professed Romantic, Hanson situated his compositions in reaction to the “coldly abstract … non-sentimental music” popular in modernist, academic circles. Somewhat ironically, Hanson made his greatest achievements in academia, leading the prestigious Eastman School of Music for forty years. He was a fierce advocate for American music, premiering the works of over 500 American composers during his tenure. Hanson found his own supporter in conductor Serge Koussevitzky, music director of the Boston Symphony. Koussevitzky commissioned and premiered several of Hanson’s works, leading the first subscription performances of the Third Symphony in 1939. In the program notes for those concerts, Hanson wrote: “The Symphony pays tribute to the epic qualities of those pioneers. The first movement, which has the sub-title andante lamentando—agitato, is both rugged and turbulent in character, alternating with a religious mysticism. The second movement, andante tranquillo, is, as its name implies, for the most part peaceful and brooding in quality. The third movement, tempo scherzando, is in the tempo of a fast scherzo, and is vigorous and rhythmic. The fourth movement, marked largamente e pesante, begins with the brooding character of the first movement, developing into an extended chorale in antiphonal style, rising to a climax in the full orchestra out of which appears the principal theme of the second movement, the Symphony ending in a note of exultation and rejoicing.”

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ABOUT THE MUSIC

BOLERO

SATURDAY • 14 OCTOBER 2017

PIOTR ILYICH TCHAIKOVSKY (1840-1893) PIANO CONCERTO NO.1 IN B-FLAT MINOR OP.23, FIRST MOVEMENT ONLY COMPOSED 1874-75 The first written evidence we have of Tchaikovsky’s First Piano Concerto is a letter from November 1874 addressed to the composer’s younger brother Anatol. In this letter, he wrote that he was “completely absorbed in the composition of a pianoforte concerto,” a work which would vex Tchaikovsky to no end. After struggling to write the piece, Tchaikovsky presented his rough draft to Nikolai Rubinstein, a close friend and colleague, to hear his criticisms of the work. As Tchaikovsky famously recounted years later, Rubinstein’s first reaction was a condemnatory silence. Eventually, Tchaikovsky badgered him into a response: “There burst forth from Rubinstein’s mouth a mighty torrent of words. He spoke quietly at first; then he waxed hot, and at last he resembled Zeus hurling thunderbolts. It appeared that my Concerto was utterly worthless, absolutely unplayable; passages were so commonplace and awkward that they could not be improved; the piece as a whole was bad, trivial, vulgar.”

where Tchaikovsky’s works were far more popular than they were in Russia. As evidence of the composer’s popularity in America during his lifetime, in 1891 impresario Walter Damrosch invited him to conduct his Festival Coronation March at the inaugural concert for Carnegie Hall (Damrosch’s father Leopold conducted the New York premiere of the First Piano Concerto in November 1875). Though the piece received less-than-enthusiastic reviews, it found its way into the standard repertoire, and in later years Rubinstein himself would fervently champion and perform the work, mending his strained relationship with Tchaikovsky. Despite his oath to leave the notes untouched, Tchaikovsky revised the work multiple times over the span of more than a decade. The final version, performed on tonight’s concert, opens with stern brass fanfare heralding the pianist, who enters not with arpeggiated chords (as Tchaikovsky had first written) but grand block chords in rising octaves. Next the strings play the most famous theme in the concerto, evidence of Tchaikovsky’s supreme gift for melody. This theme, however, is in the “wrong” key: rather than begin a minor-key concerto with a minor-key theme, Tchaikovsky has given us a beautiful theme in D-flat major. Strangely, the melody only appears twice in the entire concerto before vanishing, an unusual occurrence in large-scale symphonic works, which are normally built upon thematic transformation.

Tchaikovsky responded to this condemnation by vowing not to alter a single note and dedicating the work to the pianist Hans von Bülow, DON’ T M I S S whom Tchaikovsky had never actually met. Von Bülow’s reception to the work was much warmer than Rubinstein’s; he wrote to Tchaikovsky, “I should grow weary if I attempted to enumerate all the qualities of your work—qualities OC TOBE R 15 AT 3: 0 0 PM which compel me to congratulate, not BROADWAY UN ITE D ME THOD I ST CHURCH only the composer, but all those who will enjoy the work in future, either $ 10 OR FRE E FOR SU B SCR I BE RS actively or passively.” He premiered the CALL 270. 4 4 4 .0 065 FOR I NFO work on October 25, 1875 in Boston,

