Hilton Head Symphony Orchestra 2016-17

HHSO

2016 2017 hhso.org

3 5 TH S E A S O N

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CONNECTING THE COMMUNITY FOR 30 YEARS.

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consult | create | connect

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TABLE OF CONTENTS Welcome to our 35th Season!

Table of Contents . . . . . . . . . . . . . . . . . .

From the Mayor . . . . . . . . . . . . . . . . . . .

From the Chairman . . . . . . . . . . . . . . . . .

Mary Briggs Music Education Fund . . . . . . . .

From the President and CEO . . . . . . . . . . .

Music Bridges. . . . . . . . . . . . . . . . . . . . .

Student Letters . . . . . . . . . . . . . . . . . . .

Board and Administrative Staff . . . . . . . . . . .

From the Music Director & Principal Conductor .

From the President of the LHHSO . . . . . . . .

Meet the Orchestra . . . . . . . . . . . . . . . .

Meet Our Musicians. . . . . . . . . . . . . . . . .

HHSO Legacy Society / League HHSO Board . .

Endowed Chairs / Musicales . . . . . . . . . . . .

Donors Supporting the Music . . . . . . . . . . .

Businesses Supporting the Music . . . . . . . . . .

Conductor Profile . . . . . . . . . . . . . . . . . .

HHSO Youth Concerto Competition . . . . . . .

Symphony Under the Stars . . . . . . . . . . . . .

Hosting a Musician. . . . . . . . . . . . . . . . . .

2017 International Piano Competition. . . . . . .

League Fashion Show/Luncheon . . . . . . . . . .

Carnegie/ChangYong Shin. . . . . . . . . . . . . .

Lean Ensemble. . . . . . . . . . . . . . . . . . . .

Art League of Hilton Head . . . . . . . . . . . . .

In Gratitude to League . . . . . . . . . . . . . . .

League Kitchen Tour . . . . . . . . . . . . . . . .

Chefs & Clefs . . . . . . . . . . . . . . . . . . . .

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24-25 29 33 36-37 . . . 38 . . . 39 . . . 57 . . . 75 . . . 93 . . 103 . . 107 . . 115 . . 119 120-121 . . . . 124 . . . . 125 . . . . 127 . . . . . .

INTERESTED IN UPDATES?

The Symphony periodically emails its concert-goers with updates and reminders of upcoming events. If you are not currently on our email list, and wish to receive updates by email, please call our office at 843-842-2055 or go online at www.hhso.org and send us a message with your email address. All email addresses are for the sole use of the orchestra.

Concerts

Opening Night Gala . . . . . . . . . . . . . . . . . . . . . . 41 Meet the Artist: Pianist Garrick Ohlsson. . . . . . . . . 42 About the Music . . . . . . . . . . . . . . . . . . . . . 43 Viva España . . . . . . . . . . . . . . . . . . . . . . . . . .

Meet the Artist: Violinist Stephen Waarts . . . . . . . .

About the Music . . . . . . . . . . . . . . . . . . . . .

Holiday Pops! . . . . . . . . . . . . . . . . . . . . . . . . .

Meet the Artist: Violinist Haeun Kim . . . . . . . . . . .

Meet the Artists: Chorus Master Robin Lind/HHSOC .

Saint-Saëns – Organ Symphony . . . . . . . . . . . . . . .

Meet the Artist: Organist Chad Martin . . . . . . . . .

About the Music . . . . . . . . . . . . . . . . . . . . .

Tchaikovsky – Fourth Symphony . . . . . . . . . . . . . .

Meet the Artist: Pianist ChangYong Shin . . . . . . . . .

About the Music . . . . . . . . . . . . . . . . . . . . .

47 48 49 53 . 54 . 55 59 60 61 65 66 67 71

Lowcountry Pops! A Gullah Celebration . . . . . . . . . .

Meet the Artists: Savannah Children’s Choir / HH Dance Theatre . . . . . . . . . . . 72 Meet the Artist: Natalie Daise. . . . . . . . . . . . . . . 73 Mendelssohn – Italian Symphony . . . . . . . . . .

Meet the Conductor: Ken Lam. . . . . . . . . .

Meet the Artist: Clarinetist Charles Messersmith About the Music . . . . . . . . . . . . . . . . .

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Brahms – A German Requiem. . . . . . . . . . . . . . . . 85 Meet the Artist: Soloist Alexandra Schoeny . . . . . . . 86 Meet the Artist: Soloist Thomas Dreeze. . . . . . . . . 86 Meet the Artists: Chorus Master Michael Schwartzkopf / HHSOC . . . . . . . . . . . . . . . . . 87 Meet the Artist: Director, GSC Shannon Jeffreys . . . . . 88 About the Music . . . . . . . . . . . . . . . . . . . . . 89 Beethoven – Seventh Symphony. . . . . . . . . . . . . . . 95 Meet the Artist: Pianist Jane Coop . . . . . . . . . . . . 96 About the Music . . . . . . . . . . . . . . . . . . . . . . 97

Performance Sponsors Platinum, Gold, Silver & Bronze Sponsor Logos . . . . . . . . . . . . .

Inside Back Cover

Hilton Head Symphony Orchestra • 2 Park Lane, Suite 300/301 • Hilton Head Island, SC 29928 843-842-2055 • www.hhso.org All concerts are held at the First Presbyterian Church, Hilton Head Island

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WELCOME TO THE HHSO’S 35TH SEASON

GREETINGS FROM THE

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MAYOR

t is my distinct honor and privilege to welcome you, on behalf of the Town of Hilton Head Island, to the 35th Season of the Hilton Head Symphony Orchestra, which is fabulously entitled “Music of Grandeur and Majesty”.

And now prepare to be transported! Perhaps, you’ve arrived here from just down the street. Maybe you’ve voyaged across the world. But from the seat you now occupy, you will assuredly journey. For what a time machine or ruby slippers most certainly cannot do, music can and does. Indeed, Leopold Stokowski, the British orchestra conductor, who was famous for leading the music of numerous Hollywood motion pictures including Disney’s “Fantasia”, once said, “Music expresses for us all the deepest, most intense yearning of the soul…(It) cares nothing for convention and the four walls of a concert hall. It is free, like a bird in the mountains. It is remote, untamed, like the wind and the waves far out in the ocean.” (Music for All of Us) Is there any doubt that the music made by this magnificent HHSO decidedly enriches Hilton Head Island? Its offerings mark the seasons of our lives as well as the holidays on our calendars. Its leaders and musicians bring not only harmony and orchestration to the stage, but also reach and teach the young and old alike, all across our county. It celebrates and shares the unique gifts and remarkable talents of local musicians and invites world-class visitors from near and far.

Thank you, President and CEO Mary Briggs, for pouring your heart, soul and expertise into the Hilton Head Symphony Orchestra. Thank you to the enlightened and diligent Board of Directors. And thank you, to the inimitable John Morris Russell. You are indeed a treasure and blessing to this community. Your masterpieces enthrall your audiences, and your commitment to our youth with outreach performances and instruction at the Boys & Girls Club and local schools will ensure the next generation has music in their hearts and souls.

I’m incredibly grateful to the Hilton Head Symphony Orchestra for embracing and sponsoring the acclaimed International Piano Competition and the HHSO Youth Concerto Competition. These hallmark performance series make a significant positive impact on countless young lives by showcasing fresh talent and creating new horizons in music and the arts across the globe.

So, bravo once again to the Hilton Head Symphony Orchestra and all who support it. I fully expect this year’s nine concert, 17 – performance season “Music of Grandeur and Majesty” to be fabulous.

DAVID BENNETT Mayor Hilton Head Island

Is there any doubt that the music made by this magnificent HHSO decidedly enriches Hilton Head Island? Its offerings mark the seasons of our lives as well as the holidays on our calendars.

Warmest wishes, David Bennett, Mayor The Town of Hilton Head Island

2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

would like to extend a warm welcome to all of you as we begin our 35th Season of the Hilton Head Symphony Orchestra (HHSO). Our theme this year is “Music of Grandeur and Majesty”. I believe that you will find the concert experience this season to be engaging and delightful. It all begins with the preconcert talks, great programs and performances, followed by wonderful postconcert receptions where you can interact with the Maestro, the musicians, staff and friends.This is an exciting time for our orchestra as we strive to continue our success of the past three years.

Last season was the third year in a row where we had positive financial results primarily due to improved ticket sales, greater A-tax funding and good overall management of expenses and income. In addition to our operational results, we also received bequest funds that allowed us to replenish our reserves, pay off our short term loan and eliminate our annual cash flow problem resulting in improved financial stability. These improvements do not just happen. It requires good management and leadership. Our Board is a diverse group with different backgrounds and experiences, and that is what makes them a strong and creative Board. We have an outstanding and hard-working staff under the capable leadership of Mary Briggs, President and CEO, and John Morris Russell, Music Director and Principal Conductor, one of the finest conductors in the country.

We are fortunate to have so many talented musicians and vocalists who provide high-quality performances and are committed to excellence in music and programming to “bring the music to life” in Hilton Head and the Lowcountry.

Our Orchestra League is one of the best anywhere in the country with over 400 members providing outstanding fundraising and volunteer support who presented us a check for $65,000.This organization is an example of volunteerism at its best.

The HHSO is a wonderful asset to our community, and we continue to grow in our number of concerts, music offerings, and educational programs. However, none of this is possible without your support as ticket subscribers and most importantly, donors and sponsors. If you look through your program book for this season you will see the many organizations, businesses and individuals that are supporting the HHSO. It is an impressive list and we are very grateful for the support and the confidence the community has in the HHSO. If you are a donor or sponsor, we thank you for your support and, if you are not, we would hope you would consider a donation to support the many programs of the HHSO. Also, there are other ways you can get involved, and we would welcome your participation through our volunteer organization, the HHSO League, or one of the orchestra committees.Your involvement will be most appreciated so that we can provide you this wonderful season, “Music of Grandeur and Majesty”.

JIM WILLARD Chairman of the Board

Last season was the third year in a row where we had positive financial results primarily due to improved ticket sales, greater A-tax funding and good overall management of expenses and income.

Jim Willard Chairman of the Board Hilton Head Symphony Orchestra The real winners of the RBC Heritage are the thousands of people the tournament helps each year through The Heritage Classic Foundation. Since it was founded in 1987, the Foundation has distributed to a wide variety of charitable organizations. As one of the recipients of the Foundation’s charity, the Hilton Head Symphony Orchestra offers a heartfelt “Thank You”!

2016–2017

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LEGACY SOCIETY WELCOME TO THE HHSO’S 35TH SEASON

YOUTH PROGRAMS CONTINUE TO EXPAND THANKS TO GENEROUS BEQUEST AND CREATION OF

MARY BRIGGS MUSIC EDUCATION FUND

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he Hilton Head Symphony Orchestra continues to expand several of its Youth programs thanks to the generosity of individual donors and a number of grants.We have actively sought support for this vital area of our work.That support has materialized through an Arts in Education grant from the South Carolina Arts Commission, several corporate sponsorships, one large individual bequest and donations to the Mary Briggs Education Fund created just a year ago.

These funds are allowing us to expand our Music Bridges program to the second grade level in our three schools. This is a 25% increase in services to local schools.

We will also, after 5 years of offering after school strings at the Hilton Head Boys and Girls Club, be offering a new program in Bluffton at Red Cedar Elementary. The new program will offer strings two days a week and woodwinds and brass two days a week.

We will purchase instruments, music stands, music books and fund the teacher for the program. We are very excited to begin our first off-island program.

Our HHIPC competitors will continue to perform in local schools in both Bluffton and Hilton Head.

The Concerto Competition supports young musicians from the Southeastern states offering them the opportunity to compete for cash prizes and the chance to perform with the HHSO and in recital at local venues.

The HHSO also offers scholarships and support to young musicians upon request for instruments or tuition and supports the Beaufort Youth Orchestra by offering them a performance venue in the spring.

Youth programs are supported by special funding. If you would like to support our programs you can do so by making a contribution to the Mary Briggs Education Fund.

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HILTON HEAD SYMPHONY ORCHESTRA

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WELCOME TO THE HHSO’S 35TH SEASON

elcome to the 35th season of the Hilton Head Symphony Orchestra!

It is such a pleasure to begin the season knowing that we have just completed another season of soaring artistic and solid financial success. Last year the orchestra again made great strides in performance and enjoyed a financially successful year. Surplus funds from last season continue to rebuild depleted reserves.

Subscriptions and single ticket sales continue to outstrip previous years. Income from ticket sales exceeded budget.

Young guest artists continue to delight our audience and musicians with their skills and artistry throughout the season.

• Holiday Pops! is a Lowcountry favorite that heralds the holiday season. This year we will feature the animated film “The Snowman”.

• Back again this season is Lowcountry Pops! A Gullah Celebration which will celebrate our rich cultural heritage and will feature the Hilton Head Dance Theater and other local artists.

• Youth programs are healthy and growing at the Boys and Girls Club and schools.

Our school program, Music Bridges brought orchestra musicians to over 800 3rd through 5th grade students in three schools on four occasions. This season we plan to expand the program to include 2nd grade students.

• Guest artists, competitors of the Hilton Head International Piano Competition, and our Music Director, John Morris Russell worked with and performed for several thousand public and private school students throughout the year.

• The Hilton Head International Piano Competition will hold its 22st annual competition in March.The first two rounds (Monday-Thursday) will be held at the Arts Center of Coastal Carolina then it will return to First Presbyterian Church for the final round with the orchestra conducted by Maestro John Morris Russell.

• The HHSO Concerto Competition attracts applicants from the nine southeastern states. Finalists compete for cash prizes and the opportunity to perform for the orchestra and other recital opportunities.

• Symphony Under the Stars will delight everyone with Flower Power! Celebrate the 60s next April.You won’t want to miss this one.

• You will note the beautiful art work that enhances this program. It is compliments of our partnership with the Art League of Hilton Head, one of many partnerships with our Lowcountry arts organizations.

MARY M. BRIGGS President and CEO

The excitement of last season did more than promised. It lit the stage for a bigger, brighter season this year.

The excitement of last season did more than promised. It lit the stage for a bigger, brighter season this year. We’re pleased you have joined us for Music of Grandeur and Majesty.

Mary M. Briggs President and CEO

2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

MUSIC BRIDGES – 2016-2017

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uilding on its inaugural year’s success, HHSO expanded Music Bridges, its music-in-the-schools educational engagement program under the leadership of Maestro John Morris Russell. In 2015-16 HHSO added Hilton Head Preparatory School to the roster of participating schools, complementing Music Bridges’ charter programs, Red Cedar Elementary School in Bluffton and the Hilton Head Elementary School-International Baccalaureate on Hilton Head Island.

Following three separate training visits by our musicians throughout the season to students in the 3rd, 4th and 5th grades of each participating school, Music Bridges culminated with the students traveling to the Seahawk Cultural Center to hear a full HHSO concert under the direction of Maestro Russell.

The goal of this program is to awaken musical excitement in all of the 10,000+ students of the southern Beaufort School System by giving them opportunities to meet professional musicians, learn about musical instruments, and hear OUR orchestra perform. Moving closer to our goal, we will add 2nd grade to our program this coming season.

2016–2017

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HILTON HEAD SYMPHONY ORCHESTRA

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WELCOME TO THE HHSO’S 35TH SEASON

2016–2017

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2016 – 2017 BOARD OF DIRECTORS & STAFF As of September 1, 2016

BOARD OF DIRECTORS James Willard

Chairman of the Board

James Collett

Vice-Chair of the Board Chairman Strategic Planning

Tim Ridge Secretary

Paul Moeri

Treasurer, Chairman Finance Committee

Mary Briggs

President and CEO

HHSO ADMINISTRATIVE STAFF

Gordon Hassing

Mary M. Briggs President and CEO

Dorothy Holmes

Sarah Bergin

Mario Incorvaia

Director of Marketing

Joseph Gimbel

Paul Lang

HHSO Youth Concerto Comp. Dir.

Eric Magnin

Mona Huff

Bob Mason

Hilton Head International Piano Competition Director

Tarrant Putnam

Mario Incorvaia

Lorene Thornbury

Vice-President for Operations

William Thorpe

Gayle Lang

Hal Ashworth

Lois Wilson

HHSO Chorus Manager

Sandra Benson

Kate Yachini

Assistant to the HHIPC Director

Robert Cherichella Stan Cooke Kathleen Corley Joan Dattelbaum

Linda Neff

Mary Ann Rebish

Ex Officio:

Executive Assistant

John M. Jolley

Susan Strange

of Counsel McNair Law Firm

Chief Accountant

Jim Way

Administrative Manager

Carolyn Hack

WHO WE ARE OUR VISION

To inspire, enrich and unite the Lowcountry through music.

OUR MISSION

Inspire ...audiences through outstanding and accessible orchestral music ...young musicians through opportunities to perform and be recognized Enrich the Community through ...youth programs ...community performances Unite the Lowcountry by ...collaborating with other cultural organizations ...celebrating our unique cultural heritage ...promoting the Lowcountry as an arts and cultural destination Strengthen Our Resources to Support Financial Sustainability and Growth 18

www.hhso.org

PAST BOARD CHAIRMEN

Frank Pape . . .

Gordon Gillette .

Willis Shay . . .

Charles Taylor . .

Ross Rutherford .

Charles Taylor . .

Robert Rada. . .

Walt Graver . . .

Charles Taylor . .

Fred Caswell . .

Margaret Arrington Edward Parrish . .

Darle Booher . .

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1982 – 1984 1984 – 1988 1988 – 1993 1993 – 1997 1997 – 1998 1998 – 1999 1999 – 2002 2002 – 2003 2003 – 2005 2005 – 2008 2008 – 2010 2010 – 2013 2013 – 2015

HHSO PROGRAM DESIGN: Publishing / Marketing Advisor: Marc Frey, Frey Media Design / Production: Hilton Head Monthly Jeremy Swartz, Charles Grace

HILTON HEAD SYMPHONY ORCHESTRA

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WELCOME TO THE HHSO’S 35TH SEASON

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WELCOME TO THE 2016-2017 SEASON OF YOUR HILTON HEAD SYMPHONY ORCHESTRA!

or all the years I have lived, worked and played here, I am still in awe of the massive live oak trees that reign over the Lowcountry landscape: the massive undulating trunks and flowing limbs, cloaked in deep green moss and erupting in Lazarus ferns; the dappled light dancing through filigreed leaves and Spanish moss.

To me, these great trees sing a song of life, memory and grandeur. And yes, I hear Tchaikovsky and Saint-Saens in these gentle giants, Brahms, and Mendelssohn too. I hear the sounds of the Gullah traditions; celebrations, triumphs and tragedy, and the voices of children, nurtured in music, laughter and joy.

Our 2016-2017 season brings together a remarkable ensemble of musicians from around the Southeast and soloists from around the world and just down the road.

We gather with you over the coming months to share a unique musical spirit that is inspired by the sheer beauty and majesty of this place. Welcome to the Hilton Head Symphony Orchestra experience--the symphony of the Lowcountry.

John Morris Russell Music Director, Hilton Head Symphony Orchestra

JOHN MORRIS RUSSELL Music Director & Principal Conductor

Our 2016-2017 season brings together a remarkable ensemble of musicians from around the Southeast and soloists from around the world and just down the road.

PRE-CONCERT TALKS Pre-Concert talks with Maestro Russell will be held in the Church an hour before each concert: 7:00pm for Monday concerts and 3:00pm for Sunday concerts.

There will be no concert talks for pops concerts – Holiday Pops and Lowcountry Pops - A Gullah Celebration.

2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

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THE SIGNIFICANCE OF VOLUNTEERISM

he League of the Hilton Head Symphony Orchestra is a dedicated group of volunteers that often work behind the scenes to support the Hilton Head Symphony Orchestra. As this 35th Season of Grandeur and Majesty soars, and you are enjoying the music, League members have already donated many hours in planning a season of special events. Over a nine month period the League will be involved with twenty- three events as volunteers.

Some of these events are fund raising in nature and include the September 25th Kitchen of Note tour of six beautiful Berkeley Hall homes, six Sunday Musicales from October through April in private homes and the Spring Fashion Show in March.

Other activities support orchestra events; such as the after concert receptions, the International Piano Competition, the Youth Concerto Competition, Symphony under the Stars and the Concours. Last orchestra season league members devoted in excess of two thousand hours of volunteer effort and were able to donate over sixty-five thousand dollars to our orchestra.

This year the League will again sponsor the concert receptions after the Monday evening performances. During these receptions you have an opportunity to visit with not only music friends, but guest artists and members of the orchestra. Last year we all enjoyed the competitive spirit created having these hosted by our different communities as well as the Boards of both the orchestra and the League.

They were all winners and you may judge for yourself again this year when we repeat the same.You will be able to find many of the wonderful recipes for this and other events in our 20th Anniversary Cookbook entitled: Overtures and Encores, a symphony of savories and sweets, which will be available for purchase at all events.

Probably one of the most rewarding aspects of being a League member is having the opportunity to meet and work with the four hundred plus wonderful dedicated individuals who are passionate about supporting our orchestra.The League Board, which is comprised of twenty individuals, meets monthly, while many committees meet as needed to keep the activities on target. Select an event that you are comfortable with and please become a volunteer.

If you are not already a member, please join us for this season to show your support for music in the Lowcountry.Applications are available at concerts and may be downloaded from the HHSO web site. Membership entitles you to receive the first invitations to events such as the Sunday Musicales, the Spring Fashion Show, the Kitchen Tour and of course our membership appreciation party Spring Fling.

Thanks to everyone for your volunteer efforts, enjoy this season of music of grandeur and majesty.

STAN COOKE President League of the Hilton Head Symphony Orchestra

Probably one of the most rewarding aspects of being a League member is having the opportunity to meet and work with the four hundred plus wonderful dedicated individuals who are passionate about supporting our orchestra.

Stan S. Cooke, President League of the Hilton Head Symphony Orchestra

2016–2017

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2016-2017 HHSO ORCHESTRA PERSONNEL (Section Strings Rotate Seating)

MUSIC DIRECTOR AND CONDUCTOR John Morris Russell The Estate of Robert and Margaret Gallagher VIOLIN I Terry Moore, Concertmaster Savannah, GA Aldine W. Schroeder Memorial Chair VIOLIN II Frances Hsieh, Principal Charleston, SC SECTION VIOLIN Jean S. Wolff Chair in memory of Alfred W. Wolff Jonathan Aceto Statesboro, GA Barbara Borg Charleston, SC Ann Cafferty* Savannah, GA Jason Economides Macon, GA Micah Gangwer Charleston, SC Rafe Goldman Charleston, SC Kellen Gray Valdosta, GA Mario Incorvaia Savannah, GA Tomas Jakubek Charleston, SC Catherine Klimoff Hilton Head Island, SC Angela Loizides Charleston, SC Erica Monkman Savannah, GA Melinda Rubin Savannah, GA Kerri Sellman Savannah, GA Essena Setaro Asheville, NC C. Gerome Stewart Atlanta, GA Marina Volynets Savannah, GA

Olive Warrenfeltz Beaufort, SC Jonathan Wright Atlanta, GA Na You Yang Bluffton, SC VIOLA Lizhou Liu, Principal Savannah, GA Mary & Michael Briggs Chair Arkady Agrest Charleston, SC Yuri Kholodov Savannah, GA Jeffery Watson Columbia, SC Scott Garrett Fort Mill, SC Vasily Gorkovoy Charlotte, NC Taliaferro Nash Savannah, GA Matthew Peebles Charleston, SC CELLO Sarah Schenkman, Principal Savannah, GA Ellen & Charles Taylor Chair Barbara Altman Macon, GA Charmaine Leclair Charleston, SC Elizabeth Murphy Atlanta, GA Lee Richey Winston-Salem, NC Grave Sommer Atlanta, GA Cynthia Sulko Atlanta, GA Joshua Teague Atlanta, GA Mary Ann Watson Columbia, SC BASS Peter Berquist, Principal Savannah, GA Thomas Bresnick Charleston, SC

Joseph Farley Winston-Salem, NC Vadim Volynets Savannah, GA

Debra Sherrill-Ward Charleston, SC Anne Holmi Charleston, SC

FLUTE Lorraine Jones, Principal Savannah, GA Erna B. Graver Memorial Chair Tacy Edwards Charleston, SC

TRUMPET Paul Wesley Lott, Principal Savannah, GA Nancy & John Diamond Chair Phil Ehrmann Atlanta, GA Todd Jenkins North Augusta, GA

OBOE Zachary Hammond Acting Principal Charleston, SC Reid Messich, Acting Principal Athens, GA Lauren Stuligross, Co-Principal Hilton Head Island, SC Patty & Dave Ekedahl Chair Kelly Odell Augusta, GA CLARINET Charles Messersmith, Principal Charleston, SC Marge & Paul Coble Chair in memory of Don E. Coble Russell Floyd, Co-Principal Hilton Head Island, SC Gretchen Roper Charleston, SC BASSOON Katherine St. John, Principal Charleston, SC Doris & Willis Shay Chair Brad Behr Jacksonville, FL Raymond Patricio Savannah, GA HORN Stephanie Mason, Principal Statesboro, GA Liz & Walt Schymik Chair in memory of Catherine B. Kaufman Brandon Nichols Charleston, SC

TROMBONE Carl Polk, Principal Savannah, GA Lin & Robert Rada Chair Kate Jenkins North Augusta, GA Mark Sellman Savannah, GA TUBA Christopher Bluemel, Principal Charleston, SC Dr. William P. and Judy F. Thorpe (in honor of Richard B. Heyman, MD) TIMPANI Ray McClain, Principal Savannah, GA Marianne and George Krall PERCUSSION Stephen Primatic, Principal Savannah, GA Sandy & Fred Caswell Chair Mathew Fallin Statesboro, GA Ryan Leveille Charleston, SC HARP Patricia Anderson, Principal Atlanta, GA League of Hilton Head Symphony Orchestra Chair KEYBOARD Michael Braz, Principal Statesboro, GA Mary Ellen & Jack McConnell Chair

*on leave of absence 2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

MEET OUR MUSICIANS 2016 -2017 KATHERINE ST. JOHN PRINCIPAL BASSOON Katherine St. John has been performing with the Hilton Head Symphony Orchestra since 2003. She played Second Bassoon for a couple of seasons and then was promoted to Principal Bassoon 10 years ago. She has been a core member of the Charleston Symphony Orchestra since 1992 and was Acting Principal Bassoon with the CSO 2009-2015. In addition to orchestral performances Kathy plays Chamber Music with her friends, teaches talented young bassoonists throughout the Charleston area and teaches at CSU as Adjunct Professor of Bassoon. One of her performance highlights was performing a Vivaldi Concerto with Charles Wadsworth at the harpsichord keyboard in The Dock Street Theatre for the Spoleto Festival Chamber Music Series.

Kathy grew up in Atlanta, Georgia and received her Bachelor of Music in Bassoon Performance from the Cleveland Institute of Music in Cleveland, Ohio. Her primary teachers have been George Goslee, Principal Bassoonist of the Cleveland Orchestra, Carl Nitchie, Principal Bassoonist of the Atlanta Symphony and David McGill, Principal Bassoonist with the Chicago Symphony Orchestra.

In 1999 she was featured on the National Television Show “Ron Hazleton’s House Calls” where she learned how to tile her bathroom floor. After many home improvement projects with the help of family and friends (especially Charlie Messersmith, HHSO and CSO Principal Clarinet) she turned to gardening (not to be confused with actual lawn work!) and rediscovered a love of tending to flowers of all kinds.

Kathy is married to frequent audience member and her biggest fan Michael St. John, an electrical engineer from GA Tech. Cashew (as she’s called by her many nieces and nephews) enjoys being a tourist in new locations especially when there’s snorkeling involved. She also enjoys making stained glass panels, painting classes and dark chocolate.

LIZHOU LIU PRINCIPAL VIOLA Lizhou Liu, originally from Beijing, China, earned his B.A. degree from The Central Conservatory of Music in Beijing, China, and his Master’s degree from the State University of New York at Stony Brook. Lizhou’s prizes include first place in the

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1988 SUNY Concerto Competition and the “Menuhin Prize” at the Portsmouth International Quartet Competition in 1982.

Lizhou has held positions asAssistant Professor of Viola at Beijing’s Central Conservatory of Music and served as principal viola with the Savannah Symphony, Hilton Head Symphony Orchestra, Beijing Chamber Orchestra and the Tchaikovsky Chamber Orchestra in New York. As a soloist, he premiered modern composer Chen Yi’s viola concerto, “Xian Shi” with the Beijing Film Orchestra, the Central Opera Orchestra and the Central Philharmonic in China.

Other solo performances include “Don Quixote” with YoYo Ma and the Savannah Symphony in 2000 and Berlioz’ “Harold in Italy” with the Hilton Head Symphony Orchestra in 2002.

Currently he is Principal Viola with the Savannah Philharmonic and the Hilton Head Symphony Orchestra. In February 2013, Lizhou gave the American premier of “Xian Shi” with the Boston Modern Orchestra Project (BMOP) at Jordan Hall, New England Conservatory.The Boston Music Intelligencer wrote,“Soloist Lizhou Liu gave a powerful, gung-ho performance with brilliant execution of the many difficult passages and techniques, and gorgeous harmonics in the lyrical sub-theme... Liu shone through pure brute force, on top of his grand technique.”

Lizhou is married to violist, Yvonne Johnson, and they have three children. Lizhou enjoys fishing on his 16 foot boat and the occasional deep sea trip! He also is a photographer, specializing in scenery and family portraits.

MICHAEL BRAZ PRINCIPAL KEYBOARD Dr. Michael Braz is an internationally known music educator, composer, and clinician. For over forty years, his pianistic and teaching skills have helped to make music accessible to children and adults on three continents.

Braz received B.M. and M.M. degrees from the University of Miami and a Ph.D. from Florida State University. A keyboard soloist in England’s Haslemere Festival of Early Music, he has also collaborated with numerous orchestras, music festivals, and ensembles ranging from chamber music to jazz and rock. Currently Principal Keyboard of the Hilton Head Symphony, he performed in the 2014 Savannah Music Festival.

With over twenty published works, Braz has created orchestral/ choral commissions for professional, collegiate, and school/ community ensembles across the country and was a recipient of an American Composers Forum/Rockefeller Brothers Fund “Faith Partners” grant. He has written two operas: Memoirs from

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WELCOME TO THE HHSO’S 35TH SEASON

the Holocaust (inspired by a visit to the Dachau concentration camp site) and A Scholar Under Siege, concerning racial politics in 1941 Georgia.

Currently Professor Emeritus of Music at Georgia Southern University, Dr. Braz is in demand as a collaborative pianist, lecturer, and adjudicator. He has participated in overseas artist teaching/ performing residencies at St. Benedict’s Catholic School and Performing Arts College (Derby, England), Nepal Music Center (Kathmandu), and Huazhong Normal University (Wuhan, China).

A former volunteer with the U.S. Peace Corps, Braz has also served as President of the Statesboro (GA) Arts Council and has received Georgia Southern’s President’s Medal and the Statesboro Herald’s “Humanitarian of the Year” honors. In fall 2009, he received recognition by the David H. Averitt Center as its third—and first living—“Legend in the Arts.”

His hobbies include comparative religions and trekking in the Nepal Himalayas.

PETER BERQUIST PRINCIPAL BASS Peter Berquist is Principal Bass of the Hilton Head Symphony Orchestra, a position he has held since 2001. He also performs regularly with the Savannah Philharmonic, the Charleston Symphony and other regional ensembles. Prior to moving to Savannah, Peter performed with the Rochester Philharmonic, Buffalo Philharmonic, the Spoleto Festival Orchestra, and was a member of the U.S. Marine Band in Washington, D.C for eight years. He has also performed with many jazz ensembles, including the Savannah Jazz Orchestra. He received a degree in musical performance from the Eastman School of Music.

He enjoys hiking when he can get away.

STEPHANIE FURRY MASON PRINCIPAL HORN Stephanie Furry Mason has served as Principal Horn with the Hilton Head Symphony Orchestra since 2003. She also freelances and performs throughout the region as a soloist, chamber, and orchestral musician.

Additionally, Stephanie teaches horn and chamber music at Georgia Southern University.

Prior to moving to Georgia, Stephanie was a full-time musician in Los Angeles. She can be heard on more than 100 recordings of various ensembles and in a variety of styles, having recorded at Capital Records, Sony Studios, Universal Studios, Paramount Pictures, Tod A-O, and numerous other Los Angeles studios. Her movie recording credits include Meet Joe Black,The Negotiator, For Love of the Game, and South Park. Her prior orchestral experience includes 7 years with the Pacific Symphony (CA) under the direction of Carl St. Clair, as well as performing with the Hollywood Bowl Orchestra, Hollywood Brass Ensemble, Santa Barbara Symphony, and numerous other regional orchestras. Stephanie also enjoyed orchestral and solo appearances in New York, Washington D.C., Manchester (England), Florence (Italy), and Munich (Germany).

Stephanie lives in Statesboro, Georgia with her musician/professor husband Rick and their very spoiled rescue-dog Urbie.

RAY MCCLAIN TIMPANI Ray McClain, the son of Jane and Ray McClain, is a native of Jacksonville, Florida. As a child, Ray sang in choir and played the piano. He began playing percussion in the eighth grade. For Ray, music was, and is, a source of great joy and, at times, good therapy for dealing with depression.

He originally prepared for a career in church music, earning degrees from Stetson University and Southwestern Baptist Theological Seminary. Eventually Ray realized that he could glorify God as an orchestral musician. In 1987 he became timpanist and operations manager with the Arkansas Symphony Orchestra. A move to Savannah for family reasons interrupted life as a timpanist; fortunately, in 1991 Ray began playing percussion with the Savannah and Hilton Head Symphony Orchestras, and in 1992 with the Charleston Symphony Orchestra.

He began serving as timpanist with Hilton Head in 2004, and with the Savannah Philharmonic Orchestra in 2009. Ray studied timpani with Laura Stotesbery-Fischer (Florida Symphony Orchestra, retired), the late Cloyd Duff (Cleveland Orchestra), David Morris (Valdosta State University), and Mark Yancich (Atlanta Symphony Orchestra).

Ray’s hobbies include model railroading, bicycling, and photography.

He and his wife Rebecca have been married for 32 years, and are the parents of Christopher and Matthew.

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WELCOME TO THE HHSO’S 35TH SEASON

THE LEAGUE OF THE HILTON HEAD SYMPHONY HILTON HEAD SYMPHONY ORCHESTRA LEGACY ORCHESTRA SOCIETY IS A LEGACY GIFT FOR YOU?

What’s important to you? What are your values? How do you want your life to touch others? What would make you proud? If you had to do one thing to improve your world, what would your contribution be? How can you leave your mark on whatever you do? How do you want to be remembered?

If the Hilton Head Symphony Orchestra has played an important role in your life, consider becoming a member of the Hilton Head Orchestra Legacy Society.

PLANNED GIVING:YOUR LEGACY FOR BEAUTIFUL MUSIC! Create Your Legacy. Discover the many ways you can help secure the future of the HHSO and keep the music playing for generations of music lovers to come. These donations will be placed in an endowment fund to meet the future needs of the HHSO. There are many ways you can maximize the impact of your gift to the orchestra: Outright Gifts: cash, securities, real estate, business and partnership interests or personal property.

Life-Income Gifts: charitable gift annuities, charitable remainder trusts and charitable lead trusts.

Gifts through Your Estate: Name the HHSO as a beneficiary in your will of specific assets, such as a 401K, IRA, or life insurance policy; or you can give a portion of your residual estate.

Please consider strengthening the HHSO with your planned gift to keep classical music alive in the Lowcountry. By becoming a member of the HHSO Legacy Society, your name will forever be inscribed in the annals of the orchestra.

Let us know if you have already included us in your estate plan so that we can thank you and welcome you as a member of the HHSO Legacy Society. For more information, call or email Mary Briggs at mbriggs@hhso.org or at 843-842-2055.

CHARTER MEMBERS OF THE HILTON HEAD SYMPHONY ORCHESTRA LEGACY SOCIETY: Darle & Robert Booher

Bradley Jacobs

Mary & Michael Briggs

Mary Ann & Tarrant Putnam

Cary & Peter Fleming

Sandy & Ralph Drayer

Robert & Margaret Gallagher

BOARD OF DIRECTORS 2016-2017

EXECUTIVE COMMITTEE President: Stan Cooke

Vice President, Fund Raising: Carol Gyllenhoff Fund Raising: David Theobald Vice President,Volunteers: Gail Kaess Secretary: Barbara Holmes Treasurer: Fran Hubbell

COMMITTEE CHAIRS

Concert Receptions: Sue Forrest & Phyllis Patterson Cookbook:Toy Mergler Fashion Show, Chair: Char Long & Lois Hoyt-Berry Fundraising: David Theobald Kitchens of Note, Chair: Lois Wilson & Julie Williams HHIPC Liaison: Bob Koenig Membership: Marguerite Miletic Musicales, Chairs: Mary Princing & Nancy Hudak Newsletters: Nancy Hudak Spring Fling:Toy Mergler & Donna Zorge Youth Concerto Competition Liaison……..Betsy Roll

EX-OFFICIO

Music Director/Conductor: John Morris Russell HHSO Board Chair: Jim Willard HHSO President and CEO: Mary M. Briggs

PAST CHAIRS Ellen Taylor

Susan Farrell Sheila Standen Lin Rada Marti Willits Lorene Thornbury Lois Wilson 2016–2017

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Coligny supports live music in the Lowcountry!

Hilton Head ’s Downtown!

Artist John Cranford with Nationa Touring Band, Cranford Hollow l

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Today’s Coligny is known far and wide as Hilton Head’s Downtown, offering the best shops, the best dining and the best entertainment on Hilton Head Island. But one of its most surprising treasures is its rich history.

It all starts with the vision of one man, Norris Richardson and his wife Lois, and the Richardson family who has carried on his legacy.

Norris already owned and operated a successful chain of grocery stores before he ever set foot on Hilton Head Island. After frequent vacations here with his wife and three children, Norris saw opportunity among the wild dunes and dirt roads to expand his empire. Shop by shop, Norris and Lois built Coligny. Over sixty years later, it’s still the best place on the island for shopping, dining and entertainment. Under the care of his son JR and his wife Leslie, Coligny has grown, fulfilling Norris’ vision of Coligny as Hilton Head Island’s Downtown.

Today, Coligny has over 60 shops and restaurants - truly something for everyone!

Lee Jean Jr. of Am erican Top 8 Finalist Idol -

ONE NORTH FOREST BEACH DR. AT COLIGNY CIRCLE | HILTON HEAD ISLAND, SC 843.842.6050 | colignyplaza.com

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WELCOME TO THE HHSO’S 35TH SEASON

SECURING THE FUTURE

HHSO ENDOWED CHAIR PROGRAM

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our support of the Hilton Head Symphony Orchestra’s endowment is the ticket to a secure stable financial future for the Symphony. Annual distributions from your endowment fund insure our mission – to inspire, enrich and unite the community through music. Your donation builds a legacy that provides a stable, constant resource that we can count on every year.

Endowed Chairs also help us to attract and retain distinguished musicians. Chairs are offered for either a 10 or 20-year period at the following levels:

CONCERTMASTER . . . . . . . $125,000/$200,000 STRING PRINCIPALS: VIOLIN II, VIOLA, CELLO & BASS . . . . . . . . . $35,000/$50,000 OTHER PRINCIPALS: FLUTE, OBOE, CLARINET, BASSOON, HORN,TRUMPET,TROMBONE,TUBA HARP & KEYBOARD . . . . . . . $25,000/$40,000 SECTION CHAIRS . . . . . 20% less than corresponding principal chairs.

The following chairs are available for endowing: Violin II & Bass Principal Chairs and numerous section chairs.

All endowed Chairs are tax deductible. They may be paid over a period of up to three years. Endowed Chair funds are invested to maximize the potential for future return.

For information on endowments please contact Mary Briggs at the HHSO office, 843.842.2055.