A HARVE ST FE STIVAL CHORUS CONCE RT

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

ABOUT THE MUSIC

BOLERO

SATURDAY • 14 OCTOBER 2017

FRANZ LISZT (1811-1886) PIANO CONCERTO NO.2 IN A MAJOR COMPOSED 1839-1861 “What is the reason of this phenomenon?” poet Heinrich Heine asked Parisian readers in 1844. He was referring to a strange wave of hysteria sweeping across Western Europe in the wake of one particular man, Hungarian pianist Franz Liszt. In that same letter, he coined the term that would come to encapsulate the fanatical devotion audiences showed the performer: Lisztomania. Heine wasn’t the first to remark upon this curious condition; a year earlier, a German newspaper would lament “Liszt fever, a contagion that breaks out in every city our artist visits.” Liszt’s prodigious keyboard skills were evident from a young age, when his father took him to study with Carl Czerny, the most famous pupil of Ludwig van Beethoven. As his fame grew, stories of his virtuosity spread throughout Europe. One apocryphal tale places Liszt at the piano before the violinist Joseph Joachim, flawlessly sight-reading Mendelssohn’s Violin Concerto with a lit cigar held between two fingers. Though not all reviews were favorable—the wife of deceased pianist Johann Hummel lamented that Liszt was “destroying the true art of piano playing”—audiences couldn’t get enough of the handsome musician with the hands of the devil. Liszt began drafting his Second Piano Concerto in 1839, the first of what became known as his “virtuoso years.” Liszt spent much of this eight-year period touring Europe, performing an astonishing 1,000 concerts. Most of the works Liszt composed during and prior to this touring period are for the piano, an instrument he said was “to me what his vessel is to the sailor. … I confided to it all my desires, my dreams, my joys, and my sorrows.” After nearly twenty years and numerous revisions, Liszt finished the Second Concerto for a premiere performance in 1857 (he would revise it yet again and re-premiere the work in 1861), but it was not he who sat at the keyboard. Gone were his days of 34

flamboyant concertizing and international tours; firmly rooted in Weimar, Liszt focused his energies on conducting, composition, and a swath of devoted students, one of whom performed the piano part in the 1857 premiere. From the first hushed notes of the woodwinds through the first entrance of the piano, the music makes plain that we are hearing a new Liszt, one far less concerned with the rock-star virtuosity of youth. In contrast to the First Concerto, which seeks to impress from its first bars, the Second opens with a calm, atmospheric introduction. While most composers—including a younger Liszt—place the soloist front and center, here the goal is collaboration between the piano and orchestra. In the Allegro moderato section of the work, for example, Liszt writes a lush, expressive solo not for the piano, but for cello, certainly not the work of one interested in showing off at the keyboard. That said, it seems that even an older, more subdued Liszt could not resist the temptation to pepper the concerto with fierce virtuosic passagework. The principal theme, introduced by the clarinet, is simple and mournful, almost uninspired, yet Liszt uses that simplicity as a point of departure for thematic transformations that evolve across the entirety of the concerto. Essentially a technique of variation, thematic transformation allows composers to distort, augment, fragment, and otherwise reshape the theme to develop new moods. The theme never repeats in exactly the same way, yet its musical DNA shapes the entire work in ways obvious and subtle. Listen for the theme to disappear and resurface in various guises throughout the concerto, including a militaristic fanfare in the finale. Liszt’s days of grandiose concertizing across the continent may have continued indefinitely but for a chance meeting in 1847 that altered the course of his life. On tour in Kiev, he met the Princess Caroline zu Sayn-Wittgenstein, an enchanting noblewoman who convinced him to devote himself to large-scale composition instead of flashy, virtuoso pieces and endless tours. The inconstant Liszt was also convinced to devote himself to the Princess. He left his wife and three children in Paris to live with Caroline, who remained his most steadfast companion for the rest of his life.

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

ABOUT THE MUSIC

BOLERO

SATURDAY • 14 OCTOBER 2017

MAURICE RAVEL (1875-1937) BOLÉRO COMPOSED 1928 The year 1928 saw Ravel at the height of his popularity. Recently returned from a wildly successful North American tour, he set about a commission from actress, dancer, and arts patron Ida Rubinstein. Rubinstein originally asked for orchestrations of Isaac Albéniz’s piano suite Iberia, but another composer had beaten Ravel to it. Unfazed, he decided instead to write original material. Sitting at the piano while on holiday with a friend, Ravel pecked out a tune and asked, “Don’t you think this theme has an insistent quality? I’m going to try and repeat it a number of times without any development, gradually increasing the orchestra as best I can.” That simple melody would become the main theme of Boléro, named after the Spanish dance. Born in the Basque Country to a mother raised in Spain, he would also find inspiration in his maternal heritage and the factories he visited in his youth with his father, an engineer. The program written for the premiere performance included a scenario conceived by Rubinstein and choreographer Bronislava Nijinska:

“Inside a tavern in Spain, people dance beneath the brass lamp hung from the ceiling. [Responding] to the cheers to join in, the female dancer has leapt onto the long table and her steps become more and more animated.” The work opens with a solitary snare drum playing the bolero rhythm while a sparse, plucked string accompaniment hints at the piece’s tonality. Solo flute intones the melody first, followed by clarinet, then bassoon, and so on. Ravel includes saxophones and jazz-inflected brass in his orchestration, perhaps inspired by his trips to Harlem with George Gershwin, composer of Porgy and Bess. He brings about his “gradual crescendo” by slowly adding more and more instruments to the mix; in the original Durand edition, it is not until page nineteen of the score—nearly a third of the way through—that any section gets louder than mezzo piano. Chromatic inflections impart a sensual exoticism to the melody, but Boléro remains staunchly in C major for the vast majority of the piece. A startling modulation into E major in the final bars adds a harmonic tension that proves unsustainable: in the last moments of the work, the orchestra lurches back into C major with raucous cymbal crashes and sloppy glissandi before finally collapsing. © Andrew McIntyre, 2017. Andrew McIntyre is the program annotator for the Paducah Symphony Orchestra.