A sincere “Thank You” to the following members of our orchestra family who have generously supported our efforts by naming Orchestra Chairs: Mary and Michael Briggs . . . . . . . . . . . . . Principal Viola Fred and Sandy Caswell . . . . . . . . . . . Principal Percussion Marge and Paul Coble . . . . . . . . . . . . . Principal Clarinet Nancy and John Diamond . . . . . . . . . . .Principal Trumpet Patty and David Ekedahl . . . . . . . . . . . . .Principal Oboe Robert and Margaret Gallagher . . . . . . . . . .Music Director Walter Graver . . . . . . . . . . . . . . . . Principal Flute Marianne and George Krall . . . . . . . . . . . . . . Timpani Hilton Head Orchestra League . . . . . . . . . .Principal Harp Mary Ellen and Jack McConnell . . . . . . . . Principal Keyboard Lin and Bob Rada . . . . . . . . . . . . . Principal Trombone Estate of Adline W Schroeder. . . . . . . . . . Concertmaster Liz and Walt Schymik . . . . . . . . . . . . . .Principal Horn Willis and Doris Shay . . . . . . . . . . . . Principal Bassoon Charles and Ellen Taylor . . . . . . . . . . . . . Principal Cello Dr.William P. and Judy F.Thorpe (in honor of Richard B. Heyman, MD) . Principal Tuba Jean S. Wolff (in memory of Alfred W. Wolff) . . . . . . . . . Section Violin 2016–2017

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SUPPORTING THE MUSIC As of September 1, 2016

DIAMOND BATTON CIRCLE $25,000+ Mary & Michael Briggs Nan & Charles Strauch

GOLD BATON CIRCLE $15,000+ Betsy & Dan Brown Carol & Tom Tucker

SILVER BATON CIRCLE $10,000+ Anonymous Alice & Juergen Brockmann Vickie & Kevin Halloran Susan & Edward Parrish Doreen & Fred Prince Florence & James Willard

CHAIRMAN’S CIRCLE $7,500+ Peggy & Hal Ashworth Robert & Darle Booher Sandy & Fred Caswell Liz & Todd Clist Nancy & John Diamond Patty & Dave Ekedahl Marc & Anuska Frey Marianne & George Krall Louise & Paul Lang Janine & David Nelson Mary Ann & Terry Putnam Elizabeth & Brock Rowley Connie & Jerry Voight Jim Way Nancy & Harold Winch

CONDUCTOR’S CIRCLE $5,000+ Joan & Charles Dattelbaum Sandy & Ralph Drayer Cary & Peter Fleming Lois & Walter Graver Linda & George Johnson Eloise & Robert Mason Paul Stillman Foundation Barbie & Spence Stouffer Lorene & Tom Thornbury

CONCERTMASTER’S CIRCLE $2,500+ Clifford Allen Winifred Baker & Constance Curnow Judy & Stewart Brown Sally & William Brown Vivian & Fred Burt

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Clair & Ted Craver Lois & James Delligatti Ann & Tony Di Iorio Carol & Dennis Draeger Trish & Jay Elliot Carol & Frederick Hack Susan & Michael Harter Helen & William Heberton Connie & Mike Hellman Dorothy & Raymond Holmes Nancy & James Johns Edith & Peter Korda Margie & Jake Kriney Darlene & Brian Gutman Marlowe David McClintock & Mary Milligan Holly & Paul Moeri Linda & Ray Moloney Carolyn & Bob Moore Lois & Roy Plekenpol Mary Princing Lin & Bob Rada Doris & Willis Shay Doris & Ray Stickel Judy & William Thorpe Judith & Heinn Tomfohrde, III

ARTIST’S CIRCLE $1,000+ Marilyn & Arthur Althans Peggy & Vic Arrington Mary Anne & James Baehr Barbara & Wayne Baumgardner Barbara & Karl Becker Patricia & Donald Bennett Wilma & Bob Benson Jillian & Malcolm Binks Nancy & David Borghesi Homer Boynton & Patsy Scruggs Carol Brown Polly & Ed Byrd Mary & Roger Coe Marcia & James Collett Linda & Bill DeArment Jane & Anthony DeFail Sandra & Fred Eberting Wayne Effron & Gail Kaess Janet & Edward Ehrlich Mimi & Peter Elder Selena Evans Beverly & Charles Farley Patricia & Dennis Foley John Gehrett Jill & Pat Graybeal Sara & George Hall Michael Harris Midge & Mike Haworth Mona & Charles Huff Patsy & Ford Hutchinson Jennifer & Mario Incorvaia

Joan Israel Marian & E. Rogers Jackson Carol & Tom Jones Betty Ann & Kevin Keane Linda & John Kellom Don Krahnke Christine & Juan Lacerda Myla Lerner & Larry Kramer Dot & Jim Loughlin Mary Jane Major Ellie & John McLauchlin Sansing & Terry McPherson Patricia & Carl Miller Mary Noonan Diana & John Norlander Janice & Rob Norton Pam & Mike Pasquale Penny & Bo Pearson Betty & Richard Pilsbury Joan & Sam Pruett Margaret & Gene Rainville Sylvia & Bill Richards Mona & Tim Ridge Betsy Roll Ann & John Runnette Judy & David Russert Sigi & Bob Rutherford Pamela & Bob Savage Walt Schymik Barbara Smith Susette & Charles Stone Judy & Gary Tauscher Grace & Bill Tiernay Judy & Terry Tolerton Mary Tucker Judy & Bob Walker Joyce Weidenkopf Festi & Hans Weitekamper Beth & John Weymouth Robin & Kim Whiting Lois Wilson Ruth & Lee Wilwerding Barbara & Michael Wolf Judy & Phil Wright John Zimmerman

PRINCIPAL $500+

Noel Adams Thomas Alaimo Linda & Frank Babel Vickie & Herwig Baumann Harvey Beeferman John Bennett Bonnie & Richard Burnette Ethel & Richard Collins Jean & William Drake Paula & Marc Feinberg Barbara & Hudson Fesche

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Mrs. Ruth B. Fraser Lawrence Hazzard Constance & Robert Holbrok Patricia & Howard Hornstra Sheila & Donald Jemella Kryl & Ken Kerr Juliana & Sam Kim Karen & Ward Kirby Dick & Peggy Knowlton Beryl La Motte Ruth & Joseph Liedtke Ingrid Low Judy McCracken & John McLaughlin Kathy & Irving Meeker Susan & Barry Moore Emily & Wilson Oelkers Joanne & Phil Phillips Connie Randall Patricia Sinatra Angela & Joseph Sommers Beverly & Robert Stahl Sally & Richard Steedman Susan & Allan Strange David Theobald Ida & William Westerman Barbara & Richard Wiles Julie Williams Marti Willits & Doug Nabholz Penny & Ted York Phyllis & Paul Zaffaroni Ingrid & Rolf Zenker

SUPPORTER $250+

Opal & Hans Abbink Stephen Alfred & Rita Hungate Sheila & Jim Baden Estie & Dom Bonanno Nancy & Bob Breckinridge Sue & Nelson Britt Judy & Stuart Brown Ginny & Dan Castro Stan Cooke Carmen & William Cunningham Frederick Darnell Joan Deery & Paul Capron Nancy & Bill Dix Pam Dyer Karen & Buck Edwards Linda Ellis Susan & Thomas Forrest Ann & Larry Gunn James Hales Mary Ellen & Harry Hannan Ann & Charlie Harrison Joanne & Donald Heyboer Nancy Hudak Mary Ella Jones Sandra & John Kenny Joan & Robert Koenig Carol & John Lang Kathie & Gordon Miller Carol & Richard Monahan Gracia Muller Jeffrie & Louis Natale

Hannah & Alan Obstler Lucy & Robert O’Flaherty Anne & Zig Palagyi Linda & Joseph Palmiero Kathie & John Patten Judy & Dale Peters Ruth Ellen & Richard Phillips Patricia & Richard Rapp Evelyn & Robert Richardson Lynne Shira Andrea & Bruce Siebold Meike & Henrich Smit Barbara & Neil Snow Barbara & Michael Sorkin Lois & Russell Southwick Eleanor & John Staub Kathryn & William Taylor Art Villani JoLynn & Bill Wayne Jane & Bob Wintz Kate & John Yachini Anne & Allan Yard Jacqueline & Richard Young

FRIEND Up to $249

Anonymous Alice & Ernest Ambler Betty & Patrick Amer Margaret Atwood Prisca Bagnell Carol & Sherman Barker Mary & John Baumann Jordan Berliner & Maria Velez Pamela & James Bernard Shirley & Hank Bourgaux Dukene & James Brady Eileen & Milton Brenner Susan & Mark Britanisky Meg Brogan Nancy & Henry Brown Nelle & Kenneth Brown Janet & C Patrick Burns Carl Canzanelli & Linda Tente Pat & John Canzano Sondra Catts Barbara & Iue Cho Nerina & Ron Clark Karla & Russell Collins Barbara & Roger Cowdery Eileen & Ernest “Bud” Cowell Dedria & Alexander Cruden Joan & Peter Dallos Linda DeLuca Edward Dishart Jeanette & Joe Dister Marilyn Eddy Dorothy & Robert Englund Dodi & Henry Eschenbach Helen Evans Dorothy Feind Ann & Mike Finson Nancy Frankland John Geisler Claudette & Francois Genest Susan Giattino

Lesley & John Gilbert Pennie & Kent Grimes Rhoda Haight Anita Hotchkiss Lynne & Roger Irvine Una Jackson Sandy & Tom Jernigan Laurel & Richard Johnson Marietta Kerr Rebecca & Kenneth Kleyn Rosemary & Gary Kratz Eleanor & Thomas Krebs Elizabeth Krise Ann & Joe Lapchick Doris & Joe Lindner Elizabeth & Jack Loda Elizabeth & Klaus Loehr Lee Lopez Nancy & Joe LoPresti Judy & John Lundin Carolyn & Lloyd Martin Mary Ann Matijasic Sally & Bill Mattingly Rebecca & Ray McClain Marguerite & Peter Miletic James Miller Mary Moser Stella & George Moyser Diane & John Myers Diana Nadanyi Barbara & Bill Newby Beth Newman Nancy & Jim Nissley Shirlene & Neal Post Maryanne Raye-Rowles Lorraine & Edward Regenye Joan Reusswig Joanne & Dick Revie Jean Rice Janet & William Rivers Margita Rockstroh Mary Ann Root Eva Rollnik Joan Saalfrank Leslie Samuel Sudee Sanders Nancy & Richard Schulman Joan Shea & Dan Zally Linda & John Sheppard Judi & Steven Siegelbaum Katy & Dick Sonberg Barbara & Fred Spencer Sheila & Bill Standen Polly Sten Barbara Swift Millie Timmerman Gail & Jim Titus Gail & Jim Titus Murray Turka Karyl & Walter Tyler Judy & Pat Walsh Carol Walters Barbara & William Whitman Patricia Whitmore Millicent & Lester Willner Sally & Jon Wormley 2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

BUSINESSES SUPPORTING THE MUSIC As of September 1, 2016

PLATNIUM SPONSORS Westin Hilton Head Resort and Spa GOLD SPONSORS Boys, Arnold & Company Carolina Volvo Charter I Realty Custom Audio Video, LLC Frey Media Goode Vacation Rentals Group 3/pyramids Hilton Head BMW SILVER SPONSORS Bank of America/U.S.Trust Coligny The Cypress of Hilton Head Fidelity Investments Forsythe Jewelers Hilton Head Automotive TidePointe, A Vi Community BRONZE SPONSORS Hilton Head Dental Team James C. Moore of Raymond James La Source South State Bank Wells Fargo Foundation LEADERS All My Sons Moving and Storage Billy Wood Appliance Hilton Head Area CEFA Island Travel, Inc. Merrill Lynch, The Stuckart Ruckno Group Rice Music Savannah Music Festival Stoneworks SunTrust

SUPPORTERS Bishop Gadsden Episcopal Retirement Community BlueCross BlueShield of South Carolina Carson Realty Charleston Symphony Orchestra Law Office of Ferrene & Associates P.A. The Greenery, Inc. Hilton Head Choral Society Hilton Head Dance Theatre Hilton Head Exterminators Hilton Head Lexus Kenneth Kowalyk, DMD Morgan Stanley Wealth Management Rollers Wine & Spirits Charles Sampson Real Estate Group Sea Turtle Getaways Sonesta Resort Hilton Head Island Tanner-Doncaster Outlet thefrenchguyphotography The Village of Wexford Wells Fargo Advisors Worth New York CHEFS & CLEFS Hinoki Japanese Restaurant & Sushi Bar The Jazz Corner - The Junior Jazz Foundation Mangiamo Hilton Head Pizza Co. Sea Grass Grille BUSINESS DONATIONS Coastal Discovery Museum of HHI Heritage Classic Foundation Ranco Tents Riedel Computer Services, Inc. The Island Packet i2recycle Michael Gaster & Associates Portman’s Music Superstore

GRANTS Town of Hilton Head - ATAX Beaufort County - ATAX Concours d’Elegance SC Arts Commission The Bargain Box Youths’ Friends MATCHING GIFTS Dominion Foundation Eli Lilly Etna GE Foundation IBM ITW Foundation Johnson & Johnson MobilExxon Norfolk Southern Foundation 2016 HHIPC SPONSORS Carolina Volvo Coastal Plains Insurance Custom Audio Video, LLC eviCore Healthcare Great Frame Up Gulfstream Hargray Herrin Piano Hilton Head Honda Hilton Head Lexus Mercedes-Benz of Hilton Head Rice Music House Savannah Hilton Head International Airport Shelter Cove Towne Centre Steinway & Sons The Arts Center of Coastal Carolina The Westin

Check our website for a list of companies who provide matching gifts.

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WELCOME TO THE HHSO’S 35TH SEASON

JOHN MORRIS RUSSELL Consistently winning international praise for his extraordinary music-making and visionary leadership, John Morris Russell is in his fifth season as Music Director of the Hilton Head Symphony Orchestra and conductor of the prestigious Hilton Head International Piano Competition. Maestro Russell is also Conductor of the Cincinnati Pops, one of the world’s most iconic and beloved pops orchestras, and serves as Principal Pops Conductor of the Buffalo Philharmonic Orchestra following in the footsteps of Marvin Hamlisch and Doc Severinsen. He completed his eleven-year tenure as Music Director of the Windsor Symphony Orchestra in Ontario, Canada in 2012, whereupon he was named that orchestra’s first Conductor Laureate.

Under John Morris Russell’s leadership, the Hilton Head Symphony Orchestra, has enjoyed unprecedented artistic growth; concert attendance has blossomed and the orchestra has doubled the number of concerts they present. Mr. Russell leads the orchestra in eight masterwork subscription concerts annually, and continues to reveal his deep passion for Classical and early Romantic orchestral literature. Under his guidance the HHSO has sparked collaborations with regional ensembles and performers that continue to widen the reach of the orchestra, including Hilton Head Dance Theatre, Charleston Southern University, the Savannah Children’s Choir, the Lean Theatre Company, and Georgia Southern University. In addition, Mr. Russell has been actively involved in the development of the HHSO “Music Bridges” program, engaging thousands of school children from Bluffton to Hilton Head Island in ensemble visits and full orchestra concerts, while integrating the musical culture of Gullah and Lowcountry traditions into presentations and programming.

As a guest conductor, Mr. Russell has worked with many of North America’s most distinguished ensembles, including the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, the Boston Pops, and the Toronto and Vancouver Symphony Orchestras.

John Morris Russell is widely considered one of North America’s leaders in orchestral educational programming. From 1997 to 2009 he conducted the “LinkUP!” educational concert series at Carnegie Hall, the oldest and most celebrated series of its kind, created by Walter Damrosch in 1891, and made famous by Leonard Bernstein. The Cincinnati Pops recorded legacy under Mr. Russell’s leadership, includes Home for the Holidays (2012), Superheroes! (2013), Carnival of the Animals (2014) and the first live recording of the Pops, American Originals (2015). In March of 2017 he leads the sixth Pops tour to Asia including performances in Shanghai and Taiwan.

John Morris Russell has served as Associate Conductor of the Savannah Symphony Orchestra, Director of the Orchestral Program at Vanderbilt University, and Music Director with the College Light Opera Company in Falmouth, Massachusetts. He received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts.

JOHN MORRIS RUSSELL Music Director & Principal Conductor

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OCTOBER 10, 2016 • OPENING NIGHT GA L A W ITH GA RRICK OHLSSON

OPENING NIGHT GALA WITH GARRICK OHLSSON

SPONSORS

MONDAY, OCTOBER 10, 2016 • 7:30 PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

By the Sea | Mar y Sullivan

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OPENING NIGHT GA L A W ITH GA RRICK OHLSSON • OCTOBER 10, 2016

OPENING NIGHT GALA WITH GARRICK OHLSSON John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Monday, October 10, 2016 • 7:30 pm

John Morris Russell, Conductor Garrick Ohlsson, Piano

PROGRAM BEETHOVEN

Fidelio Overture, Op 72

BEETHOVEN

Piano Concerto No. 5 in E-flat major, Op 73 “Emperor” Allegro Adagio un poco mosso Rhondo: Allegro Garrick Ohlsson, Piano

BARBER

Essay No. 2 for Orchestra, Op. 17

POST-CONCERT RECEPTIONS

Please join us in the Gathering Space after the concert to mix and mingle, have some punch and a cookie and the enjoyment of discussing the fine points of the music with your friends.

The League of the Hilton Head Symphony Orchestra is sponsoring a post concert reception in this glorious location after every Monday night performance. Just turn right from the narthex and linger awhile to savor the joy of the evening a bit longer!

2016–2017

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OCTOBER 10, 2016 • OPENING NIGHT GA L A W ITH GA RRICK OHLSSON

MEET THE ARTIST

GARRICK OHLSSON

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GARRICK OHLSSON Piano Opening Night Gala October 10, 2016

“ What a sound!

Ohlsson is famous for that great sonority, though he never seems to be working very hard to produce it. There are no histrionics, no flailing or thumping or grandstanding, just an incredible technique with razor-sharp accuracy, producing a sound so lush it almost glistens.”

— Seattle Times

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ince his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess.Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous repertoire, which ranges over the entire piano literature. A student of the late Claudio Arrau, Mr. Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him.

The 2015-16 season includes recitals in Berkeley, New York, Indianapolis, Brisbane, Seattle, La Jolla, Evanston, Forth Worth, Lincoln and Costa Mesa. In return visits to Australia he will appear in Perth, Brisbane, Sydney, Melbourne and Adelaide and for the first time with the New Zealand Symphony in Wellington and Auckland. With concerti as diverse as Beethoven, Brahms, Barber and Busoni he can be heard with orchestras in Boston, Los Angeles, Ottawa, Nashville, Indianapolis, Oregon, Warsaw, St. Petersburg, Manchester (UK) and Lugano (Switzerland). In the fall he will serve as a judge at the 17th International Fryderyk Chopin Piano Competition in Warsaw, and in April he will join the Takács Quartet for a brief east coast tour culminating at Carnegie Hall.

A native of White Plains, N.Y., Garrick Ohlsson began his piano studies at the age of 8 at the Westchester Conservatory of Music; at 13 he entered The Juilliard School.Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montréal Piano Competition, it was his Gold Medal at the 1970 International Chopin Competition in Warsaw that brought him worldwide recognition as one of the finest pianists of his generation. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, MI. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music. He makes his home in San Francisco.

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PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Overture to Fidelio, Op. 72

Ludwig Van Beethoven (1770-1827) Beethoven's only opera, Fidelio, underwent numerous major revisions before the composer arrived at the final version. The overture to the opera underwent even greater transformations. We have today four different overtures, all of them popular in the concert hall. The first three are called Leonore (Nos.1, 2 and 3), after the heroine’s name and original title of the opera; the fourth is known as Fidelio, Leonora’s pseudonym and Beethoven’s final title of the opera.

The complex plot is a paean to marital fidelity and political justice. Leonore disguises herself as a young man, Fidelio, to free her husband Florestan, who has been incarcerated unjustly as a political prisoner.

Beethoven's difficulties with the earlier versions of the overture (the three entitled Leonore) stemmed from the fact that they were too dramatic and explicit, following the trajectory of the plot by including themes from the opera, thereby giving away the most dramatic and exciting moments.

The final version, the Fidelio overture, is neither particularly dramatic nor closely related to the opera itself. In that sense it could be called a generic overture, similar to many by Rossini – who routinely recycled his own overtures. The Fidelio Overture is, nevertheless, a well-crafted – if somewhat lightweight – composition. Today the opera is frequently performed with the Fidelio Overture before the opera and Leonore No. 3 as an entr’acte between the two acts.

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”

Ludwig Van Beethoven (1770-1827) Two of the signature aspects of Western thought are the importance of progress and individuality. Nowhere are these concepts more apparent than in the history of music, where we give special attention to innovation in form and harmony. While not always appreciated at first hearing – witness the audience riot over Stravinsky’s Rite of Spring – innovators eventually receive their due – in hindsight.

In his greatest works, Beethoven was both an innovator and an individualist who attempted to put his personal stamp on everything from harmony and musical structure to advances in piano construction. While retaining the three-movement form of the concerto, he expanded the internal structure of the individual movements, especially in the Fourth and Fifth Piano Concertos. The dramatic use of the piano in the opening phrases of these concertos was tried only once before – by Mozart in his Piano Concerto in E-flat major, K. 271 – and did not occur again in any major piano concerto until the B-flat major Concerto of Brahms.The thunderous opening of the Fifth Concerto was without precedent, as was Beethoven's refusal to allow the performer to improvise a cadenza.

Beethoven composed the Concerto in Vienna during the summer of 1809, under conditions hardly conducive to creativity.

Following a day of heavy bombardment, Vienna surrendered to the French army under Napoleon, and those citizens who could afford

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to flee did so, including Beethoven's patron and friend the Archduke Rudolph. Prices and taxes skyrocketed, food was scarce, parks were closed to the public and Beethoven remained in the city, alone and lonely. In spite of the hardships during those trying months, he managed to compose some of his greatest works: the Piano Sonata Op. 81a (“Les adieux”), the Quartet in E-flat, Op. 74 (the “Harp”) and the “Emperor” Concerto (the title bestowed on it by one of the publishers, without Beethoven's approval.)

The Fifth Piano Concerto was premiered in Leipzig in 1811 to an enthusiastic reception.

It was the only one of Beethoven's piano concertos without the composer himself at the keyboard, since by that time his hearing had deteriorated too far for him to perform in public, especially with an orchestra. Two months later, however, the first performance in Vienna was a total failure, primarily because the Concerto was on the program of a Charity Society performance featuring three living tableaux on Biblical subjects – hardly a suitable milieu.

The Concerto opens with a powerful orchestral chord, followed by a sweeping cadenza-like flourish by the piano solo. Only after two more orchestral chords interrupted by the piano outbursts, does the orchestra introduce the principal theme.The movement is stormy and driving with some of the same harmonic ambiguity as in the first movement of the Fourth Concerto. At the point where traditionally one would have expected a cadenza, the pianist’s score bore Beethoven’s directive: “Do not play a cadenza!” The music that follows, however, has all the characteristics of a cadenza as if the composer wanted to be sure that his ideas, not the performer’s, would prevail.

The hymn-like lyrical second movement opens with the muted violins introducing the 44

theme, followed by a pianissimo aria by the piano. There follow two variations, the first by the piano, the second by the orchestra. Then follows one of Beethoven’s most mysterious musical moments, the hushed transition leading without pause into the exuberant Rondo. Beethoven builds up immense tension by subtle changes in key and tempo with hints of the rondo refrain to come, until the Finale bursts out in its jubilant mood.