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PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

BEHIND the SCENES of a WORLD CLASS ORCHESTRA By Rachel Clifford

PADUCAH SYMPHONY ORCHESTRAâ&#x20AC;&#x201D;SCORE SEPT/OCT 2017

hen the house lights dim and the conductor’s baton is raised, the audience of the Paducah Symphony Orchestra knows what to expect— a high-quality performance of excellent music by talented musicians. What few audience members see, however, is the time and preparation that goes into each performance of every season. It takes a combination of administrative and artistic staff, professional musicians, and financial support to put together a truly spectacular concert.

ON STAGE Perhaps the most obvious part of having a world-class symphony is employing high quality musicians. A survey of the orchestra found that one quarter of the musicians have their doctorate, and over half have practiced more than 15,000 hours over the course of their careers.* For Maestro Raffaele Ponti, having players of that caliber has been invaluable. “The musicians have their instruments, but the ensemble is my instrument,” Ponti says. “Just as they want a high-quality instrument, I want high-quality players,

and it fills me with a great sense of pride that I now have assembled my world-class sounding orchestra.” Yet there’s more to the process than the musicians simply showing up to play for a concert. The planning for a concert season begins three years in advance. This gives Maestro Ponti enough time to set the dates and select the music for each concert, and book guest musicians. Each of those is a process in itself. As a professional conductor, Maestro Ponti has to schedule around his other conducting role with the Charlotte Symphony Orchestra of Florida, as well as his guest conducting performances. Holidays and other Carson Center events also limit the schedule. Choosing the music is equally as challenging. “I can’t repeat anything within a four-year cycle. I like to expand and introduce new things to people, so I don’t want to play the same music over and over. But there also has to be some architecture to the evening. I have to consider the tempo of the piece, and the key and the style,” Ponti says. “What I like to do is give the audience something familiar to draw them in, something new that they might never have heard before, and something to leave them satisfied.”

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

Charles Lewis, flute

Dr. Elizabeth Alexander, clarinet

Once the pieces have been selected for a concert, it falls to the librarian, Rhonda King, to ensure the correct arrangement is ordered. Some of the music is already in the 670-title library. The rest must either be purchased or rented. For the rented music, Rhonda reaches out to multiple rental agencies, sending not only the title of the piece, but the arrangement, the date by which the orchestra needs the music, and the purpose for which they’re using it. The rental agencies then send a quote for how much it will cost, and after selecting a rental agency, she signs a contract and the music is shipped. Maestro Ponti gets his own score, and the music then goes to the concertmaster, Sue-Jean Park, who writes in the bowings—whether a note is played on a down-bow or an up-bow. While that might seem insignificant, bowings do more than just make the orchestra appear uniform. “It’s very important, not just visually, but musically,” Park says “The bowing has to fit with the maestro’s vision, musically, so it’s important for me to understand what the vision is. I love YouTube. I watch multiple performances of the piece on YouTube so I can pick the best bowing that works for all the players of the section, and also that works with what the Maestro wants.” 38

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

Dr. Douglas Owens, saxophone/bassoon

Dr. Sue-Jean Park

After coordinating with the other principal string players to write in the bowings, the bowings are hand-written for each and every musician by Rhonda and a team of volunteers. Folders are then made for each musician and either handed out at the end of the last concert or mailed, typically a month or two in advance, to give the musicians time to practice. The Friday before the concert, the musicians and Maestro Ponti come together for what he calls a ‘power weekend’: six intense hours of rehearsal on Friday, followed by another three hours of rehearsal on Saturday, before the concert. For some, that trip is longer than others. Musicians come from five states, from cities like Nashville, Louisville, and even occasionally from Maestro Ponti’s orchestra in Florida. Over three-quarters of the members surveyed travel between one and three hours to perform with the orchestra. Why? Because they love it. “I like to play with the PSO because it’s an excellent orchestra,” says bassist John Ownby. “It is very well run, and they have shown me a lot of loyalty for a long time, but what makes it so special are the friends I’ve made. I feel a genuine spirit of camaraderie here.” The ‘power weekend’ isn’t an opportunity for musicians

to learn their parts, however. It’s a chance for them to learn everyone else’s. “The musicians have to show up prepared, because we’re performing on the first downbeat. I run through the entire program like a performance. Otherwise, I’m not happy,” Ponti says. With an ensemble the size of the Paducah Symphony Orchestra, it might be difficult for the musicians and the maestro to communicate. That’s where the concertmaster fits in. “I am the representative of the members of the orchestra,” Park says. “I act as a go-between for the musicians and the maestro, so I have to be 200% prepared for the weekend of a concert.” While the rehearsals bring together all the elements leading up to a concert—the musicians, the maestro, the music, and the concert hall—there’s one final component to a performance that’s added during the concert itself: the audience “It’s clear now that it’s not the program the people are coming for; it’s the orchestra experience,” says Ponti. “The audience is part of the performance. They’re not just

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

“THE AUDIENCE IS PART OF THE PERFORMANCE…THEY, WITH THEIR ENERGY, CAN INSPIRE A PERFORMANCE TO BE BETTER THAN IT IS.” –MAESTRO RAFFAELE PONTI

a passive listener. They, with their energy, can inspire a performance to be better than it is. When you get on that stage and feel the energy of the orchestra around you, and then the audience erupts, it makes all that work and dedication worth it.”

BEHIND THE SCENES While Maestro Ponti and the musicians handle the artistic side of the PSO, there’s also a dedicated staff that handles all the administrative tasks associated with the orchestra.

to Maestro to choose from. When a particular concert happens during the season is dependent upon a series of elements that must all come together at the same time. My job is to manage all these factors simultaneously which include coordinating dates for the Carson Center, Maestro’s schedule and contracting all the guest artists. Contracting guest artists is one of the trickier elements because guest artists are not always available to perform on the date you provide. I also negotiate with their agents on artist fees. If everything works out, then we can schedule the concert. If not, I have to take that information back to Maestro and we start the process over.”

Katie Smith is the executive director of the PSO, the administrative counterpart to Maestro Ponti. Her role encompasses everything from organizing the maestro’s schedule, to setting up an event rider for each concert—a technical description of the staging, lighting, and sound needs for the performance.

For Smith, who’s been executive director just over six months, three of the biggest draws for her in working with the PSO were the opportunity to work with Maestro Ponti, the world-class facility at the Carson Center, and the city of Paducah, itself.

“Administratively, the first thing I do is check dates when the Carson Center is available and give those options

“I love the size, and I love the fact that there’s a great arts culture here,” Smith says. “A lot of our musicians have

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

teaching jobs, they play in all these ensembles and orchestras, and when we put out musician requests, they choose to play with us over other orchestras. They choose that because they love Maestro Ponti, but also because they love Paducah. The concerts are well attended and they feel well-appreciated. They’re at home here as an artist.” Assisting Smith with the administrative tasks is Morgan Walker, operations manager. Within that title, she serves as box office manager, patron services coordinator, and marketing manager, as well as serving as the editor of Score magazine. With so many hats to wear, it’s easy to see how Walker’s biggest challenge is time. “There’s never enough time to sell enough tickets or to get Score into mailboxes,” Walker says “Those are things that have to happen, but with so much going on, there isn’t time to personally manage every detail, as much as I want to! That’s an important thing that I’ve learned here. I definitely put my trust in our volunteers to take care of some of those details.”

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Happy to assist the orchestra behind the scenes, Walker says her favorite part of the process is concert night, when she gets to watch the result of all the hours of hard work poured into preparing for a concert. “It’s so easy to get bogged down with the preparation that it’s equally refreshing when we finally reach concert night. Once I leave the box office and walk quietly as I possibly can into the concert hall, I get to sit there for a moment and enjoy our great orchestra, plus have some fulfillment in the fact that no, I’m not up there playing, but I played a role in this, and I’m proud of that. It makes it all worthwhile.” PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

Without musicians, there could be no performance. That’s where personnel and finance manager Reece King comes in. His job is to ensure the correct number of musicians are hired for every concert. While most of that work takes place months in advance, sometimes last-minute substitutions are needed due to illness or cancellations. For Reece, working with the PSO is a family affair. He’s been a trombone player with the PSO for thirty years, and is currently the principal trombone player. In addition, his wife, Rhonda, serves as the librarian. “We’ve been involved since 1987,” Reece says. “We both played in the orchestra, but she stopped playing after she took over as librarian. It’s just a part of our life. Our kids grew up with it, and it’s just a part of who we are. It would be hard to imagine our life without it.” In addition to the administrative support, the PSO receives support through the board of directors, who help secure sponsors and donors, and support the musicians in a more personal way. “The day of the rehearsal, the orchestra gets a one-hour supper break, and we have different vendors who contribute the meal to the orchestra,” says board member Chuck Folsom. “We [the board] are there to serve out the meal and make sure everyone gets dinner, and then we clean up the mess afterward.” Along with securing donor support and serving the musicians, Folsom has another role. He takes the recording of each concert done by the Carson Center and makes a playable CD out of it for the archives. Folsom and his wife, Retta, have been working with and supporting the PSO for seven years, including sponsoring the principal tuba player, Morgan Kinslow. They have seen firsthand how the orchestra has grown. A year after Maestro Ponti came to the PSO, Folsom asked him what it would take for the Paducah Symphony to play Mahler’s First Symphony. “He thought a minute, scratched his head, and said ‘Chuck, first of all, we need to be slightly better, and second, we need a larger orchestra,” Folsom says. “Two years ago, the PSO played the Mahler First.”