Second Essay for Orchestra, Op. 17 Samuel Barber (1910-1981)

Samuel Barber belonged to a group of American composers, including William Schuman, Howard Hanson and Leonard Bernstein, who considered themselves neoRomantics. They eschewed the avant-garde serialism of Schoenberg and the second Viennese school in favor of old-fashioned tonality and lush melodic lines, although they introduced into their music harmonies and intervals that would have shocked the audiences of the late nineteenth century.

These composers were sidelined after World War II by the academic dominance of serialism in American classical music, but they are now being resurrected with the current return to a more eclectic, and even tonal, array of musical styles.

Barber showed early on a prodigious talent for composing, encouraged by his family, especially his aunt and uncle, the contralto Louise Homer and the composer Sidney Homer. The two served as his mentors for more than 25 years and profoundly influenced his aesthetic development. At age 14 he enrolled in the newly founded Curtis School of Music in Philadelphia, studying voice, piano and composition, graduating in 1934. Two of his early compositions, a Violin Sonata in 1928 and his first published large-scale work, The School for Scandal Overture (1931), won

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him prestigious prizes and, more importantly, public performances that brought him to the attention of the leading conductors of the day.

Barber’s use of the term “essay” represents an analogy to the literary form, a brief but serious consideration of a single subject. The three Essays for Orchestra are works with themes concisely explored from different perspectives. Barber wrote his First Essay for Arturo Toscanini, who premiered it in 1938 with his NBC Symphony Orchestra.

Barber finished the Second Essay in March 1942, using themes and ideas going back about three years. A popular composer at the time, he presented it to Bruno Walter, who premiered it with the New York Philharmonic the following month.

The orchestration of the Second Essay is more complex than in its predecessor, with extensive use of timpani solos, brass choirs and individual woodwind solos – somewhat like a one movement concerto for orchestra.

The work consists of a single theme, but as in the Finale to Beethoven’s Symphony No. 3, it unfolds gradually; at the beginning we hear only its skeleton. Barber then fills it in harmonically, transforming it into a lilting 6/8 melody, then a lively fugue in duple time, and finally a return to the opening scaffolding, this time blasting forth in the brass, almost like the cantus firmus hymn melody in a Bach chorale prelude.

Mysterious and Lyrical | Juliana Kim

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VIVA ESPAÑA!

SPONSORS

SUNDAY, NOVEMBER 13, 2016 • 4PM

MONDAY, NOVEMBER 14, 2016 • 8PM

FREY MEDIA

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Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Summer Ballet | Earline Allen

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V I VA ESPA ÑA! • NOVEMBER 13-14, 2016

VIVA ESPAÑA! John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, November 13, 2016 • 4pm Monday, November 14, 2016 • 8pm

John Morris Russell, Conductor Stephen Waarts, Violin

PROGRAM GERSHWIN LALO

Cuban Overture Symphonie espanole, Op. 21

Allegro non troppo Scherzando: Allegro molto Andante Rondo Stephen Waarts, Violin

INTERMISSION de FALLA

Three Cornered Hat, Suites 1 & 2 Introduction- Afternoon Dance of the Miller’s Wife The Corregidor The Grapes Dance of the Neighbors Dance of the Miller The Final Dance

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MEET THE ARTIST

STEPHEN WAARTS

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STEPHEN WAARTS Violin Viva España!

November 13-14, 2016

“Stephen Waarts gave an outstanding debut at the Kennedy Center’s Terrace Theater. In a fine program of Beethoven, Bartok, Ravel and Waxman … Waarts showed an uncommon, preternatural sense of tonal color and lyrical beauty on the instrument.”

— The Washington Post

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iolinist Stephen Waarts has been praised for playing “with technical command and a totally natural sense of musical drama” (Strings Magazine).

He has already garnered worldwide recognition, having captured both audience prizes and jury laureate prize in the Queen Elizabeth Competition, First Prize, the Bach Prize and the Composer’s Prize at the 2014 Menuhin Competition, First Prize and six additional awards in the 2013 Young Concert Artists International Auditions, Second Prize and the Audience Prize in the 2013 Montreal International Competition; and First Prize and Romantic Concerto Prize in the 2011 International Louis Spohr Competition for Young Violinists.

With a voracious appetite for repertoire, the young Dutch/American violinist has already performed nearly fifty violin concertos, including all standard, as well as many rarely performed; and is meanwhile building significant experience in recital as well as in a wide range of chamber music. Engagements have recently included performances with Orchestre symphonique de Montréal, Brussels Philharmonic, San Francisco Chamber Orchestra, and Konzerthausorchester Berlin, all to rave reviews.

He has made highly successful debut recitals at Merkin Concert Hall, New York; Kennedy Center, Washington DC; Isabella Stewart Gardner Museum, Boston; and the Louvre in Paris. Waarts has been a frequent participant of Summer Music Camps including Verbier Festival in Switzerland, the Perlman Music Program in New York and Florida, Music@Menlo in California, the Summit Music Festival in New York and Krzyżowa Music Festival in Poland. Following the 2015 Krzyżowa Music Festival, he was awarded the Mozart Gesellschaft scholarship which will see him work with the Bremer Philharmoniker in the 2016/17 season.

A native of the San Francisco Bay Area, he started his music education with Suzuki violin lessons with Krishnabai Lewis and continued it with violin lessons with Jenny Rudin and piano studies with Steve Lightburn. Since April 2005 he studied violin with Li Lin at the San Francisco Conservatory, and since June 2006 he also studied piano with Irina Sharogradski. Concurrently, since 2009, he has studied with Alexander Barantschik, Concertmaster of the San Francisco Symphony, and with Baroque violinist Elizabeth Blumenstock.

After graduating from both high school and the San Francisco Conservatory Preparatory at age 14, he has worked with Aaron Rosand at the Curtis Institute of Music in Philadelphia, where he has recently received a Bachelor of Music while holding the Frank S. Bayley Annual Fellowship.

In addition to his music studies,Waarts is also an accomplished mathematician and has won several national math awards. He plays on a c. 1750 Pietro Guarneri II violin, on loan through the Stradivari Society of Chicago. Find more about Waarts at www.stephenwaarts.com.

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PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Cuban Overture

George Gershwin (1898-1937) In 1924, George Gershwin gained entry into the classical music world with his groundbreaking Rhapsody in Blue. A flood of prestigious commissions followed, including the Concerto in F in 1925 and the Second Rhapsody in 1932. Following the premiere of the Rhapsody, Gershwin and some friends went for a two-week vacation in Havana.

Gershwin was fascinated by the small dance orchestras with their novel percussion instruments and exciting, complex rhythms, especially the rumba. He brought home local bongos, gourds and maracas that feature prominently in an Overture he at first wanted to title “Rhumba.” He completed the work in August, just in time for the first all-Gershwin concert at the Lewisohn Stadium in New York, attended by about 18,000 people. According to the composer, “…I endeavored to combine the Cuban rhythm with my original thematic material. The result is a symphonic overture which embodies the essence of Cuban dance.”

As his iconic song reminds us, Gershwin was a devotee of “fascinating rhythms.” Like any proper Latin dance bandleader, he lays out syncopated melodies in elegant combinations and permutations. There are classical elements as well in the Overture, particularly Gershwin’s use of contrasting themes and orchestration.

Movements I, II, IV & V from Symphonie espagnole, Op. 21 Edouard Lalo (1823-189)

Edouard Lalo came from a military family in Northern France, his father having fought for Napoleon. Although his parents at first encouraged his musical talent and he studied

both the violin and cello, his more serious inclinations towards music met with stern opposition from his father. He left home at the age of 16 to pursue his musical studies at the Conservatoire in Paris. While working for a long time in obscurity as a violinist and music teacher, in 1855 he started a string quartet to popularize the quartets of Haydn, Mozart and Beethoven. It was only in the 1870s that Lalo got a break as a composer.

The debacle of the Franco-Prussian war of 1870 and its aftermath created havoc in France’s musical life. However, the rapid reconstruction that followed gave rise to the creation of the Société nationale de musique and the inauguration of three concert series under three great conductors, Jules Pasdeloup, Edouard Colonne and Charles Lamoureux, producing a demand for new works. Young French composers, including Lalo, were inspired to ­write large-scale orchestral works although such works – like the enormous “history paintings” of Jacques Louis David – had been out of fashion in France at the time.

Lalo’s name is primarily associated with a series of works he composed for the Spanish violinist Pablo Sarasate. One of the most spectacular violin virtuosos of the late nineteenth century, Sarasate was known for his beautiful tone, perfect intonation and élan on the stage. He was a striking figure, usually dressed all in black, with a huge ego and a matching flair for publicity. He lived in lavish Paris mansions decorated by James McNeill Whistler in the nineteenth-century equivalent of "Lifestyles of the Rich and Famous." Many composers dedicated works to him, including Max Bruch, Camille Saint-Saëns, Joseph Joachim, Henryk Wieniawski, Antonín Dvorˇák, and in particular, Lalo.

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In 1873 Lalo composed his Violin Concerto Op. 20 for Sarasate and a year later followed up with another work for violin and orchestra, the Symphonie espagnole, the composer’s most enduring work. Sarasate premiered both with the Colonne Orchestra.

Symphonie espagnole is neither a real symphony, nor a traditional concerto. It is more like a suite, especially in its incorporation of dance rhythms. But Lalo hated the term “suite,” considering it “a tainted and discredited title.”

The Symphonie is French in character, but Spanish in rhythm. What it lacks in musical depth it makes up for in bravura and a wealth of catchy themes. Although the movements are not named for dances, they all correspond to Spanish dances and folk rhythms, the structure of the movements corresponds to classical symphonic and concerto models.

The first movement is a habanera, with three themes in the same rhythm – although not the same mood. The second movement, a seguidilla, is a modified ABA form. The middle section is almost a recitative for the soloist, with dramatic shifts of tempo.

The fourth movement, pavane, is a slow, stately dance supposedly related to the gait of the peacock. The movement's slow tempo

El Toro | John Norlander

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and minor key suggest a funeral procession.

The lighthearted mood of the fifth and final movement breaks the lugubrious spell. The orchestra begins by setting up an ostinato pattern over which the violin weaves delicate counter melody with elaborate embellishments. The movement contains a malagueña in its slower middle section.

Suites from El Sombrero de Tres Picos (The Three-Cornered Hat) Manuel de Falla (1876-1946)

Like so many artists, Manuel de Falla showed not only precocious musical ability, but also facility as a writer. He was fascinated with the Spanish themes and folklore that he integrated into so much of his music. He spent his youth and early career as a pianist and teacher, the proceeds from which helped support his family.

De Falla realized early on that in order to achieve international exposure for his music, he would have to leave Spain. In 1907 he settled in Paris where he came under the influence of Paul Dukas, Claude Debussy and Maurice Ravel. His music, however, even during the height of the French influence, remained solidly Spanish in style. With the outbreak of World War I, he returned to his native country.

The ballet El Sombrero de Tres Picos began life in 1917 as an accompaniment to a twoact pantomime adapted from a popular story

by Pedro de Alarcón. Sergey Diaghilev, the impresario of the renowned and avant-garde Ballets Russes in Paris, heard the music on a visit to Spain and asked de Falla to expand it into a ballet. It is the story of a miller and his faithful wife, and an aging lothario of a Corregidor (district governor) and his haughty wife. In the story – which would have been perfect for a Rossini opera – the Corregidor tries to seduce the miller’s wife;

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the miller, in revenge, tries to Good Morning | Joan Ackerman seduce the Corregidor’s wife.

It all ends happily, except for the Corregidor who is left looking foolish. The ballet premiered successfully in London in 1919 with set designs by Picasso.

De Falla extracted two orchestral suites from the ballet. The first, called “Scenes and Dances,” consists of the following scenes from the ballet: 1. Introduction – “Afternoon.”

The introduction was 5. The Grapes: The Corregidor tries to added in London ostensibly to provide the flirt with the miller’s wife. She teases him audience time to appreciate Picasso’s drop with a bunch of grapes, and he chases her curtain. The scene opens on the miller awkwardly, trips and falls. The miller and his and his wife happily working together and wife help him to his feet but he leaves in a huff. teasing each other.

The second, “Three Dances,” became the 2. Dance of the Miller’s Wife (Fandango): The miller has been called away and she is more popular one, It consists of the following alone, dancing the fandango, but he returns scenes from the ballet: 1. “The Neighbors’ Dance:” The second and secretly watches her. part of the ballet opens at a St. John’s Day 3. The Corregidor: Pompous and selffestival around the mill where the neighbors important, the Corregidor appears on the are dancing a seguidilla, a couples dance in scene with his retinue, wearing a threetriple meter.The score describes the scene cornered hat, symbol of his social class as “A lovely Andalusian night, perfumed, and position. He arrests the miller and starlit and mysterious.” tries to embrace the miller’s wife but she 2. “The Miller’s Dance:” The miller entertains pushes him off a bridge into a stream. After the crowd with a fiery farruca – probably the she has chased him off the scene with a best-known section of the ballet.It opens with a gun, he returns and takes off his coat and Flamenco-style solo for horn and English horn. three-cornered hat to dry outside and goes The accelerating tempo at the end presents into the miller’s house. The miller, who has the dancer with a spectacular opportunity. De escaped from the soldiers, returns to find Falla added it at the last moment as a solo for the Corregidor’s clothes outside his house the dancer Leonid Massine. and decides to pursue the Corregidor’s wife.

3. “Final Dance:” In this jota, traditionally 4. The Miller’s Wife Is a short interlude, danced by couples with castanets, the which describes the flirtatious and teasing misunderstandings are all cleared up and wife. Suddenly she becomes skittish and everyone makes fun of the Corregidor. scampers away.

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DECEMBER 11-12, 2016 • HOLIDAY POPS!

HOLIDAY POPS!

SPONSORS

SUNDAY, DECEMBER 11, 2016 • 4PM

MONDAY, DECEMBER 12, 2016 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Innovative Perspective | Juliana Kim

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HOLIDAY POPS! • DECEMBER 11-12, 2016

HOLIDAY POPS! John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, December 11, 2016 • 4pm Monday, December 12, 2016 • 8pm

John Morris Russell, Conductor Haeun Kim, Violin First Prize Winner, 2016 HHSO Youth Concerto Competition Hilton Head Symphony Orchestra Chorus Robin Lind, Chorus Master

PROGRAM KAY MURPHY HERMANN, arr TYZIK

Deck the Halls

Hilton Head Symphony Orchestra Chorus

Dance and Sing

Hilton Head Symphony Orchestra Chorus

Winter Wonderland Behold the Lights

Hilton Head Symphony Orchestra Chorus

PELLETT, arr.

Little Drummer Boy

SARASATE

Carmen Fantasy, Op. 25

BIZET

Hilton Head Symphony Orchestra Chorus Haeun Kim, Violin

Farandole from L’Arlessienne

INTERMISSION RIMSKY-KORSAKOV Dance of the Tumblers BLAKE The Snowman BRAZ, arr.

A Suite of Carols

Hilton Head Symphony Orchestra Chorus 2016–2017

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MEET THE ARTIST

HAEUN KIM

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HAEUN KIM Violin Holiday Pops!

December 11-12, 2016

“Being able to feel the emotions of the composer allows me to fall in love with every piece I study.

And hopefully, the audience will fall in love too.”

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he violin is my voice.” “I feel a rush of energy flow through me when I play. When I am in the practice room, it is just me. I am playing for myself. But when I am on stage, the music I played for myself in the practice room becomes the music that I share with everyone. It is my voice. Through that voice I am able to communicate my emotions and feelings. Through the music, the audience and I become one. What I feel afterward are the most unexplainable, most powerful, happiest feelings ever.”

And powerful they are.The young musician was recently named Grand Prize winner of the 2016 Delta Symphony Young Artist Competition in Arkansas, and thus chosen to perform with the orchestra. She competed with graduate students up to 26 years of age. At eleven, she was winner of The American Protégé International Competition, and at twelve, made her orchestral debut as a soloist with the Louisiana Philharmonic Orchestra and has appeared with the Georgia Philharmonic Orchestra, the Interlochen Symphony Orchestra and the Southern Adventist University Orchestra.

Too many to mention, her myriad of accomplishments include Second Prize at the Lois Pickard Music Scholarship Competition and First at the Alabama Federation of Music Clubs Competition. Internationally, she won First Place in the junior division of the 2014 ENKOR International Competition for Violin and Piano and Third Place at the Second Leopold Auer International Violin Competition in St. Petersburg, Russia.

Most recently, Kim was selected as one of the seven finalists for the 2016 Blount-Slawson Young Artist Competition. She won the 2016 Alabama Symphony Youth Orchestra Concerto Competition and the 2016 Hilton Head Symphony Orchestra Concerto Competition and she will return to perform with them both as a soloist next season.

Finishing her ninth grade studies this Spring, Kim looks forward to a career in music as a soloist and as a chamber musician. She is currently studying violin with Cornelia Heard at Vanderbilt University and Jenny Gregoire at the University of Alabama. Kim has been a recipient of Vanderbilt’s prestigious Myra Jackson Blair Scholarship for the last four years. Currently, she is Concertmaster of the ASFA Orchestra, Alabama Symphony Youth Orchestra and the 2016 Alabama All State Festival Orchestra.

Currently, she is learning “The Tchaikovsky Violin Concerto,” a magnificent piece that runs the gamut of emotions. “Being able to feel the emotions of the composer allows me to fall in love with every piece I study.And hopefully, the audience will fall in love too.” For some reason, we have no doubt.

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ROBIN LIND

obin A. Lind moved to the Lowcountry in 2014. Prior to this she enjoyed an exciting and rewarding career in music education and choral conducting that spanned 40 years and took her from her first teaching job in a small farm community in Kuna, Idaho, to her last, as the Director of Choral Activities at Westminster College in New Wilmington, Pennsylvania. She received her Ph.D. in Music Education from the University of Utah, her MM in Vocal Performance from the University of Oregon, and her BA in Music Education from the College of Idaho. Choirs under her direction have toured Europe and the United States and have performed in such venues as St. Peters Basilica in Rome, St. Giles Cathedral in Edinburgh, the National Cathedral in Washington D.C., and the First Presbyterian Church of Hilton Head Island.

While at Westminster College she was invited to be a guest conductor for numerous District, Regional, and Honors Chorus Festivals throughout Pennsylvania and Ohio. She also prepared choirs for major works performed by the Warren Philharmonic Orchestra in Ohio.As a singer, she has performed as a soloist with the Eugene Opera Company in Oregon, the Cascade Festival of Music in Bend, Oregon, and the Western Slope Summer Music Festival in Crested Butte, Colorado. She is currently the Music Director for Lowcountry Presbyterian Church and sings with several local jazz bands. She has been singing with the Hilton Head Symphony Chorus since the Fall of 2014.

ROBIN LIND Chorus Master Holiday Pops!

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HOLIDAY POPS! • DECEMBER 11-12, 2016

MEET THE ARTIST

HILTON HEAD SYMPHONY ORCHESTRA CHORUS

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he Hilton Head Symphony Orchestra Chorus is an auditioned chorus of professional and professionally-trained vocalists from around the Lowcountry who are dedicated to performing classical, opera, and contemporary choral literature with the Hilton Head Symphony Orchestra.

These singers have a wealth of experience, having performed extensively as soloists in opera and oratorio and as singers with major symphony orchestra choruses and choral societies all across the United States and abroad.The chorus is skilled in a diverse range of repertoire from the opera and Broadway stages to classical works of the great masters and are highly praised for their rich and expressive sound.

Formed in 2006 by the HHSO and Mary Woodmansee Green, the HHSOC debuted with Mahler’s Second Symphony with performances in Hilton Head and at the Lucas Theatre in Savannah. Since then, the HHSOC has performed a wide variety of works including Orff’s Carmina Burana; Brahms’ A German Requiem;Tchaikovsky’s 1812 Overture; Mozart’s Grand Mass in G minor; Holst’s The Planets; opera and operetta selections from Aida, Die Fledermaus, A Midsummer Night’s Dream; Falstaff, Macbeth, The Mikado, Pirates of Penzance, H.M.S. Pinafore, as well other renowned works by Bach, Berlioz,Verdi, Copland, Handel and Mendelssohn. Several years ago, the chorus also displayed their lighter side and flair for fun with a Flash Mob performance at Shelter Cove!

Under the baton of John Morris Russell since 2012, this highly acclaimed ensemble continues to expand their repertoire and their love of music, while striving to set the highest standard for performance and professionalism.

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THE SNOWMAN

T THE SNOWMAN Author: Raymond Briggs Holiday Pops!

December 11-12, 2016

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he Snowman is a children's picture book, without words, by English author Raymond Briggs, first published in 1978 by Hamish Hamilton in the U.K., and by Random House in the U.S. The book was adapted into a 26-minute animated television special in 1982 which debuted in Britain on December 26. It was nominated for an Academy Award, and its showings have since become an annual event. The story is told through pictures, action and music, scored by Howard Blake. It is wordless like the book, except for the song “Walking in the Air”.

A boy builds a snowman one winter's day. That night, at the stroke of twelve, the snowman comes to life. He and the boy play with appliances, toys and other items in the house, all while keeping quiet enough not to wake the boy's parents.