IN THE COMMUNITY All the time and effort that goes into creating a world class orchestra comes at a price. While the price of each concert varies depending on orchestra size, music choice, 42

Reece King

and guest musicians, the average cost for a single concert of a season is $85,000. The orchestra payroll alone costs between $30 - $35,000, while the rental of the Carson Center and the production costs associated with each concert total around $6,000. Additional costs include conductor fees—both for Maestro Ponti and Dr. Almquist, the chorus director—as well as music, administrative, printing, and mailing costs. Ticket sales alone only make up an average of $35,000 per concert—less than half the cost. For ticket sales to come close to covering the full cost of a concert, prices would have to drastically increase. Instead, the orchestra relies on sponsors and donors to help cover the remaining cost. “It does take a lot of donations and a lot of people volunteering to keep an organization like this going,” says Reece. “If people aren’t involved or not donating, they may not realize that. They think we just show up and play for free or get to use the Carson Center for free, and they don’t realize the costs involved.” For sponsors, the benefit of giving to the orchestra is clear. They receive marketing benefits, including ads in Score, complementary ticket vouchers, and recognition from the PSO. Yet there are additional, less tangible benefits to sponsoring and donating to the orchestra. One of these benefits is supporting music education for children. Every year, the PSO holds a number of

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

THE COST OF A CONCERT WE COULDN’T DO THIS WITHOUT OUR DONORS AV E R AG E E X P E N S E PE R CONCE R T:

AV E R AG E E A R N E D I NCOM E PE R CONCE R T:

85,0 0 0 6%

35,0 0 0

T I C K E T S O N LY C O V E R

THE COST OF A CONCERT

13%

70%

Artistic Personnel

Artistic Director, Orchestra Personnel, Travel, Mileage, Lodging, etc.

Administrative Costs

Administrative Personnel, Office Expenses, Ticketing Systems and Fees

Venue Rental & Expenses Marketing

Print and Online Advertising for PSO Season and Concerts

WITHOUT THE SUPPORT OF OUR DONORS, E ACH TICKET WOULD NEED TO COST ABOUT $4 0 MORE TO BREAK EVEN!

Music Rental/Licensing

T H A N K YO U, D O N O R S & S P O N SO R S ! Y O U M A K E E A C H PADUCAH C OSYMPHONY N C EORCHESTRA R T P— O SSIBLE. SCORE SEPT/OCT 2017 43

Hours of Expert Practice

The 10,000 Hour Rule - According to Malcolm Gladwell author of the book Outliers: The Study of Success, 10,000 hours of deliberate practice are needed to become world-class in any field.

50%

90%

of PSO musicians have practiced more than 15,000 hrs over the course of their career

of PSO musicians have practiced more than 10,000 hrs over the course of their career

of PSO musicians have their Doctorate in Music

Where Our Musicians Come From Five Main States: KY

Also from: AL

“The educational program is an important thing,” says Ponti. “Not only are we touching kids’ lives, but we’re also hopefully laying the groundwork for our future audience. They’ll know to come back to the symphony when the time is right. As long as they’ve been introduced to it, they’ll know it’s an option.” By sponsoring or donating to the orchestra, organizations and individuals are also investing in Paducah itself. For Smith, having a world-class symphony orchestra is comparable to having a professional basketball team.

Terminal Degree

educational programs for children in Paducah and the surrounding area. These include summer music camp, visits to local schools by Maestro Ponti, and free regular season tickets for students.

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

“You need a great arena, the best players, great coaching, and a great environment—an experience that’s electric,” Smith says. “The Paducah Symphony, to me, is the music version of that: a magical, dynamic experience that brings great economic impacts to the area. It raises the stature and recognition of the city and brings in tourists and businesses. Having a professional symphony orchestra is no small feat. It’s kind of a luxury item.”

CONCLUSION It takes a team of people countless hours of work to keep the Paducah Symphony Orchestra performing. All the right elements must be in place, from the musicians to the administrative support, to the support from the community. The result is a world-class orchestra that provides more than just an enjoyable concert experience, but that gives back to the community as well.

“IT FILLS ME WITH A GREAT SENSE OF PRIDE THAT I NOW HAVE ASSEMBLED MY WORLD-CLASS SOUNDING ORCHESTRA.” –MAESTRO RAFFAELE PONTI

“You don’t realize what you have until it’s gone,” says Reece King. “If the symphony wasn’t here, we would definitely feel the impact of that. Since it is there, it’s so easy to take it for granted.” For Maestro Ponti, it’s important that the audience realize that the symphony isn’t a remote, untouchable thing. It’s personal, something they can take pride in. “Once people come and hear the orchestra and realize that it’s their symphony orchestra, they go out and they’re proud. That’s the beautiful thing. They can take ownership of it. Whether you give a dollar or a million dollars, this is still your orchestra. We’ll take that dollar, and it’s yours.”

DR. BRIAN BODNARCHUK. ANOTHERSTAR

IN THE OPHTHALMOLOGY GROUP CAST! We welcome Paducah native Dr. Brian Bodnarchuk back to his hometown! He will begin accepting patients starting in September, 2017.

the

Ophthalmology Group, LLP

www.paducaheyes.com • 270.442.1671

*Figure calculated based on 37 survey responses. PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

D I D YOU KNOW WE OFFE R

Rotary Club of Paducah

FRE E TICKE T S TO STUDE NT S?

I T’S T RU E ! WE O F F E R F R E E T I CK E T S TO K–12 S T U D E N T S F O R A L L CO N CE R T S E XCLU D I N G T H E H O L I DAY CO N CE R T. T I CK E T S A R E SU BJ E C T TO AVA I L A B I L I T Y.

paducahrotary.org

CONTAC T THE PSO OFFICE FOR MORE INFOR M ATION: 270.444.0065

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PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

BRAHMS’ 2ND PIANO CONCERTO CONCERT SPONSORS

TCHAIKOVSKY’S 6TH SYMPHONY CONCERT SPONSORS

Mark & Pam Desmond

& Pam PADUCAH SYMPHONY ORCHESTRA Mark Desmond

GOVERNMENT SUPPORT

IN-KIND SPONSORS & PARTNERS

2017–2018 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 March 31, 2017. SYMPHONIC CIRCLE Mr. and Mrs. Bill Brown Mr. Tom DeCillis 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 Dr. & Mrs. Wally Montgomery Mr. & Mrs. L.E. Paulson 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.

Mrs. Robin Gausebeck

MAESTRO’S CIRCLE $5,000+ 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 Mr. & Mrs. Jerry Page Mr. & Mrs. Roger Truitt United Propane Gas

PRESIDENT’S CLUB $2,500-$4,999 Anonymous BB&T Bank Mr. & Mrs. Basil Drossos Ms. Nancy Duff Mr. Bill Ford Blythe, White & Associates Mr. & Mrs. Joseph Framptom

Dr. & Mrs. Paul Grumley Dr. & Mrs. James Gwinn Hilliard Lyons James Marine, Inc. Keuler, Kelly, Hutchins & Blankenship, LLP The Lakes of Paducah Mike Smith Kia Murray State University Paducah Bank Peel & Holland Mr. & Mrs. David Perry Mr. & Mrs. Joe Powell Ray Black & Son Dr. Pamela & Miss Allison Reed Superior Care Home US Bank Mr. & Mrs. Robert Walker Mrs. Belinda Weitlauf Wells Fargo Advisors Mr. & Mrs. John Williams, Sr. Mr. & Mrs. John Williams, Jr. WKMS

Compassionate emergency care. It’s about time.

Learn more at mercy.com/paducah 5951PADADV (7-17)

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

DONCASTER OF PADUCAH

Extraordinary Clothing for Extraordinary Women

MICKEY BROWN, PRESIDENT MARYBBROWN52@COMCAST.NET 847-302-5715

D O NC A S T E R Join us for the Red White & Blue Bash before the concert on November 18th!

PADUCAH SYMPHONY ORCHESTRAâ&#x20AC;&#x201D;SCORE SEPT/OCT 2017

DONORS continued COUNCILOR $1,500-$2,499 Mrs. Pat Brockenborough Mr. & Mrs. Bill Brown Mr. & Mrs. Joe Burkhead Mr. Tom DeCillis Mr. & Mrs. Charles Folsom Mr. & Mrs. Ed Narozniak Rev. & Mrs. Richard Paxton Mr. & Mrs. Fletcher Schrock Dr. & Mrs. Richard Smith Walmart Foundation

GUARANTOR $1000-$1499 Bikeworld Dr. & Mrs. Ted Borodofsky Dr. & Mrs. Paul Grumley Harper Industries, Inc. Judge & Mrs. William Howerton Mrs. Frances Hunt Rev. & Mrs. George Jaeger Kentucky Oaks Mall Kiwanis Club of South Paducah Dr. & Mrs. David Krueger Mr. & Mrs. L.V. McGinty In Honor of Mr. & Mrs. Ed Narozniak by Mrs. Patricia Brockenborough Judge Shea Nickell & Dr. Carolyn Watson Ms. Peggy Paxton Mr. & Mrs. James Petcoff Dr. & Mrs. Lowell Roberts Mr. & Mrs. Richard Roof Rotary Club of Paducah

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

Mr. & Mrs. Fletcher Schrock Mr. & Mrs. Ken Schuppert Mr. & Mrs. John Shadle Rev. & Mrs. Tim Taylor Dr. & Mrs. Dan Tkach Ms. Carol Ullerich Mr. & Mrs. Ken Wheeler

BENEFACTOR $600-$999 Mr. & Mrs. Edward Bach Ms. Pat Beadles Mr. & Mrs. James Carbonel Comcast Dr. & Mrs. P. Tim Harris Mr. & Mrs. Clay Howerton Mr. & Mrs. Theodore Hutchins Independence Bank Rev. & Mrs. George Jaeger Drs. Shawn & Evelyn Jones Mr. & Mrs. Mark Keef

PADUCAH SYMPHONY ORCHESTRA — SCORE SEPT/OCT 2017

DONORS continued Dr. & Mrs. Ronald Kelley

Mr. & Mrs. Charles Moffitt

Mr. & Mrs. William Kellum

Mr. & Mrs. Michael Resnick

Mr. & Mrs. Reece King

Mr. & Mrs. Jerry Severns

Lamon Furniture & Antiques

Mr. & Mrs. Donald Swearingen

Ms. Shirley Lanier

Mrs. Marie Taylor

Mr. & Mrs. Bill Lentz, Jr.