The two go for a ride on a motorbike, disturbing many animals. Later they take flight over the boy's village, and then out over the ocean. They continue through an arctic landscape and into the aurora. They land in a snow-covered forest and join a party of snowmen. They meet Father Christmas with his reindeer, who gives him a scarf with a snowman pattern.

The morning after the return journey, the sun has come out and the boy wakes up to find the snowman has melted.The boy reaches into his pocket and finds the snowman scarf given to him by Father Christmas.

“Remember that winter because it had brought the heaviest snow I had ever seen. Snow had fallen steadily all night long and in the morning I woke in a room filled with light and silence, the whole world seemed to be held in a dream-like stillness. It was a magical day... and it was on that day I made the Snowman."

HILTON HEAD SYMPHONY ORCHESTRA

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9/13/16 3:57 PM

WELCOME TO THE HHSO’S 35TH SEASON

YOUTH CONCERTO COMPETITION One of the most understated events takes place in Hilton Head each year, and yet it is a major stepping stone in the life of a young musician . . .

The HHSO Youth Concerto Competition has been attracting the most talented young musicians from throughout the southeastern United Sates for ten years each February.

Sponsored by the Hilton Head Symphony Orchestra, the competition provides a rare opportunity for a young musician to perfect a concerto movement from the professional repertoire, to a level which must far exceed what is required in the studio, because it will be evaluated by professional musicians.

The competition, designed for youngsters ages 8 – 18 who play a musical instrument other than a piano, is the most prestigious in the region. Applicants are reviewed by a jury and ten are selected to compete as finalists for cash prizes and the chance to solo with our orchestra. Last year’s winner, violinist Haeun Kim will perform at the Holiday Pops Concert on December 11th and 12th, this year.

The contestants’ goals are to attend top music conservatories and have already established themselves in the regional, national and in some cases, international arenas. Our concerto competition experience helps to strengthen young artists for the arduous auditioning process as they convert hundreds of practice hours into a polished presentation, necessary for them to win auditions and scholarships at the top conservatories.

Over the years, many of our competitors have been accepted at Curtis Institute of Music, Julliard School of Music, Cleveland Institute of Music, Eastman School of Music, Peabody Conservatory, New England Conservatory, Oberlin Conservatory, Coburn School, and Indiana University- Jacobs School of Music, and other music institutes.

15-year-old violinist Kaili Wang, a recent prize winner, had this to say about her experience here, “I have never heard of a competition that is more valuable than the HHSO concerto competition … the competition itself is exhilarating … I really enjoyed the chance to hear other incredibly inspiring and talented musicians from all over the south. But the best thing about it was the doors that it opened for a place winner.”

2016–2017

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9/13/16 4:27 PM

JANUARY 15-16, 2017 • SA INT-SA ËNS – ORGA N SY MPHON Y

SAINT-SAËNS – ORGAN SYMPHONY

SPONSORS

SUNDAY, JANUARY 15, 2017 • 4PM

MONDAY, JANUARY 16, 2017 • 8PM

FREY MEDIA

consult | create | connect

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

By the Sea | Mar y Sullivan

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9/13/16 3:57 PM

SA INT-SA ËNS – ORGA N SY MPHON Y • JANUARY 15-16, 2017

SAINT-SAËNS – ORGAN SYMPHONY John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, January 15, 2017 • 4pm Monday, January 16, 2017 • 8pm

John Morris Russell, Conductor Chad Martin, Organ

PROGRAM DUKAS BLOCH

La péri Fanfare Concerto Grosso No. 1

Prelude Dirge Pastorale and Rustic Dances Fugue

INTERMISSION SAINT-SAËNS

Symphony No. 3 in C minor, Op. 78 “Organ”

Adagio-Allegro moderato Poco adagio Allegro moderato-Presto Maestoso-Allegro Chad Martin, Organ

2016–2017

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JANUARY 15-16, 2017 • SA INT-SA ËNS – ORGA N SY MPHON Y

MEET THE ARTIST

CHAD MARTIN

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CHAD MARTIN Organ Saint-Saëns – Organ Symphony January 15-16, 2017

Chad served as organist, music associate and handbell director at Saxe Gotha Presbyterian Church in Lexington, SC from 2009–2015.

had Martin is a native of Blackville, SC. He started playing the piano by ear around the age of four. He was the pianist at Double Pond Baptist Church and provided music for various revivals, singsperations, benefits and gatherings throughout Barnwell County. Chad obtained his Bachelors of Organ Performance from Anderson University in 2009. While at Anderson, he sang in and was student accompanist for the Anderson University Choir and Anderson University Chamber Singers. He was also the accompanist for Anderson’s traveling music ensemble, Radiance, and participated in the Anderson University Wind Symphony. During these four years, he was the organist at Boulevard Baptist Church, where he accompanied a youth choir of 50 teenagers known as The Celebration Singers.This group performed in Chicago, New York, and along the Eastern Coast. Chad received his Masters of Organ Performance from Winthrop University in 2012.

Chad served as organist, music associate and handbell director at Saxe Gotha Presbyterian Church in Lexington, SC from 2009–2015. While in Lexington, he was also the assistant accompanist of the Lexington County Choral Society and accompanied various students and professors from the University of South Carolina and Columbia College. Currently, Chad serves as organist and handbell director at First Presbyterian Church.

Melk Abbey Organ | Frank Sullivan

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HILTON HEAD SYMPHONY ORCHESTRA

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SA INT-SA ËNS – ORGA N SY MPHON Y • JANUARY 15-16, 2017

PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

La péri

Paul Dukas (1865-1935) Known to audiences in this country for a single work, The Sorcerer's Apprentice – and that especially via the famous Disney animation with Mickey Mouse in the film Fantasia – Paul Dukas was a pathological perfectionist who burned all but a dozen of his compositions.

Besides La péri, his major works are the Symphony in C and the opera Ariane et BarbeBleue (Ariadne and Bluebeard).

Dukas’s family, including his brothers and sister, supported his musical ambitions, but the musical establishment was less than enthusiastic about his works – which in France often said nothing about intrinsic value. He entered the Conservatoire at 16, but numerous attempts to win the coveted Prix de Rome came to naught (Gounod, Thomas, SaintSaëns and Delibes were among the judges).

Disappointed, he left the Conservatory and decided to become primarily a music critic, publishing over 400 articles between 1892 and 1932. His broad knowledge in art, literature, history and philosophy made him a formidable and highly respected critic.

His Poème dansé (ballet) La péri nearly ended up in the fireplace as well, surviving only at the insistence of friends. Composed in 1911, it was Dukas’s final published work.The ballet is based on a Persian story about Iskender (Alexander the Great) and the péri, a fairy in the service of Ormuzd, god of light. Dukas originally intended La péri for Diaghilev’s Ballets Russes, the company that premiered Stravinsky’s Petrushka,The Firebird and The Rite of Spring, but the deal fell through because of infighting about the casting.

Dukas’s music reflects the composer’s seemingly incompatible admiration for Wagner

and French impressionism. The opening Wagner-on-the-Seine brass fanfare, which Dukas added to the ballet as an afterthought, imitates the fanfare Wagner wrote expressly to summon the audience after the intermissions of his music dramas at the Bayreuth Festspielhaus.

Concerto Grosso No. 1 For String Orchestra with Piano Obbligato Ernest Bloch (1880-1959)

Compared to his contemporaries, Schoenberg or Stravinsky, Swiss composer Ernest Bloch must be considered conservative.

Although he did not shy away from such modern techniques as serialism, the intensity and passion in much of his work harks back to the more traditional era of his youth. He avoided "schools" and was careful to allow his many students – among them such wellknown figures as Roger Sessions, Quincy Porter, Leon Kirchner and George Antheil – to use their own gifts and express themselves in their own personal way.

The son of a clock maker, Bloch spent a good part of his creative life in America, studied violin and composition in Switzerland, Belgium (where he studied violin with famed violinist Eugène Ysaÿe), France and Germany then returned to Geneva where he entered the family's business as bookkeeper. Teaching and composing on the side, he tried to establish a conducting career. Bloch visited the United States in 1916 as conductor for a tour by the Maud Allan dance company. When the tour failed and he was stranded, he accepted a position teaching theory and composition at the newly formed David Mannes College of Music in NY. 2016–2017

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In the following years Bloch established and maintained an important career as an educator, with posts that included first Directorship of the Cleveland Institute of Music, and then Director of the San Francisco Conservatory. He spent most of the 1930s in Switzerland, composing and conducting his music. He returned to the USA in 1940 to teach composition at Berkeley until his retirement in 1952.

Although there is no record of Bloch having crossed paths with his contemporary, painter Marc Chagall, the two artists derived much of their creative inspiration from Jewish sources.

Much of Bloch’s music was inspired by Old Testament subjects or from Jewish traditional life. While he seldom quoted directly from Hebrew traditional and religious melodies, the influence of cantorial chants appears in many of his scores, although without literal imitation. He once said, "I do not propose or desire to attempt a reconstruction...or to base my work on melodies more or less authentic. I am not an archaeologist...It is rather the Hebrew spirit that interests me..."

The Concerto Grosso No. 1 was however a purely secular exception. Bloch composed it in Cleveland in 1925 as a piece for the student orchestra. It was his response to the doubts of some students that a meaningful work could still be written in such a traditional style. According to the composer's daughter, Suzanne, they “were skeptical when Bloch told them that one could still write alive and original music with the means that had existed for so long.” The first movement Prelude and final movement Fugue proved his point.

Typical of the Baroque concerto,the movements are structured around a ritornello that recurs throughout the movement with short episodes of new music. The first, Prelude: Allegro energico e pesante, is something of an introduction.

The second movement Dirge: Andante moderato, is considerably longer and composed 62

Purple Path | Chris Clayton

in the standard ternary (ABA) form of slow movements since the Baroque, still built around a single ritornello. The middle section retains the mood.

The third movement, Pastorale and Rustic Dances, breaks away somewhat from the Baroque prototype. The mysterious introduction hints at the dance to come.

The movement alternates between the two tempi, combining all the themes together contrapuntally in a majestic conclusion.

Of course, no proper Baroque concerto can get away without a fugue.The final movement, Fugue, is Bloch’s Bachian bonanza. Only after the violas and violins get through a little piece of Bach-like contrapuntal cleverness do the cellos and basses enter with the proper response at the appropriate interval. Bloch continues to indulge in more contrapuntal games, including combining the two themes, running them upside down and backwards, in augmentation, adding more canons, and slipping in the themes from the first movement – just like the master!

HILTON HEAD SYMPHONY ORCHESTRA

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Camille Saint-Saëns (1835-1921) Composer, organist and pianist Camille Saint-Saëns was phenomenally precocious and gifted in everything he undertook. He was a man of wide culture, well versed in literature, the arts and scientific developments.As a child prodigy he wrote his first piano compositions at age three and at ten made his formal debut at the Salle Pleyel in Paris, playing Mozart and Beethoven piano concertos. In his youth he was considered an innovator, but by the time he reached maturity he had become a conservative pillar of the establishment, trying to maintain the classical musical tradition in France and expressing open disdain for the new trends in music, including the “malaise” of Wagnerism. He premiered his five piano concertos with impeccable technique and effortless grace. But neither his compositions nor his pianism were ever pinnacles of passion or emotion. Berlioz noted that Saint-Saëns “... knows everything but lacks inexperience.”

Saint-Saëns professed to uphold the classical virtues of clarity, restraint and elegance, but none of these virtues appear in the C minor Symphony, a romantic work with colorful and grandiose orchestration throughout. The organ part is integrated into the orchestra and does not emerge as a solo counterforce, as in a concerto. Appropriately, Saint-Saëns dedicated it to the memory of Franz Liszt, whose virtuosic organ music served as his model. The symphony was commissioned by the London Philharmonic Society and premiered by that orchestra in May 1886 with the composer conducting from the keyboard.

There is thematic interconnection between the movements, and the traditional four movements are fused into two: “[the Symphony] embraces in principle the four traditional movements, but the first, halted

SA INT-SA ËNS – ORGA N SY MPHON Y • JANUARY 15-16, 2017

Symphony No. 3 in C minor, Op. 78 “Organ Symphony”

in its development, serves as introduction to the Adagio, while the Scherzo is abandoned by the same process to lead to the Finale,” the composer wrote. Saint-Saëns borrowed from Liszt the technique of thematic transformation in which a single theme, or motto, recurs in various guises as an essential unifying device.

But despite his insistence that the Symphony is a two-movement work, it is easier to think of it as having four movements since there are four distinctly discernible sections each with its own mood and musical structure. A brief slow introduction hint at the motto in the solo oboe and flute. The following Allegro immediately presents the motto in hushed, stuttering strings, creating an anxious tension that pervades even the lilting second theme.

The Allegro comprises a continuous stream of transformations of the motto and via a reprise of the introduction, the movement blends into the Poco Adagio without pause.

This is the first appearance of the organ’s accompanying an expansive new melody in the lower strings. After a few minutes, the motto quietly returns, eventually combining with the Adagio melody, where it is played pizzicato by the basses and cellos.

The stuttering rhythm returns in the third movement Scherzo in a new theme, but soon the motto recurs in the flutes and oboes, eventually taking over. The Trio, yet another iteration of the motto, is accompanied by the addition of the piano into the orchestral mix.

After the revised repeat of the Scherzo and Trio, the movement ends on a serene note.

The final section, which is entirely based on the motto, begins with a grand entrance of the organ, which with the strings and piano, first states it as a majestic chorale. With a nod to Bach, there follows a fugue. Further transformations bring the Symphony to a triumphant conclusion.

2016–2017

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JANUARY 29-30, 2017 • TCH A IKOVSK Y – FOU RTH SY MPHON Y

TCHAIKOVSKY – FOURTH SYMPHONY

SPONSORS

SUNDAY, JANUARY 29, 2017 • 4PM

MONDAY, JANUARY 30, 2017 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Summer Ballet | Earline Allen

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9/13/16 4:00 PM

TCH A IKOVSK Y – FOU RTH SY MPHON Y • JANUARY 29-30, 2017

TCHAIKOVSKY – FOURTH SYMPHONY John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, January 29, 2017 • 4pm Monday, January 30, 2017 • 8pm

John Morris Russell, Conductor ChangYong Shin, Piano First Prize Winner, 2016 Hilton Head International Piano Competition

PROGRAM IVES SCHUMANN

The Unanswered Question Piano Concerto in A minor, Op. 54

Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace ChangYong Shin, Piano

INTERMISSION TCHAIKOVSKY

Symphony No. 4 in F minor, Op. 36

Andante sostenuto Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

2016–2017

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JANUARY 29-30, 2017 • TCH A IKOVSK Y – FOU RTH SY MPHON Y

MEET THE ARTIST

CHANG-YONG SHIN

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CHANG-YONG SHIN Piano Tchaikovsky – Fourth Symphony January 29-30, 2017

“He is a pianist with passionate expression and profound artistry, representative of the best among his generation!”

– Dr. Douglas Humpherys, Chair 2016 HHIPC

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hangYong Shin of the Republic of Korea, is the 2016 First Prize Winner of the Hilton Head International Piano Competition (HHIPC). Dr. Douglas Humpherys, the 2016 HHIPC Jury Chair (as well as Chair of the Piano Department at the Eastman School of Music and Artistic Director of the Gina Bachauer International Piano Competition), said about Mr. Shin,“He is a pianist with passionate expression and profound artistry, representative of the best among his generation!”

Mr. Shin will make his Carnegie Hall debut on Saturday, November 19, 2016 at 2:30 at Weill Recital Hall where he will perform works by Bach, Beethoven, Unsuk Chin, Granados and Prokofiev. He has performed in other prestigious venues, including two solo recitals and a chamber concert at Kumho Art Hall, a “Young Mozart Concert” at The Mozart Hall, the Young Musicians Festival at Youngsan Art Hall, the Korean traditional music festival at the Recital Hall of The Seoul Arts center, and the Gala concert of the Ewha & Kyeonghyang Competition at Baroque Chamber Hall. Also, he has been invited several times to perform at the UJung Art Center in Korea.

Mr. Shin’s calendar includes performances at Salle Cortot in Paris, in Prague, China and London during the 2016-17 season. He will present a recital and master classes at the Evelyn Miller Young Pianist Series (Knoxville, TN) in January, 2017 and at the Green Lake Festival of Music (Wisconsin) in summer, 2017.

Mr. Shin is also an accomplished chamber music performer. He gave a chamber music recital at the invitation of the Kumho Art Hall, and joined the Young Artist Festival of Chamber Music as a member of a Korean chamber group. Additionally, he performed recitals with his Curtis colleagues in Paris, Sarasota, Pittsburgh, and Philadelphia.

Until 2011, he studied with Choong-Mo Kang at The Juilliard School and Ms. Mari Kwon, a graduate of the Curtis Institute of Music, at the Dankook University in Korea. Since then, he has been studying with Robert McDonald at the Curtis Institute of Music where he earned his Bachelor’s degree. He has received a full scholarship at The Juilliard School to pursue his Masters degree, again with Mr. McDonald who said, “ChangYong Shin is a young artist of exceptional gifts—a brilliantly complete instrumentalist whose playing is always at the service of the music and its expressive possibilities.”

HILTON HEAD SYMPHONY ORCHESTRA

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TCH A IKOVSK Y – FOU RTH SY MPHON Y • JANUARY 29-30, 2017

PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

The Unanswered Question

Charles Ives (1874–1954) Charles Ives was one of the few artists with the luxury of exercising his full creative energies unimpeded by a need to eke out a living from his art. He was the son of a Connecticut bandleader who had started his career as the youngest bandleader in the Union Army but who wanted his son to be a concert pianist. From his father, Charles developed an appreciation for musical games, such as singing in one key and playing in another, or playing the same piece in two keys simultaneously. Perhaps it was this penchant for duality that led him to embark on a double life. He had an enormously successful career in business, applying his creativity and idealism to develop important new concepts for the life insurance industry, while at the same time experimenting and composing in his idiosyncratic musical style.

Ives composed The Unanswered Question in 1906. It was the first of Two Contemplations (the other being Central Park in the Dark) that employ the techniques of polytonality and polyrhythm. Ives claimed to have become fascinated with simultaneous contrasting rhythms and tonalities from having heard two or more bands playing different tunes within earshot of each other at parades. The work employs three distinct, musically unrelated performing ensembles: a string orchestra playing a series of long, whispering chords in traditional harmony; a solo trumpet repeating six times the same five-note atonal motive in a totally foreign “key;” and a quartet of flutes, providing increasingly frenzied responses to the trumpet with yet another atonal series of notes. In a later revision of the work, Ives provided a brief program for the piece, which may or may not have been in his mind at the time of its original composition.

“The strings are the silences of the Druids, who know, see, and hear nothing.” Over this background the trumpet “poses the perennial question of existence; and the winds are “the fighting answerers,” who flounder around, even frantically restating the question as if to clarify it. But in their distortion of the motive, showing that they never understood it in the first place.”

As if he were trying to further demonstrate the lack of communication between the three ensembles – and hence the lack of resolution to the question – Ives even leaves the coordination of the final moments of the piece to each individual group of performers and their conductor (if they have one).

Piano Concerto in A minor, Op. 54 Robert Schumann (1810-1856)

No other composer symbolized the Romantic Movement in music as did Robert Schumann.

Talented both in music and literature, he used the latter to promote his romantic ideals about the future of music. He was a true elitist, pitting “us,” the enlightened (the Davidsbündler), against “them,” the masses (whom he called “Philistines”). The latter appellation has remained part of the international elitist vocabulary to this day.

Schumann’s five-year pursuit of his beloved, the brilliant Clara Wieck, had all the ingredients of a soap opera (or grand opera): A hostile father-in-law, an adoring young bride-to-be, secret correspondence, lawsuits and court battles, accusations of alcoholism, banishment from Wieck's house, economic pressure, etc.

Clara was an outstanding pianist and composer in her own right, and their eventual triumph led to a stormy but happy marriage unleashing a flood of creativity in both husband and wife – including eight children.

2016–2017

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The popular piano concertos of Schumann’s time were mostly empty showpieces, written by virtuosos for their own concerts where they achieved “rock-star” adulation. Schumann detested what he considered to be the second-rate composers of such works, calling them "Gladiators of the Keyboard." When in 1841 he wrote his first symphonic works, including his Symphony No.1 and sketches for what was to become No. 4, he also wrote a Fantasie for piano and orchestra that turned out to be the embryonic first movement of the Piano Concerto. He wrote the Fantasie for Clara, who performed it privately with the Leipziger Gewandhaus Orchestra under Felix Mendelssohn just before going into labor. She wrote in her diary during rehearsals:“The piano part is woven most finely into the orchestral texture: one cannot imagine one existing without the other.”

Publishers, however, were not so enthusiastic about the piece, and no public performance took place. Three years later, in the summer of 1844, after just returning from an arduous concert tour of Russia, Schumann suffered a nervous breakdown that left him barely able to work. During the following year, he composed little but managed to expand the Fantasie into a full-fledged three-movement piano concerto, and it was Clara, now a prestigious soloist, who practically forced it on the musical establishment.