Mr. & Mrs. Michael Taylor

Mr. & Mrs. James Long

Mr. & Mrs. Brad Wallace

Dr. & Mrs. Nicholas Lopez

Mr. & Mrs. Robert Worden

Dr. & Mrs. David Meyer

Mr. Gary Zheng

Mr. & Mrs. Ronald Miller

PATRON $300-$599 Dr. & Mrs. Shaukat Ali Mr. Donald Beaman Mr. Henry Barbour Mr. & Mrs. Jim Barton Ms. Pat Beadles Mr. & Mrs. Mark Benson Dr. & Mrs. William H. Brigance Mr. & Mrs. Mike Cappock Dr. & Mrs. Jimmy Cargill Ms. Kim Chester Dr. & Mrs. C.K. Davis Mr. & Mrs. Kevin Davis

Life without music would

Mr. & Mrs. David Denton Mr. & Mrs. Kevin Diamond Doe’s Eat Place Etcetera Coffeehouse EZ Portable Buildings Dr. Michael & Mrs. Nancy Gavin Dr. & Mrs. G. Grant Gehring Ms. Karen Hammond & Mr. Britt Allgood Mr. & Mrs. Paul Haywood Mr. Jesse Jacob Kalleo Technologies Mrs. Mary Louise Katterjohn Dr. & Mrs. John Kraus Kroger Mr. & Mrs. Doug McKee Ms. Anne McNeilly Midtown Market Mike Smith Toyota Scion Millwork Products Mr. Ernest Mitchell Mrs. Allison Ogden Paducah Running & Cycling Co. Mr. & Mrs. Cletus Poat Mr. William Powers Dr. & Mrs. Charles Ransler Mr. & Mrs. John Reed

paducahlife.com

Mr. & Mrs. Dan Reynolds Mr. & Mrs. Tom Russell Ms. Linda Sandefer Mr. Steven Stahl C Ashley & Dr. Pamela Thurman Mr. Richard & Dr. Catherine Trampe Ms. Peggy Tripp Mr. & Mrs. Buddy Upshaw Mr. & Mrs. John Wells Dr. & Mrs. Gordon Williams Ms. Shirley Wrinkle

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

DONORS continued SUPPORTER $150-$299

MEMBERS $50-$149

Artisan Kitchen

Mr. & Mrs. Rick Ahrens Ms. Nancy Angel Mr. Carl Averitt Mr. & Mrs. Kirk Badger Mr. James Barton Mr. & Mrs. Brian Bell Mr. & Mrs. Gene Biggs Mr. & Mrs. David Boswell Mr. & Mrs. Heath Bowling Mrs. Ellen Ruth Bremer

Backwoods BBQ Banterra Bank Banks Grocery Mr. & Mrs. William Bates Ms. Ann Boss Century 21 Service Realty CFSB Chain Reaction Cycling Club

Mr. & Mrs. William Burch Mrs. Patty Coakley Mr. David Coffey Ms. Lou Coots Mrs. Susan McClure & Steve Darnell Davis Drugs Dr. Patrick & Mrs. LeighAnn Ellison Mr. Robert Gandy Ms. Patricia Goddard Mrs. Patricia Gregory Mr. & Mrs. Rowland Hancock

Mr. Michael Crouse Ms. Martha Copeland Mr. William Cownie & Ms. Carolyn Holm C-Plant Federal Credit Union Lynn Davis Rev. & Mrs. Paul Donner Doncaster Mr. & Mrs. Stan Eckenberg Energy Fitness Mr. Art Feather Ms. Phyllis Flowers Mr. Rory Flynn Ms. Beverly Ford Mr. & Mrs. Randy Fox Ms. Anita Gale

4611035 :063 -0$"- "35 )064& $*/&."

Mr. & Mrs. Ed Grogan Heartland Rehabilitation Services Mr. Rocky Hudson Jimmy Johnâ&#x20AC;&#x2122;s Gourmet Sandwiches Jpâ&#x20AC;&#x2122;s Bar & Grill Mr. & Mrs. Dan Key L.A. Miller CPA Mr. & Mrs. Gerald LaGesse Mr. & Mrs. Charles Matheny McMurry & Livingston, PLLC Mr. & Mrs. Joseph Meredith Mr. Thomas Nall Paducah Beer Werks Paducah Blueprint and Supply Co., Inc. Pizza Inn Mr. & Mrs. Bill Robertson Dr. J. Cody Sandusky Ms. Deborah Shelton Signet Federal Credit Union Mr. & Mrs. David Sparks Rev. Libby & Mr. Jim Wade Western Rivers Insurance Mr. & Mrs. Gabriel Willett Mr. & Mrs. David Wommack Chip Wynn Motors

REAP THE REWARDS FROM SIX DONATION LEVELS, STARTING AT $75: 'SFF 1PQDPSO 7PVDIFST t "ENJTTJPO 1VODI $BSET 4DSFFOJOH GPS :PV 'SJFOET t 0O 4DSFFO "EWFSUJTJOH

More Information at

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DONORS continued Ms. Linda Hart Mr. & Mrs. Robert Holm Mr. & Mrs. Craig Housman Mrs. Karen Howard Dr. & Mrs. Chuck Hulick Mr. Thomas Jenkins Mayor Gayle & Mr. Andy Kaler Mr. & Mrs. Anthony Kiefer Mr. & Mrs. William Kitchen Dr. & Mrs. Bob Leeper Mr. & Mrs. Michael Legendre

Ms. Brenda May Ms. Karen McBee Mr. & Mrs. Brad McElroy Ms. Barbetha Miller Ms. Sue Miller Mr. Jim Orgill Owen Cleaners, Inc. Mr. William Pahl Ms. Kelly Phelps Dr. & Mrs. Joseph Pittard Ms. Eunice Poore

Mr. & Mrs. Kent Price HB Quinn Mr. & Mrs. Richard & Mariowen Reed Mr. & Mrs. James Rudd Mrs. Donna Schmidt Mr. & Mrs. Scott Seiber SEVA Fitness Mr. & Mrs. Barry Smith Mr. & Mrs. Gary Stubblefield Ms. Inez Stiner Mr. David Stuber Ms. Carol Sutherland Mr. & Mrs. David Swann Mr. & Mrs. Glen Titsworth Mr. & Mrs. Riff Turner Mr. Judd Ullom Mr. & Mrs. Tom Ullom Mrs. Dottie Williams Mr. Patrick Willison & Ms. Julie Folsom Ms. Velva Yeomans Dr. & Mrs. James Zellmer

IN HONOR OF… Mrs. Janis Cromwell Mr. & Mrs. Basil Drossos Mr. Bill Ford Alpha Delta Kappa, Lambda Chapter Ms. Phyllis Flowers McDonald’s Ms. Rachel Gilbert Don & Marna Sawyer Paul & Juliette Grumley Jean Ellen Paulson Dr. & Mrs. Joseph Pittard Mr. Richard Holland Ms. Phyllis Flowers Randy & Chris Janne Lee & Carol Clanton Mrs. Mary Louise Katterjohn Jean Ellen Paulson Mr. & Mrs. Richard Roof Mr. & Mrs. Tom Ullom Mr. Judd Ullom Ms. Martha Ullom John & Sherry Shadle Rev. Libby & Mr. Jim Wade Dr. Richard Smith Paul & Juliette Grumley

IN MEMORY OF… Mrs. Ruby Armstrong Roger & Jean Truitt Dr. Ralph Dodds Paul & Juliette Grumley Mrs. Olivia Cave Bill & Marian Bates Rev. Paul & Carol Donner

PADUCAH SYMPHONY ORCHESTRA—SCORE SEPT/OCT 2017

DONORS continued Dr. Paul & Juliette Grumley Mr. William Pahl Mr. & Mrs. David Perry Mr. & Mrs. John Shadle Rev. Libby & Mr. Jim Wade Benjamin C. Gregory Mrs. Pat Gregory Mr. Charles E. Gregory Mrs. Pat Gregory Mr. P.J. Grumley Mr. & Mrs. Tom Russell Mrs. Predrag Sredl Ms. Kristi Hanson Ms. Lou Coots Mr. Mark Donham Ms. Debbie Shelton Mr. Eugene Katterjohn Mr. & Mrs. Richard Coltharp Rev. & Mrs. Paul Donner Mr. Bill Ford Rev. & Mrs. George Jaeger Mr. & Mrs. Michael Orlando Mr. & Mrs. David Perry Mr. & Mrs. R. E. Pugh Mr. & Mrs. Marvin Quinn Mr. & Mrs. Charles Ross Mr. & Mrs. John Shadle Mr. & Mrs. Roger Truitt Rev. Libby & Mr. Jim Wade Mr. & Mrs. Robert Walker Dr. Michael McBee Mrs. Karen McBee Delphine Operle Wally & Gerry Montgomery Margery Paxton du Val d’Epre’mesnil Ms. Pat Brockenborough Mr. & Mrs. Frank Paxton Mr. Larry Phifer Evelyn Archer Josephine Bianchi Kathleen Brockett Jean Collebrusco William & Rita Francis Scherrie Giamanco Brett Gibbs Alice Howrey David & Sara Johnson James Kidder Ken & Mary Darst Kling Helen Lamping Brian Lynch Kevin Lynch Charles Manchester Vasyl Markus Cynthia Massie Elizabeth May

John Ownby Judie Pearson Linda Phifer Dee Phifer-Hercules Kevin & Marcia Pierce Lonnie Rosenberg Paul & Sibylle Marie Schmidt Nancy & Jim Shambro Robert Stewart Summersville Eduation Association Larry & Sally Viebrock

Nathan Wheeler Mr. & Mrs. Russ White Carol Williams Mr. Russ Ogden Mr. & Mrs. Basil Drossos Mr. Bob “Hawk” Taylor Mrs. Marie Taylor Mr. David Weitlauf Mrs. Belinda Weitlauf Ms. Margaret Woytych Dr. & Mrs. Joseph Pittard

Sharing knowledge. Supporting the arts. It’s part of our culture. At BB&T, we’ve been sharing financial knowledge with our clients and communities for more than 140 years. We also share a passion for arts and culture, and proudly support the exceptional work of arts organizations locally and across the state. Please join us in celebrating the creativity that enriches our community and gives us so many memorable experiences to share. BBT.com

Proud Sponsor of Paducah Symphony Orchestra

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I N S U R A N C E

I N V E S T M E N T S

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The Carson Center 2017-18