Often criticized as a mediocre orchestrator, Schumann brings some of his best orchestral writing to this concerto, particularly in the wonderful oboe and clarinet solos in the first movement. The thematic exposition is a piece of teamwork for orchestra and soloist: the first theme is introduced by the oboe, echoed by the piano, while the second theme is introduced by the piano and orchestra together. Although there are, of course, many solo sections for piano, much of the movement integrates the

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soloist into the instrumental fabric, often accompanying another instrument that carries the theme. The development section is more of a fantasy, typical of the composer's rapid mood swings, perhaps even a deliberate selfportrait of the two sides of his personality, the exuberant “Florestan” and the contemplative “Eusebius,” whom he described in his critical writings. After the lengthy cadenza the coda suddenly picks up the tempo with another development of the first few notes of the principal theme.

The "Intermezzo," is a gentle respite from the majestic opening movement, but with elegant leaps in the opening theme and a sighing motive that is picked up in the second theme as well.

Using the opening motive from the Concerto as a transition, the Intermezzo leads without pause into the rollicking Finale. Like any rondo, it provides an opportunity to spin out many new musical ideas in the episodes between the rondo's reappearance. The second theme sounds like a march but is notated in 3/4.

Frequently, from the crashing opening chords to the unbroken transition between the second and final movements, and even the theme itself of the final rondo, Schumann reveals his debt to Beethoven, especially the to the "Emperor" Concerto. Yet his blending of piano and orchestra is strikingly original.

Another departure from classical and virtuoso concerti is the absence of a cadenza in the last movement (although the Concerto was written for his virtuoso wife).

Symphony No. 4 in F minor, Op. 36

Pyotr Ilyich Tchaikovsky (1840-1893) Throughout Tchaikovsky’s creative career, his inspiration went through extreme cycles tied to his frequent bouts of deep depression and self-doubt.The composition of this symphony in 1877 was strongly influenced by the events in his life that year.

HILTON HEAD SYMPHONY ORCHESTRA

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TCH A IKOVSK Y – FOU RTH SY MPHON Y • JANUARY 29-30, 2017

Things were actually looking up for Tchaikovsky during the early part of 1877. He had his first contact with Nadezhda von Meck, the wealthy widow of a railroad builder, who adored Tchaikovsky’s music and arranged to pay him a large annual stipend. The only stipulation she attached to her generous help was that they never meet in person, although they corresponded voluminously. In May he started work on the Fourth Symphony, but in July came his disastrous marriage to one of his students, Antonina Milyukova, who had fallen madly in love with him and had written to him confessing her devotion. Although Tchaikovsky, who was homosexual, didn’t even remember the girl, he hoped the marriage would still the rumors about his sexual preference. Instead he fled Antonina after two weeks. In total despair, he made a pathetic attempt at suicide (walking into the Moskva River, hoping to die of pneumonia) and ended up in complete mental collapse. To recuperate, his brother Modest took him to Switzerland and Italy, where he picked up work on the symphony, finishing it in January 1878.

Tchaikovsky dedicated the work to Mme. von Meck, expressing his confidence in the new work: “I feel in my heart that this work is the best I have ever written.” He did not return from abroad for the February 1878 premiere in Moscow, which was only a lukewarm success.

Tchaikovsky himself contributed to the notion that the Symphony was programmatic. He wrote to his patroness: Of course my symphony is programmatic, but this program is such that it cannot be formulated in words. That would excite ridicule and appear comic. Ought not a symphony—that is, the most lyrical of all forms—to be such a work? Should it not express everything for which there are no words, but which the soul wishes to express, and which requires to be expressed?

The Symphony opens with a sinister fanfare theme for the brass, which recurs several times

as the movement unfolds and whichTchaikovsky associated with the cruel exigencies of fate.

The anxiety-laden main theme strives towards a resolution that continually seems to elude it.

The relief comes with the second theme, one of Tchaikovsky's inimitable melodies for solo clarinet, and a third played in counterpoint with the clarinet theme by the strings and timpani.

The development is based exclusively on the main theme and the fanfare.

A plaintive melody on the oboe, accompanied by pizzicato strings opens the second movement. The pace picks up in the middle section where the composer adds a dance-like melody that becomes increasingly intense until he returns to the gentle oboe theme now in the violins with the woodwinds adding feathery ornaments.

The third movement, Pizzicato ostinato (a persistently repeated phrase, here provided by the plucked strings), is a playful diversion. It is a typical scherzo and trio. Within the Trio is a medley of tunes, the first for a pair of oboes, the second, a slightly mournful Russian folk tune, also for the upper winds, the third a playful staccato brass riff. The movement ends with a medley of the various themes and instrumental combinations.

In Tchaikovsky's last three symphonies, motivic unity among the movements was to take an increasingly prominent role. The finale of the Fourth is the most “Russian” of Tchaikovsky’s symphonic movements. It is something of a musical battle between the festive and the melancholy, authentic Russian boisterousness set against the angst of the first movement. It is, therefore, hardly surprising that the movement is brought up short towards the end by the reappearance of the fanfare from the opening movement – the specter at the feast. An energetic coda, however, tips the balance into positive territory – or triumph over adversity.

2016–2017

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FEBRUARY 19-20, 2017 • LOWCOU NTRY POPS! A GU LL A H CELEBR ATION

LOWCOUNTRY POPS! A GULLAH CELEBRATION

SPONSORS

SUNDAY, FEBRUARY 19, 2017 • 4PM MONDAY, FEBRUARY 20, 2017 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Innovative Perspective | Juliana Kim

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LOWCOU NTRY POPS! A GU LL A H CELEBR ATION • FEBRUARY 19-20, 2017

LOWCOUNTRY POPS! A GULLAH CELEBRATION John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, February 19, 2017 • 4pm Monday, February 20, 2017 • 8pm

John Morris Russell, Conductor Hilton Head Symphony Orchestra Chorus • Robin Lind, Chorus Master Hilton Head Dance Theatre • John Carlyle, Director Savannah Children’s Choir Natalie Daise, Narrator

PROGRAM ROOT/Berens

Battle Cry of Freedom "The People Could Fly", a traditional Gullah Story

Natalie Daise, Narrator Hilton Head Symphony Orchestra Chorus

GOULD, arr.

MCKEE, arr.

MCKEE, arr.

JOHNSON, arr.

Revival

Hilton Head Dance Theatre

The Old Ark

Savannah Children’s Choir

Santy Anna

Savannah Children’s Choir

Ride on King Jesus

Hilton Head Symphony Orchestra Chorus

REINEKE/RUSSELL, arr. Go Tell it on the Mountain

Hilton Head Symphony Orchestra Chorus

INTERMISSION PROKOFIEV AKPABOT

"Isaiah an’ de Gatah", adapted from Peter and the Wolf Natalie Daise, Narrator

Two Nigerian Dances

Hilton Head Dance Theatre

WILHOUSKY

The Battle Hymn of the Republic

COOK/Russell

Swing Along

BERENS, arr.

Hilton Head Symphony Orchestra Chorus

Hilton Head Symphony Orchestra Chorus

My Country ‘Tis of Thee

Ensemble

2016–2017

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FEBRUARY 19-20, 2017 • LOWCOU NTRY POPS! A GU LL A H CELEBR ATION

MEET THE ARTISTS

SAVANNAH CHILDREN’S CHOIR

T

he Savannah Children’s Choir was founded in Savannah, Georgia in 2006 with a mission of uniting Savannah’s children through the power of song.

Designed for children in K through 8th grades, the SCC delivers weekly music education to auditioned members in one of four choirs, the Discovery, Apprentice, Prep and Premier choirs.

The SCC is known for its annual Summer Camp program held annually the last two weeks in July, which pairs talented instructors earning advanced degrees in music education and related fields from top colleges and universities across the nation with musically-interested children in Savannah.

Annual Artist in Residence opportunities give SCC members a chance to work closely and perform with young artists, including Metropolitan Opera bass-baritone Keith Miller and Grammyaward winning vocalist and bassist Esperanza Spalding, among others.

The choir has toured nationally to Atlanta, Charleston, Chattanooga, Chicago, Greeneville and Orlando and internationally to participate in the Somerset Youth Choral Festival in England,Days of Verona international choral competition in Verona, Italy, and on a solo tour to Prague and Vienna.

The choir has performed with the Savannah Sinfonietta, the Savannah Philharmonic Orchestra and Chorus, at the Georgia Music Educators 2012 In-Service Conference as a featured choir, and performing with Esperanza Spalding on her album Radio Music Society. Using a Kickstarter grant, and in partnership with the Savannah College of Art and Design Sound Design department, the choir recorded a CD of holiday music in 2013.

HILTON HEAD DANCE THEATRE

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n 1985, Hilton Head Dance School opened its doors with a mere 17 students. The school, which has always been the official school of the non-profit Hilton Head Dance Theatre, has experienced exponential growth in the years since. At the helm of both entities since the very beginning are Karena Brock-Carlyle, a former Principal Dancer with the American Ballet Theatre, and her husband John Carlyle, who danced professionally with City Center Dance Theatre, the Tampa Ballet and the Savannah Ballet. As the school has grown, so has the opportunity for the dance theatre to support productions featuring dance school students. The Nutcracker is a much-loved annual event that has delighted tens of thousands of residents and visitors alike as it is the official kick-off to the holiday season. In addition, Hilton Head Dance Theatre’s repertoire has grown to include all of the great full-length ballets such as Swan Lake, The Sleeping Beauty, Giselle, Coppélia, Cinderella and Don Quixote.

Both Karena Brock-Carlyle and John Carlyle have contributed new and innovative works to the repertoire, and audiences have also enjoyed the work of choreographer Jamal Edwards and former Broadway dance captain Kathleen Watkins. And every year, the very youngest students are featured in productions of their own such as Peter Rabbit, Eloise, The Magic Toy Shoppe, and Ella Bella Ballerina. Students in the middle grades perform annually in a production called Terpsichore, Too dancing excerpts from Swan Lake or The Sleeping Beauty as well as contemporary and jazz pieces.

Hilton Head Dance Theatre has also proudly brought professional companies to our area including Stars of the American Ballet Theatre, the Miami City Ballet, Ballet Hispanico, the Atlanta Ballet and the Orlando Ballet among others.

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HILTON HEAD SYMPHONY ORCHESTRA

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NATALIE DAISE

est known as “Ms. Natalie” on Nick Jr.’s award-winning television program, Gullah Gullah Island, Natalie is committed to making presentations that entertain, educate, empower and inspire. For more than 25 years, Natalie Daise has been a performing and visual artist. Her belief in the positive power of stories fuels all her work. Natalie’s performances, painting and functional art pieces arise from the tradition of storytelling.

She has been married to Ron Daise, her committed partner in creativity and life for 30 years. They have two children, Sara and Simeon, who are amazing adults. She earned a B.A. degree from Vermont College and an M.A. in Creativity Studies from Union Institute and University.

Awards and nominations:

NATALIE DAISE Performing & Visual Artist Lowcountry Pops!

A Gullah Celebration February 19-20, 2017

• 1997 and 1998 IMAGE Award nominations • 1998 Daytime Emmy nomination • Silver and Gold Parent’s Choice awards • South Carolina’s highest honor, The Order of the Palmetto • South Carolina’s Jean Laney Harris Folk Heritage Award, given for lifetime achievement and excellence in folk art • 2016 ARTFields Competition Artist

PETER AND THE WOLF / ISAIAH AN’ DE GATAH

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eter and the Wolf, a famous children’s story, spoken by a narrator accompanied by an orchestra, was written by Sergei Prokofiev in 1936.

Prokofiev was commissioned by Natalya Sats and the Central Children’s Theatre in Moscow to write a new musical work for children. The intent was to cultivate “musical tastes in children from the first years of school”. Intrigued by the invitation, Prokofiev completed Peter and the Wolf in just four days.The debut on May 2, 1936 was, in the composer’s words, inauspicious at best: “... [attendance] was poor and failed to attract much attention”.

Prokofiev was obviously unaware of what was to come. Peter and the Wolf has been recorded more often than any other piece of classical music (including Maestro Russell, and the Windsor Symphony Orchestra with Colm Feore)- over 400 recordings in more than a dozen languages. It remains one of Prokfiev’s most famous and beloved works.

The version performed by the HHSO in these concerts, is the first in the Gullah language.

Natalie Daise adapted the Russian tale as a Gullah story, entitled Isaiah an’ de Gatah (Isaiah and the Gator) – as wolves are not part of the natural world of the coastal islands of The Lowcountry.

Other characters have been changed, to match the setting, but the central theme and emotional core of the story remain the same: a young boy and his comrades heroically work together to protect their home from danger.This adaptation will be performed again in April of 2017 as part of the HHSO’s Music Bridges program.

LOWCOU NTRY POPS! A GU LL A H CELEBR ATION • FEBRUARY 19-20, 2017

MEET THE ARTIST

See resumes for Robin Lind and Hilton Head Symphony Orchestra Chorus on page 55.

2016–2017

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FEBRUARY 19-20, 2017 • LOWCOU NTRY POPS! A GU LL A H CELEBR ATION

Street Jazz | Norma Deal

Fish Haul Creek Panorama | Frank Sullivan

Netmaker & Son | Nancy Mitchell

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No.5 | Arlene Linder

Twilight | Kendra Natter

HILTON HEAD SYMPHONY ORCHESTRA

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WELCOME TO THE HHSO’S 35TH SEASON

SYMPHONY UNDER THE STARS “FLOWER POWER – THE 60’S!” APRIL 4 AND 5, 2017

Remember bell-bottom pants, flower power and smiley faces popping up everywhere? It was the ‘60s, of course. For everyone who was a part of the love generation – or for those who always wished they were – the 2017 “Symphony Under the Stars” will be revisiting those memorable years. In a large festive tent at the Coastal Discovery Museum at Honey Horn under the baton of John Morris Russell, patrons can enjoy the music of the ‘60’s, and dinner with friends.Table groups use the concert themes to inspire costumes, table decorations and dinner menus as they compete for a variety of prizes.What a fun way to get into the spirit of this exciting evening!

Our own Music Director and famed Cincinnati Pops conductor, John Morris Russell, and fabulous vocalist Michelle Amato and drummer Steve Moretti will wow you with an evening of memorable music featuring Brown-Eyed Girl, Natural Woman, Soul Bossa Nova, Sergeant Pepper’s Reprise/ Day In The Life and much, much more!

Michelle Amato is a dynamic vocalist whose abilities to convey the deep passion of a lyric, as well as soar effortlessly through the stratosphere are making her one of the most in-demand names in music today. Drummer/percussionist/ producer Steve Moretti is a two time Grammy® Award nominee and winner of two Telly Awards. His performances have been described as “powerful” (World-Herald) and “full of subtle nuance and excitement” (Cleveland Classic). Steve has had an extensive recording career playing on over 30 nationally released recordings. He recently made his movie debut playing live in the 2014 Clint Eastwood film, “Jersey Boys.”

Whether you put a table of ten together, design costumes, have your dinner catered or bring your picnic and sit outside under the stars, you will get into the spirit of this always thrilling evening. Last year’s concert was sold out, so book your table early.You can provide your own refreshments, but wine, beer, soft drinks and water are available for sale by the League of the Hilton Head Symphony Orchestra.

Tickets for table seating are $85 and $75 and will be available January 3, 2017. New additional seating options at $50, concert seating, allows patrons to come for the concert only or to bring refreshments to be enjoyed at the museum’s Pavilion.We’ve also added the popular outside lawn seating at $25. Bring your lawn chair or blanket, add a picnic dinner and enjoy a great evening!

2016–2017

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MARCH 26-27, 2017 • MENDELSSOHN – ITA LI A N SY MPHON Y

MENDELSSOHN – ITALIAN SYMPHONY

SPONSORS

SUNDAY, MARCH 26, 2017 • 4PM MONDAY, MARCH 27, 2017 • 8PM

MONDAY, MARCH 27, 2017 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

By the Sea | Mar y Sullivan

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MENDELSSOHN – ITA LI A N SY MPHON Y • MARCH 26-27, 2017

MENDELSSOHN – ITALIAN SYMPHONY John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, March 26, 2017 • 4pm Monday, March 27, 2017 • 8pm

John Morris Russell, Conductor Ken Lam, Guest Conductor Charles Messersmith, Clarinet

PROGRAM WEBER WEBER

Der Freischütz Overture, J. 277 Clarinet Concerto No. 1 in F minor, J. 114

Allegro Adagio ma non troppo Rondo: Allegretto Charles Messersmith, Clarinet

INTERMISSION MENDELSSOHN

Symphony No. 4 in A major, Op. 90 “Italian”

Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

2016–2017

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MARCH 26-27, 2017 • MENDELSSOHN – ITA LI A N SY MPHON Y

MEET THE CONDUCTOR

KEN LAM

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KEN LAM Conductor Mendelssohn – Italian Symphony March 26-27, 2017

On October 25, 2015, Lam was presented with a Society of Peabody Alumni Citation for the Johns Hopkins University Alumni Association Global Achievement Award.

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r. Lam is Music Director of the Charleston Symphony Orchestra in South Carolina, USA and Resident Conductor of the Brevard Music Center in North Carolina. He is also Artistic Director of Hong Kong Voices and Conductor Laureate of the Baltimore Symphony Youth Orchestras.

In 2011 Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors selected by Leonard Slatkin. In recent seasons he led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Memphis, Illinois and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony and the Taipei Symphony Orchestra.

In opera, Lam directed numerous productions of the Janiec Opera Company at Brevard and was Assistant Conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival. In recent seasons, he led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada and his run of Massenet’s Manon at Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington D.C/Baltimore area in 2010.

Previously he held positions as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra and Principal Conductor of the Hong Kong Chamber Orchestra.

Lam studied conducting with Gustav Meier and Markand Thakar at the Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen and Leonard Slatkin at the National Conducting Institute. He read economics at St. John’s College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

On October 25, 2015, Lam was presented with a Society of Peabody Alumni Citation for the Johns Hopkins University Alumni Association Global Achievement Award. The Alumni Association Global Achievement Award is given to individuals who exemplify the Johns Hopkins tradition of excellence and have brought credit to the University and their profession in the international arena. Ken earned an MA in economics and a law degree from the University of Cambridge in England and spent 10 years as an attorney in London and Hong Kong before turning his focus and energy to music.

HILTON HEAD SYMPHONY ORCHESTRA

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CHARLES MESSERSMITH Mr. Messersmith attended the Cleveland Institute of Music and received a Bachelor of Music degree (while studying with Franklin Cohen) in 1991. He then went on to receive his Master of Music degree from the San Francisco Conservatory of Music while studying with David Breeden (San Francisco Symphony). After graduation, he became the Principal Clarinet of the Augusta Symphony and performed there for four years. In 1998 he was appointed by national auditions to the Second Clarinet position with the Charleston Symphony, and in 2005 to the Principal Clarinet position. He has performed with the Hilton Head Symphony Orchestra as Co-Principal Clarinet since 2006.

Along with regular performances with the Charleston Symphony, he performs all around the Lowcountry with local, national, and internationally renowned chamber musicians as well as for Piccolo Spoleto programs in the spring. In the summers he performs in Virginia at the Wintergreen Music Festival in the Blue Ridge Mountains. He has been featured as soloist with the Charleston Symphony on numerous occasions, performing the Copland Clarinet concerto, the Mozart Clarinet Concerto, and the Weber Concerto in f minor. This is the first time Mr. Messersmith has soloed with the Hilton Head Symphony Orchestra.

Mr. Messersmith is on faculty at the College of Charleston and Charleston Southern University, has a thriving private teaching studio, and travels around the greater Charleston area leading masterclasses and clarinet sectionals in elementary schools and high schools.

CHARLES MESSERSMITH Clarinet Mendelssohn – Italian Symphony March 26-27, 2017

“Through the formative years of learning, he studied with many great teachers including ... Mr. Gililand (who told him he had never seen a musician come up with more creative excuses for not practicing than Charlie)”

2016–2017

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MENDELSSOHN – ITA LI A N SY MPHON Y • MARCH 26-27, 2017

MEET THE ARTIST

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PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Overture To Der Freischütz

Carl Maria Von Weber (1786-1826) The premiere of Der Freischütz (usually translated as The Marksman) in 1821 marked a turning point in the development of German opera. Until the early nineteenth century, German grand opera had been dominated by Italian composers. The Singspiel, native Germanlanguage opera with spoken dialogue instead of recitative, was regarded as more lowbrow.

Beethoven elevated the Singspiel to a higher level in Fidelio, whose unspecified location suggests an unspecified Spanish setting. But in Der Freischütz, Weber created a Singspiel combining all the trappings so dear to the early Romantics: the darkly supernatural; the idealization of the common folk; and, in part, German folksong style that skillfully combined popular music with elements of high art. An overwhelming success, it solidified the entire German school of operatic Romanticism that led directly to the music dramas of Wagner.

Weber based Der Freischütz on a German legend, already popular in the Singspiel tradition.

The plot involves a hunter who sells his soul to the Devil in exchange for a set of charmed silver bullets that hit their mark regardless of where they are aimed. In this struggle between the forces of good and evil, virtue finally prevails – with the help of a good woman. The music is admirable for its charm, folk-like melodies and dance tunes, as well as moments of dramatic tension and excitement. While many of the ideas were to some degree old hat, Weber had managed to combine them in a way that “hit the mark” of the German soul. In 1899 American music historian Henry Krehbiel wrote: “There was never an opera, and there is no likelihood that there will ever be one, so intimately bound 80

up with the loves, feelings, sentiments, emotions, superstitions, social customs… of a people.”

Except for the opening horn theme, the overture is made up entirely of melodies from the opera. But rather than stringing the melodies together like a medley,Weber created a finished composition in the form of symphonic sonata form. Its string tremolo, pizzicato basses and pregnant pauses are the quintessence of German Romanticism.

Clarinet Concerto No. 1 in F minor, J. 114

Carl Maria von Weber (1786-1826) Composer, conductor, pianist and critic Carl Maria Friedrich Ernst von Weber is considered one of the founders of the Romantic movement in Germany. As an orchestrator he was an innovator, discovering and capitalizing on new characteristics and sonorities of many instruments, especially the horn and the clarinet.

It was only during the second half of the eighteenth century that the clarinet was sufficiently developed to become generally accepted as an orchestral and solo instrument.

During this period, it attracted a number of highly talented players who, in turn, inspired many composers to write for the instrument.

Anton Stadler was the inspiration for Mozart; for Carl Stamitz, Joseph Beer; and for Brahms, Richard Mühlfeld. Weber was taken with Heinrich Baermann (1784-1847), whose expressive playing and velvety tone contrasted with the shriller style of some earlier players.

Weber noted Baermann’s “welcome evenness of tone from top to bottom.” For a while, Weber and Baermann toured together through Austria and Germany.

HILTON HEAD SYMPHONY ORCHESTRA

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Symphony No. 4 in A major, Op. 90, “Italian” Felix Mendelssohn (1809-1847)

Felix Mendelssohn is one of a handful of composers whose families recognized and nurtured their gifts. He had inherited the intellect of his grandfather, the eminent Jewish philosopher, Moses Mendelssohn, while his banker father provided all the material comforts befitting a young aristocrat. The Mendelssohn

MENDELSSOHN – ITA LI A N SY MPHON Y • MARCH 26-27, 2017

Weber wrote his clarinet concertos in 1811 on a commission from the Bavarian King, who was greatly impressed by the composer’s Clarinet Concertino (J.109) that Baermann had performed in Munich.

Weber wrote rapidly, and his scores lack many phrase and articulation markings, and even accidentals. Presumably, he figured that Baermann would provide those himself during the performance. Baermann’s son Carl – himself a noted clarinetist and composer – heavily embellished and edited Weber’s sparse scores. The Concerto No. 1 took one month to write, and Baermann had only one month to practice the formidable difficulties of the score before the premiere.

The opening Allegro is melodious and passionate, with contrasting moods between soloist and orchestra.A highlight of the second movement, marked Adagio ma non troppo, is a lovely interplay between the clarinet and the horns in the middle of the movement.

The Finale, Rondo:allegretto, is a spirited romp, with surprising modulations and elaborate pyrotechnics that put considerable demands on the soloist. If one compares Weber’s writing for the clarinet with Mozart’s in the Concerto or the Clarinet Quintet, it is possible to hear not only the contrast between the classical and early Romantic styles, but also the expanded possibilities of the instrument itself in the later work.

household was a Mecca for the intellectual elite of Germany, and the many family visitors fawned over the prodigy and his talented sister Fanny. Fortunately for the development of his rare abilities, his carefully selected teachers were demanding and strict.

The Mendelssohns joined the many well-todo families to do the Grand Tour in what was then considered the "civilized" world – Western Europe, Britain and Italy. Some of Felix’s most successful orchestral compositions represent musical travelogues recalling such trips: the “Scottish” and “Italian” symphonies and The Hebrides Overture. An added perk to all this travel was that the family’s connections, and Felix’s reputation as a Mozartian Wunderkind attracted attention to his music throughout Europe. Queen Victoria herself had several audiences with the young composer, during which he played and she sang.

Traveling to Italy in 1830, Mendelssohn stopped in Weimar, where he spent two weeks conversing with the forbidding grand old man of German literature, the 80-year-old Johann Wolfgang von Goethe. It was a heady experience for the young composer, and he continued on to Italy in high spirits. He was at once completely captivated by the sights and sounds of the sunny country and wrote home “...what I have been looking forward to all my life as the greatest happiness has now begun, and I am basking in it.” He immediately set about composing the “Italian” Symphony on commission from the London Philharmonic Society, conducting the premiere in 1833.

The first movement, Allegro vivace, opens with a buoyant theme reflecting the sparkle of the Italian sunshine and the young composer’s rush of excitement. The contrasting second theme is a lilting figure for two clarinets playing in parallel thirds.

The Andante con moto second movement is in a darker mood. It was composed after a visit 2016–2017

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MARCH 26-27, 2017 • MENDELSSOHN – ITA LI A N SY MPHON Y

to Naples, where Mendelssohn was greatly depressed by the poverty he saw. The doleful woodwinds and plodding ostinato in the cellos and double basses may allude to a religious procession he witnessed in the city’s streets.

The charming and graceful Con moto moderato third movement lightens the mood again and uses the traditional scherzo and trio form. The finale, Saltarello: presto with its driving triplets is based on the nineteenth-century folk version of a medieval Italian dance. In fact, Mendelssohn may have taken the two dance themes from folk music he had heard at a Roman carnival, which he described in detail in his letters.

But this is one of those assumptions that is more guesswork than demonstrable fact. Both themes provide a difficult staccato workout for the upper winds reminiscent of the scherzo from the Incidental Music to A Midsummer Night's Dream.

It is seldom that an audience has the opportunity to hear a composer’s early drafts

of a work. But that is exactly what we do hear every time we attend a concert with this popular work on the program. Mendelssohn was dissatisfied with the Symphony, never again conducted it after the premiere and refused to publish it. It is not clear what displeased him in such a joyous work; perhaps its spontaneity went against the grain of his rigid academic training. In any case, he sat down in 1834 to revise it, rewriting the three last movements and commenting in a letter that he could not get the first movement right “In any way, it has to become totally different.”

As part of the commission, the original score was left with the London Philharmonic, and it is this version, published posthumously in 1851 (hence the high opus number), that became the public favorite; the later version was included in volume 28 of the collection of Mendelssohn’s unpublished manuscripts and was performed for the first time in 1992 and first recorded in 1998.

Machine No.10 | Peter Dallos

Out of the Mist | Mar y Sullivan

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Cathedral, Or vieto, Italy | Alex Sharma

HILTON HEAD SYMPHONY ORCHESTRA

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MENDELSSOHN – ITA LI A N SY MPHON Y • MARCH 26-27, 2017

Lago Di Como | John Norlander

Beach Time | Joan Ackerman

2016–2017

/Volumes/GUF_ONE/GUF/GUF WORK/ 2016-17 Program Book/

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APRIL 23 -24, 2017 • BR A HMS – A GER M A N REQU IEM

BRAHMS – A GERMAN REQUIEM

SPONSOR

SUNDAY, APRIL 23, 2017 • 4PM MONDAY, APRIL 24, 2017 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Summer Ballet | Earline Allen

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BR A HMS – A GER M A N REQU IEM • APRIL 23 -24, 2017

BRAHMS – A GERMAN REQUIEM John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, April 23, 2017 • 4pm Monday, April 24, 2017 • 8pm

John Morris Russell, Conductor Alexandra Schoeny, Soprano Thomas Dreeze, Baritone Hilton Head Symphony Orchestra Chorus Michael Schwartzkopf, Chorus Master Georgia Southern Chorale Shannon Jeffreys, Director

PROGRAM MOZETICH

Postcards from the Sky

Unfolding Sky Weeping Clouds A Messenger

INTERMISSION BRAHMS

Ein deutsches Requiem, Op. 45

Selig sind, die da Leid tragen Denn alles Fleisch es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben hie Selig sind die Toten Alexandra Schoeny, Soprano Thomas Dreeze, Baritone Hilton Head Symphony Orchestra Chorus Georgia Southern Chorale

2016–2017

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MEET THE ARTIST

ALEXANDRA SCHOENY

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ALEXANDRA SCHOENY Soprano Brahms – A German Requiem April 23-24, 2017

ith a voice hailed as “hauntingly beautiful” by Opera News, American soprano Alexandra Schoeny is swiftly gaining recognition on both sides of the Atlantic. In the 2015-16 season, Ms. Schoeny was Miss Lightfoot with Cincinnati Opera for the world premiere of Spears’ Fellow Travelers; Mrs. Julian in Owen Wingrave with Städtische Bühnen Osnabrück; soloist in Messiah with Omaha Symphony Orchestra; Mozart’s Requiem with Collegium Cincinnati; Mahler’s Symphony No. 4 with Eugene Symphony; Arvo Pärt’s Stabat Mater with New European Ensemble; and Carmina Burana with Reno Philharmonic Orchestra and Temple University Symphony Orchestra at Philadelphia’s Kimmel Center. Recent North American engagements included Frasquita in Carmen with Columbus Symphony Orchestra; Cunegonde in Candide with Cincinnati Pops Orchestra; and Frasquita, Zerlina in Don Giovanni, and Marie-Celeste/Duchess Christina in Galileo Galilei with Cincinnati Opera. Recent European engagements included Dircé in Médée with Opera2day at Schouwburg Amstelveen; Pamina in Die Zauberflöte with De Nederlandse Opera;Adele in Die Fledermaus at Bredeweg Festival; and Mrs. Julian with Opera Trionfo. She has also performed with Aix-enProvence Festival as Clarina in La cambiale di matrimonio; Residentie Orkest Den Haag as Thérèse in Les mamelles de Tirésias; Nederlands Jeugd Orkest as Sofia in Il Signor Bruschino at Amsterdam’s Concertgebouw and Berlin’s Konzerthaus; and with Aldeburgh Festival in St. Matthew Passion.

THOMAS DREEZE

B THOMAS DREEZE Baritone Brahms – A German Requiem April 23-24, 2017

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aritone Thomas Dreeze made an auspicious debut as emcee at the annual Cub Scouts award banquet in sixth grade and eventually graduated to sharing the stage with such vocal luminaries as Luciano Pavarotti, Placido Domingo, Sherrill Milnes, Kiri te Kanawa, Grace Bumbry, Samuel Ramey and, more recently, with Nathan Gunn, Bill Burden, Maria Luigia Borsi, and Roberto di Candia.Thom has enjoyed a varied career in music, arts administration and events management that has taken him from Toledo, OH, to Chicago, Boston, London, the Twin Cities of Minneapolis and Saint Paul, Cincinnati, Kansas City, New York City, and Indiana. He performs opera, operetta, music theatre, art song, the American songbook, and more. Since autumn 2013 he’s been an adjunct instructor of voice at Xavier University in Cincinnati, OH, where he also teaches a Music Production / Opera Workshop class.

Thom made his Cincinnati Opera debut in 2011 in Tchaikovsky’s Eugene Onegin, and has since appeared in Puccini’s Gianni Schicchi, Strauss’s Der Rosenkavalier, Kevin Puts’s Silent Night, and The Pirates Of Penzance. He sings Frank in Die Fledermaus in the opening production of Cincinnati Opera’s 2016 season at the Aronoff. He has also appeared in numerous special programs presented by Cincinnati Opera at the Mercantile Library, Hebrew Union College, and the Cincinnati Women’s Club.

HILTON HEAD SYMPHONY ORCHESTRA

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MICHAEL SCHWARTZKOPF

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ichael Schwartzkopf is Professor Emeritus of Choral Music and Music Education at the Indiana University Jacobs School of Music.While at IU he was a member of the Alliance of Distinguished Rank and Titled Professors and held the Pam and Jack Burks Professorship Chair in Music. Before his retirement in 2012 he became the tenth recipient of the Distinguished Service Medal of Indiana University bestowed by President Michael McRobbie.

During his 17 years at IU, he was the conductor of the Grammy-nominated Singing Hoosiers, recording 2 CDs with the Cincinnati Pops Orchestra under the late Erich Kunzel. He served as Chair of the Music Education Department and Interim Chair of the Choral Conducting Department. Throughout his collegiate teaching at Indiana, Mercer, and Illinois State Universities his choirs have presented concerts throughout Europe, Greece, and China.

As a singer and performer, his repertoire spans the entire spectrum of classical and popular music, opera, and musical theatre. He has sung in theaters, on concert stages, and in cathedrals of Europe and the United States with various orchestras and choral ensembles in a wide variety of styles. During the Viet Nam era he was a principal soloist with the United States Army Band, the United States Army Chorus, and Army Blues Jazz Band in Washington, as well as a soloist on numerous occasions in the White House.

He continues to be active as an adjudicator, conductor, and lecturer and has conducted numerous state, regional, and all-state choirs throughout the United States, Canada, and Singapore.

MICHAEL SCHWARTZKOPF Chorus Master Brahms – A German Requiem April 23-24, 2017

HILTON HEAD SYMPHONY ORCHESTRA CHORUS The Hilton Head Symphony Orchestra Chorus is an auditioned chorus of professional and professionally-trained vocalists from around the Lowcountry who are dedicated to performing classical, opera, and contemporary choral literature with the Hilton Head Symphony Orchestra.

These singers have a wealth of experience, having performed extensively as soloists in opera and oratorio and as singers with major symphony orchestra choruses and choral societies all across the United States and abroad.The chorus is skilled in a diverse range of repertoire from the opera and Broadway stages to classical works of the great masters and are highly praised for their rich and expressive sound.

Formed in 2006 by the HHSO and Mary Woodmansee Green, the HHSOC debuted with Mahler’s Second Symphony with performances in Hilton Head and at the Lucas Theatre in Savannah. Since then, the HHSOC has performed a wide variety of works including Carmina Burana; A German Requiem; 1812 Overture; Grand Mass in G minor;The Planets; opera and operetta selections from Aida, Die Fledermaus, A Midsummer Night’s Dream; Falstaff, Macbeth,The Mikado, Pirates of Penzance, H.M.S. Pinafore, as well other renowned works by Bach, Berlioz,Verdi, Copland, Handel and Mendelssohn.

Under the baton of John Morris Russell since 2012, this highly acclaimed ensemble continues to expand their repertoire and their love of music, while striving to set the highest standard for performance and professionalism.

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MEET THE ARTIST

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MEET THE ARTIST

SHANNON JEFFREYS

SHANNON JEFFREYS Director Brahms – A German Requiem April 23-24, 2017

Jeffreys’ professional conducting experience includes youth and adult community choirs, collegiate and community musical theatre, a civic orchestra, and church choirs.

Dr. Shannon Jeffreys conducts the Georgia Southern Chorale and the University Singers and teaches undergraduate and graduate choral conducting and literature courses. Before coming to Georgia Southern, Jeffreys was an Associate Professor of Music at Erskine College, serving as the Director of Choral and Vocal studies. Jeffreys earned her Bachelor of Music degree in vocal music and theology from Birmingham-Southern College and her Master of Music degree in choral conducting from the University of Mississippi under Dr. Jerry Jordan. At the University of South Carolina, she earned her Doctor of Musical Arts degree in choral conducting while conducting Carolina Alive, the university’s vocal jazz ensemble. She was selected by the USC music faculty as the Manuel and Rosemary Alvarez Conducting Fellow and received the Academic Excellence Award in Music Theory and Music History and the Graduate Teaching Award.

Jeffreys’ professional conducting experience includes youth and adult community choirs, collegiate and community musical theatre, a civic orchestra, and church choirs. Her ensembles have been invited to perform on state ACDA conventions. Jeffreys is an active adjudicator and clinician. She is a member of NATS, ACDA, and MENC.

Atmospheric Conditions | Kathr yn Riley Parker

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HILTON HEAD SYMPHONY ORCHESTRA

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PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Postcards from the Sky

many commissions, especially from Canadian orchestras and musical ensembles.

Marjan Mozetich’s musical style has progressed along a typical trajectory for many older composers over the last 50 years. Beginning in conformity with the austere atonality of midcentury Expressionism and Serialism, through a minimalism, coming to rest at a somewhat retrogressive Neo-Romanticism. Often these changes in style have resulted from the pressure of audiences, who largely have rejected “difficult and emotionless” modernisms.

The three-movement Postcards in the Sky was composed in 1996 for the Thirteen Strings Chamber Orchestra of Ottawa. The movements are: 1. Unfolding Sky: Over a quiet pulse, the melody has a rather otherworldly sound that has come to be associated with outer space.Think back, for example, to “Uranus” from Gustav Holst’s The Planets.

2. Weeping Clouds: Mozetich retains the pulsing and stretched melodic lines into this second “postcard.” A slow repeated melody also underlies the piece, around which the strings weave decorative lines.

3. A Messenger: The pulsing recurs here as well, but Mozetich now concentrates on harmony, guiding the simple three-note melody through various modulations.

Born in Italy to Slovenian parents, Marjan Mozetich immigrated to Canada as a child. He started his musical training at age nine.A graduate of the University of Toronto and the Royal Conservatory of Music, he received assistance from the Canada Council of the Arts to study in Italy with Luciano Berio. From 1991 to 2010 he was on the staff at the School of Music of Queens University in Kingston, Ontario. He is currently a freelance composer. He has received

Ein deutsches Requiem, Op. 45

Marjan Mozetich (b. 1948)

Johannes Brahms (1833-1897) Early in 1865 Johannes Brahms’ mother died of a stroke in Hamburg at the age 76. Notified of her illness, he raced to her bedside but arrived too late. His years away in Vienna had created a distance from his parents, who were of humble, working-class origin and whose marriage had disintegrated despite his attempts to reconcile them. Left with responsibility for his mother, he nevertheless had always regarded her as a source of strength and support. Her death appears to have been a catalyst for the finalization of an idea that had been with him for several years, probably since the tragic final illness of his friend and mentor, Robert Schumann. In an entry in his diary, Schumann contemplated the idea of a mass for the dead with a more gentle, comforting text than that of the Catholic requiem mass.

Nearly a decade before his mother’s death, Brahms had made sketches (lost with all his other working papers) for a four-movement funeral cantata, which finally came to fruition in the Requiem. The slow movement for a discarded symphony in D minor, which also supplied material for the First Piano Concerto provided the basis of the Requiem’s second movement funeral march, “Denn alles Fleisch es ist wie Gras” (For all flesh is as grass). Amassing all of these earlier musical and textual ideas, Brahms formally started work on Ein deutsches Requiem, finishing it in August 1866 except for the fifth movement, “Ihr habt nun Traurigkeit” (And you now have sorrow), which he added in1868 after the premiere. The Requiem was to be his longest work and the first to garner him international recognition.

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The Requiem is a personal statement of faith, intentionally distanced from institutional religion. The German of the title refers only to the language from which the texts were taken and it is meant neither to apply to a single nation nor to a specific religion. Brahms selected a group of Scriptural texts from Martin Luther’s translation of both the Hebrew and Christian Scriptures and the Apocrypha, shaping the work in keeping with his own spiritual and musical vision.

The Catholic requiem mass opens with a prayer for the eternal rest of the deceased, but by far the largest portion is dominated by the sequence “Dies irae,” a poetic depiction of the soul’s terror on the Day of Judgment. In contrast, Brahms’ Requiem is a memorial to the dead, a comfort to those left behind and the promise of eternal redemption. Far from soothing sentimentality, the Requiem addresses the complexities of the meaning of life, death and resurrection.

The work as a whole is a grand arch of which the apex, Movement 4, is the choral description of the joy of eternal life. Surrounding it are movements reflecting the pain of death and the search for meaning, as well as teachings

on God’s cosmic order. Framing the work as a whole are Movements 1 and 7, using much of the same music and offering peace and comfort to the living and the dead. The funeral march of the second is balanced by the theme of the resurrection in the sixth movement. Similarly, the baritone solo in the third balances the soprano solo in the fifth. Finally, at the apex of the arch is a chorus expanding on the soul’s final resting place with God. The opening movement introduces the premise of the entire work, “Selig sind die da Leid tragen” (Blessed are they that mourn), focusing on the mourners rather than on the deceased.

Brahms also uses the chorus’s opening threenote motive on the word “Selig” as the mortar that fuses the building blocks of the arch.

The second movement funeral march is the darkest and longest section of the work, reminding the mourners of the inevitability of death – although without the terror of damnation. In the middle section, beginning as an a cappella chorus, “So seit nun geduldig,… bis auf die Zukunft des Herrn” (Be patient…for the coming of the Lord), Brahms presents the final Judgment as redemptive and switches the mode from minor to major accompanied by an increase in tempo.A return to Only The Sorrow | Fanoula Sevastos the funeral march is followed by a dramatic choral fugue, “Aber des Herrn Wort bleibet in Ewigkeit” (But the Word of the Lord is eternal), promising eternal salvation. Brahms’ use of climactic fugues – there are three in the Requiem – has its source in the tradition of fugal movement in Baroque and Classical settings of the mass.

Movement 3, “Herr, lehre doch mich” (Lord, teach me that I must die) for baritone and chorus is a prayer in

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which the individual acknowledges his mortality and the vanity of earthly gratification, and, finally, to commend his soul to God. It concludes with a double fugue, one subject for the chorus, the second subject for the orchestra, portraying the return of all righteous souls to the Lord in everlasting peace. Bearing witness to the universality of this prayer, whose text is from the Hebrew Scriptures (Psalm 39), are the many arrangements of this movement sung in Reform synagogues on Yom Kippur (the Day of Atonement).

The gentle “Wie lieblich sind Deine Wohnungen” (How lovely is Thy dwelling place) is the central description and promise of eternal life. It is a simple ABA song form for the chorus, whose middle section is a passionate outburst of longing for God. In the fifth movement, the soprano soloist, echoed by the chorus, promises comfort and eternal joy for those in mourning as well as the dead. Musically as well, it is a counterweight to the baritone’s somber musings on the vanities of this world in Movement 3.

The sixth movement, “Denn wir haben hie keine bleibende Statt” (Here on earth we have no continuing place) celebrates the eternal kingdom of God. Brahms wrote a great deal of choral music and knew intimately the cantatas of Johann Sebastian Bach and the oratorios of Handel, who used the same text in Part III of Messiah. Like the earlier composers, Brahms made extensive use of tone painting in keeping with the text.

The final movement returns to themes – both textual and musical – from the beginning of the Requiem; this time, however, it is the dead, rather than the mourners, who are blessed.The music, however, is more passionate as it sums up the message of eternal life that has been the principal focus of the entire work.

Despite a lukewarm reception in Vienna of the first three movements of the Requiem

in 1867, the entire work – minus what is now the fifth movement – was premiered on Good Friday 1868 in the cathedral of Bremen to great acclaim. Brahms later added the fifth movement, dedicated specifically to his mother, and the entire work was performed in February of 1869.

Struggle No.18 | Peter Dallos

Tomotley | Chris Clayton

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EIN DEUTSCHES REQUIEM, OP. 45 English Translation

I. Chorus Blessed are they that mourn: for they shall be comforted.

(Matthew 5:4) They that sow in tears shall reap in joy.

Who goeth forth and weepeth, and beareth precious seed, shall doubtless return with rejoicing, and bring their sheaves with him.

(Psalms 126:5-6)

Man passeth away like a shadow, how disquieted in vain: he heapeth up riches, and cannot tell who shall gather them.

Now, Lord, what do I wait for?

My hope is in Thee.

(Psalms 39:5-8) But the righteous souls are in the hand of God, nor pain, nor grief shall nigh them come.

(Wisdom 3:1)

II. Chorus Behold, all flesh is as the grass, and all the goodliness of man is as the flower of grass.

The grass with'reth, and the flower thereof decayeth.

(I Peter 1:24) Now, therefore, be patient, O my brethren, unto the coming of the Lord.

See how the plowman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and the latter rain.

So be ye patient.

(James 5:7)

IV. Chorus How lovely is Thy dwelling place, O Lord of Hosts!

For my soul longeth, yea fainteth for the courts of the Lord: my soul and my body crieth out, yea, for the living God. O blest are they that dwell within Thy house: they praise Thy name evermore!

(Psalms 84:2-3, 5)

Behold, all flesh is as the grass, and all the goodliness of man is as the flower of grass.

The grass with'reth, and the flower thereof decayeth.

(I Peter 1:24) But the word of the Lord endureth for ever.

(I Peter 1:25) The redeemed of the Lord shall return, and come rejoicing unto Zion; gladness, joy everlasting, joy, eternal joy upon their heads shall be: joy and gladness, these shall seize them, and pain and sighing shall flee from them.

(Isaiah 35:10) III. Chorus with Baritone Solo Lord, make me to know mine end and the measure of my days on earth, to consider my frailty, that I must perish.

Surely, all my days here are as an handbreath to Thee; and my lifetime is as naught to Thee: Verily mankind walketh in a vain show, and their best state is vanity.

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V. Chorus with Soprano Solo Here on earth we have no continuing place, but we seek one to come.

(Hebrews 13:14) Lo, I unfold unto you a mystery; We shall not all sleep when he cometh, but we shall all be changed in a moment, In a twinkling of an eye, at the sound of the trumpet: For the trumpet shall sound, and the dead shall be raised incorruptible, and all we shall be changed.

Then what of old was written, the same shall be brought to pass.

For death shall be swallowed up in victory!

O Death where is thy sting?

Grave, where is thy victory?

(I Corinthians 15:51-55) Lord, worthy art Thou to accept praise, honor and might; for thou hast created all things, and by Thy will all things have their being, and were created.

(Revelation 4:11) VII. Chorus Blessed are the dead which die in the Lord from henceforth: Sayeth the Spirit, that they rest from their labors; and that their works follow after them.

(Revelation 14:13)

HILTON HEAD SYMPHONY ORCHESTRA

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WELCOME TO THE HHSO’S 35TH SEASON

ENHANCE YOUR ORCHESTRA EXPERIENCE BY

HOSTING A MUSICIAN

The Hilton Head Symphony Orchestra has the advantage of drawing excellent musicians from geographic areas well beyond Hilton Head – Savannah, Charleston, Macon, Augusta, Atlanta, Greenville, Jacksonville, and even as far away as Winston-Salem. With Sunday and Monday concerts and the preceding rehearsals, this means the musicians are in Hilton Head from Thursday or Friday to Tuesday. For years we have offered them the opportunity to stay in local hotels or in private homes of HHSO supporters. Increasingly, musicians are choosing the private home experience. This means we need a increasing number of homes to accommodate our musicians.

Hosting responsibilities are minimal – a private bedroom and bath, a light breakfast, and perhaps a glass of wine or snack after a late night rehearsal or concert. Musicians provide their own transportation and are given a per diem to cover other meals and expenses. Sometimes hosts do invite their guests to join them for a meal or going out to dinner, but that is up to each family and the relationship they have developed with the musician.

The benefits far outweigh the responsibilities: • Those who regularly host the same musician(s) find that great friendships result; the musicians become “family.”

• Knowing the musicians personally provides a real appreciation for their talent and how hard they work to provide the professional performances we all enjoy.

• A musician practicing brings the “sound of music” to your home and provides a preview of the concert to come.

• During the concert, hosts find that they have a vested interest in the musician’s performance and the good feeling of having supported in some small way that performance.

• Hosting a musician provides an important way (beyond your subscription and financial support) of supporting the orchestra and the quality of music it provides.

• Musicians report that they give priority to HHSO when building their schedules because of the hospitality they receive here; this keeps the most talented pool of musicians available to us.

• And it’s fun!

A special thank you to all the host families this past year: Marilyn & Buzz Althans Peggy & Hall Ashworth Peggy & Vic Arrington Laurette & Lou Benfante Mary & Mike Briggs Stan Cooke Joan & Charlie Dattelbaum Scottie Davis Linda Ellis Paula & Marc Feinberg Sharon & Gordon Hassing Mary Jo Heppley Barbara Holmes Mona & Joe Huff Juliana & Sam Kim Alison & Graham May Linda & Glenn Neff Mary Noonan Emily & Wil Oelkers Susan & Ed Parrish Kathie & John Patten Phyllis Patterson Mary Ann & Terry Putnam Connie Randall Betsy & Bob Roll Pam & Dave Schofield Judy & Bill Thorpe If you want to join the fun and open your home to musicians during the 2016-17 orchestra season, please contact Mario Incorvaia at 843.842.2055 or mario.incorvaia@hhso.org.

Your support will be appreciated greatly!

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MAY 7- 8, 2017 • BEETHOV EN – SEV ENTH SY MPHON Y

BEETHOVEN – SEVENTH SYMPHONY

SPONSOR

SUNDAY, MAY 7, 2017 • 4PM MONDAY, MAY 8, 2017 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Innovative Perspective | Juliana Kim

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BEETHOV EN – SEV ENTH SY MPHON Y • MAY 7- 8, 2017

BEETHOVEN – SEVENTH SYMPHONY John Morris Russell, Music Director and Conductor Robert and Margaret Gallagher Memorial Chair 2016-2017 • 35th Season Sunday, May 7, 2017 • 4pm Monday, May 8, 2017 • 8pm

John Morris Russell, Conductor Jane Coop, Piano

PROGRAM MOZART MOZART

Indomeneo Overture, K. 366 Piano Concerto No. 20 in D minor, K. 466

Allegro Romanza Rondo: Allegro assai Jane Coop, Piano

INTERMISSION BEETHOVEN

Symphony No. 7 in A major, Op. 92

Poco sostenuto-Vivace Allegretto Presto Allegro con brio

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MEET THE ARTIST

JANE COOP

P

JANE COOP Piano Beethoven – Seventh Symphony May 7-8, 2017

Jane Coop was Professor of Piano and Chamber Music and Head of Piano at the University of British Columbia in Vancouver for over thirty years, and now devotes herself full time to performing.

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ianist Jane Coop, one of Canada’s most prominent and distinguished artists, has toured extensively throughout North America, Asia and Europe, performing in Lincoln Center,Wigmore Hall, the Kennedy Center, Roy Thomson Hall, Salle Gaveau, the Singapore Cultural Center and the Bolshoi Hall of St. Petersburg, Russia. She has been soloist with the principal orchestras of Canada, as well as the Royal Philharmonic Orchestra of London, the Seattle and Portland Symphonies, the Hong Kong Symphony and the Radio Orchestras of Bavaria and Holland, in some forty concerti.

Ms. Coop has received international praise for her 15 releases on the Skylark, CBC and Centaur labels in repertoire ranging from Bach to Barber and beyond. Three times she has been nominated for Canada’s prestigious Juno Award for her recordings, and her radio broadcasts have been heard in Britain, Hong Kong, Poland, Holland, Germany, the USA and Canada.

An invited jury member for many international piano competitions in Calgary (Honens), Maryland (Kapell), Dublin, Hilton Head, Washington (DC), New York and Shanghai, she is a regular artist at both the Orford Academy in Quebec and the Kneisel Hall Chamber Music Festival in Blue Hill, Maine, performing with members of the Juilliard Quartet, and has collaborated with such eminent musicians as Barry Tuckwell, Andrew Dawes, Lawrence Lesser, Donald Weilerstein and James Campbell at chamber music festivals in Canada, Europe, the USA and Japan.

Jane Coop was Professor of Piano and Chamber Music and Head of Piano at the University of British Columbia in Vancouver for over thirty years, and now devotes herself full time to performing. In 2012 she was awarded the Order of Canada, for her lifetime achievement and contribution to her country in the arts.

Ms. Coop is a Steinway Artist.

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PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Overture to Idomeneo, rè di Creta K. 366 Wolfgang Amadeus Mozart (1756-1791)

Mozart composed Idomeneo in 1780-81 on a commission from the Bavarian court in Munich. It was his first great opportunity to stage a full-scale music drama in the reformed tradition of Christophe Wilibald Gluck that included a substantial role for chorus and ballet. The plot was based on a tragédie lyrique, as French opera of the period was called, by librettist Antoine Danchet with music by André Campra.

Idomeneo (Idomeneus), the King of Crete, was one of Agamemnon’s generals and trusted advisors in The Iliad. In a late Roman extension of the aftermath of the Trojan War, Idomeneo leaves his kingdom in the care of his young son Idamante to join the siege of Troy. The essence of the plot is a little like the biblical story of Jephtha, who in return for a military victory vowed to sacrifice the first living thing to greet him when he returned home – as it turned out, his daughter. Idomeneo, beset by a storm at sea on his homeward journey from the Trojan War, has made a similar vow to Neptune. The rest of the plot concerns his vain attempts to avoid sacrificing Idamante.

Naturally, there's a love interest as well, a triangle among Idamante, the Trojan princess Ilia and – of all people – Agamemnon’s daughter Electra, who has sought refuge in Crete after her mother Clytemnestra has murdered her father. Ultimately, after Idamante has slain a sea monster sent by Neptune to devour the Cretan people, an oracle emerges as a deus ex machina, ordering Idomeneo to abdicate in favor of his son.

Unfortunately the opera was not a great success and never gained popularity in the composer’s lifetime, although Mozart himself thought highly of it. He made numerous changes to gain its acceptance in Vienna, but to no avail. It has experienced a limited renaissance in large opera houses, where innovative productions outside the standard repertory have elicited audience support. The short, dramatic overture sets up the tragic mood of the opera, although without quoting any of its musical themes.

Piano Concerto No. 20 in D minor, K. 466 Wolfgang Amadeus Mozart (1756-1791)

Mozart composed a total of 28 solo keyboard concertos, most of them for his own use in subscription concerts in Vienna.

Consequently, the timing of their composition was influenced by the artistic fashion and the economic wellbeing of the city. For five years after Mozart moved to Vienna in 1781, he was a hot commodity both as composer and virtuoso performer. There was a veritable deluge of commissions, which enabled him to live quite high off the hog. Thus, in the short period between 1782 and 1786, with a booming economy creating a heyday for musical life in Vienna, Mozart composed 17 of these concertos, including this one in D minor.

During those years aristocratic families vied with one another to underwrite and sponsor concerts of the latest in musical fashion.

“Concertos,” Mozart wrote his father, “are a happy medium between what is too hard and too easy...pleasing to the ear...without being vapid.”

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Nocturnal Garden Symphony | Diana Nadanyi

But occasionally darker moods prevailed.

This Concerto is one of only two he wrote in a minor key. It is full of stormy outbursts and is probably the most emotionally charged of all of Mozart's concerti. Not surprisingly, the young Beethoven was particularly taken with this work, wrote two cadenzas for it, and performed it as the intermission feature during a performance of Mozart's opera La clemenza di Tito at a concert organized by Mozart's widow, Constanza, on March 31, 1795.

The composition and part copying of the concerto were not completed until the afternoon of the premiere on February 11, 1785, and thus performed without a complete rehearsal and at sight! According to a letter of Leopold Mozart, the composer's father, the orchestra nevertheless played splendidly.

Right from the growling syncopated opening measures we know we’re in for a wild ride.

After the orchestra’s exposition, Mozart has the piano enter on a completely new theme instead of having the soloist slavishly repeat the exposition. Rapid variations in orchestral dynamics suggest a Haydn symphony and the movement has many of the erratic and stormy characteristics that Mozart was later to use in the Overture to Don Giovanni. To intensify the 98

mood, Mozart makes an uncharacteristically abundant use of the timpani (another characteristic more likely to be found in Haydn).

In the second movement, entitle “Romance,” the emotional temperature suddenly falls far below the level Mozart normally invests in the slow movements of his concerti. Only the middle section, now back in G minor, his chosen key for pathos and tragedy, recalls the mood of the opening movement. Of course, the ABA song form so common in slow movements requires the return to the mood of the opening.

The rondo finale with its almost shrieking theme from the piano takes up where the first movement left off. Mozart plays here with numerous swings between minor and major. In the end, he both obeys and thumbs his nose at the convention against ending large works in the minor mode. Although he ends the coda in D major, he inserts an ominous timpani roll into the final bars.

Symphony No. 7 in A major, Op. 92

Ludwig van Beethoven (1770-1827) There is little information about Beethoven’s activities during 1812, the year of the composition of the Seventh Symphony. He was in poor health and while he produced little else that year, the Symphony makes up for in quality what was lacking in quantity. The year itself was momentous; the Russian winter had finally halted Napoleon in his eastward march of conquest, a fact that must have lightened Beethoven’s heart. Napoleon had been the composer’s hero, the intended dedicatee of his Third Symphony, but his insatiable lust for conquest and power was so disillusioning that Beethoven rescinded the dedication and harbored a lifelong grudge. The hardship resulting from Napoleon’s occupation of Vienna in 1809-10 added to his bitterness.The Seventh Symphony premiered on December 8, 1813 at a gala benefit concert of primarily Beethoven’s

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own works to aid the wounded of the latest battles against Napoleon.

Also on the program were Wellington's Victory (the "Battle Symphony"), celebrating another Napoleonic defeat, the Eighth Symphony and numerous smaller works. Beethoven – although profoundly deaf – directed an orchestra made up of Vienna’s most important musical celebrities: Louis Spohr, Domenico Dragonetti, Mauro Giuliani and Ignaz Schuppanzigh played in the strings; Giacomo Meyerbeer and Johann Marshes Of The Colleton River | Joan Moreau McKeever Nepomuk Hummel played timpani; Ignaz as a model for Schubert in his Symphony No. Moscheles played the cymbals, and even 9 in C major, “the Great.” old Antonio Salieri was there, heading the The Scherzo, in 3/4, is defined by driving percussion section.* quarter notes, dynamic contrasts and shifting Each movement of the Seventh Symphony is rhythms.The trio, with its legato melody for the dominated by persistent rhythmic motive that winds, provides the expected contrast, breaking – especially in the second movement – is equal away from the rhythmic pulse of the Scherzo. in importance to the melodic content of the The nineteenth-century musicologist Sir themes. Richard Wagner described the Seventh Donald Tovey described the finale as “A Symphony as "the apotheosis of dance in its triumph of Bacchic fury.” The rondo theme, loftiest aspects." The story goes that he once with its emphatic timpani part, resembles a attempted to demonstrate this dance to the stomping peasant dance – admittedly refined accompaniment of Liszt's piano playing. for the occasion.

The lengthy slow introduction, featuring some of the repertory’s loveliest oboe solos, * L ouis Spohr (1784-1859) was one of Paris’s most noted opera composers. Domenico Dragonetti contrasts in mood with the Allegro, which (1763-1846) was a virtuoso double bass player follows in lively 6/8 meter. The opening and composer. Mauro Giuliani (1781-1829) was movement actually consists of a single complex a famous Italian guitar virtuoso and composer. theme held together by an underlying dotted Ignaz Schuppanzigh (1776-1830) was an rhythm in the accompaniment. The pulse Austrian violinist, who headed a string quartet for extends throughout the entire movement and whom Beethoven wrote the three Op.59 quartets. is only occasionally interrupted.

Johann Nepomuk Hummel (1776-1837) was a The theme of the second movement is composer and pianist remembered today mostly minimal, a 4/4 ostinato consisting primarily for his clarinet compositions. Pianist and composer of repeated pitches over which Beethoven Ignaz Moscheles (1794-1870) was a famous adds counter-melodies and a buildup of the interpreter and editor of Beethoven’s music. And orchestration to create emotional tension. former court composer to the Hapsburg emperors, Beethoven’s innovative use of the rhythmic Antonio Salieri (1750-1825) is familiar to music pulse in this movement influenced the lovers for the fictional account of his rivalry with Mozart in the film Amadeus. romantic composers who followed and served

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WELCOME TO THE HHSO’S 35TH SEASON

THE 22ND HILTON HEAD INTERNATIONAL PIANO COMPETITION The premier international cultural event on Hilton Head Island returns March 6 – 11, 2017 with the 22nd Hilton Head International Piano Competition. Presented by the Hilton Head Symphony Orchestra, the Competition brings 20 pianists and 5 judges from around the world to the Island.

This year marks the return of competitors, ages 13 – 17, who will vie for $21,500 in cash prizes and engagements throughout the 2017-18 concert season, including a performance as soloist with the HHSO. Five finalists will each perform a movement of a concerto with the Hilton Head Symphony Orchestra under the baton of John Morris Russell, our Music Director and Principal Conductor.

Special events during the competition week also include Master Classes conducted by the competition judges with selected competitors, and a lecture-recital by the 2017 jury chair, Janice Weber.These are held at All Saints Episcopal Church.

Last year live streaming was introduced into the Competition, with great success, as about 7000 people from 59 countries watched various events.We’re pleased that this addition has brought our Competition to a new standard of recognition around the world, and will continue to be a part of our 2017 competition and for years into the future.

We are also very excited to announce that the HHIPC will be going to a three year rotation beginning in 2018 when we introduce a Piano Festival. The Festival will include solo recitals, lectures, films, chamber music and orchestral performances – all will feature the piano and some will include an exploration of jazz. We are sure you will want to attend many sessions.

2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

SEVENTH ANNUAL LEAGUE LUNCHEON / FASHION SHOW TO BENEFIT HHSO The popular Annual Luncheon and Fashion Show of the League of the Hilton Head Symphony Orchestra will be held on Wednesday, March 22, 2017 at an exciting new venue, the Sonesta Resort which offers guests the extra benefit of valet parking.

The luncheon and show will feature League members modeling the latest fashions for spring and summer. From sophisticated styling and elegant fabrics to casual and travel wear, the beautiful ensembles never fail to bring admiring glances from the attendees. Several new additions to the show this year will include a local celebrity master of ceremonies.

As in the past, there will be something for everyone at the silent auction, featuring exciting items such as vacation getaways, jewelry and handbag boutique, golf rounds, local tours, custom baskets and store and gift certificates.

The proceeds from this event help the symphony to inspire and enrich the community through its concerts and to continue its outreach through educational programs and community partnerships.

This event is always a sell out, so plan early to invite your friends and neighbors and make up a table. Watch your email for more details at a later date, or contact Lois HoytBerry at 843-341-3116 for addition information.

2016–2017

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Hilton Head Area Council of Estate and Financial Advisors, Inc. The Hilton Head Area Council of Estate and Financial Advisors, Inc. is a non-profit organization composed of Hilton Head area professionals who have been recognized by their peers for their dedication to their clients and knowledge of their specialty.

Members Financial Advisors Steven Breen ..................... 843-290-1144* R Ty Cook ............................. 843-689-7216 Jennifer DeHart.................... 843-785-3000 Allen Freeman ..................... 888-255-4147 Robert Gardner .................... 843-837-8562 Eric Magnin ....................... 843-342-8800* James Moore...................... 843-342-8211* Christopher Tassone .......... 843-682-4900* Banking Laura Clark ......................... 843-689-7812 Trust Officers Mary Ann Brown ................ 843-706-7733* Cindy Sprouse ................... 843-686-9318*

Insurance Agents Paul Glick .......................... 843-681-8138* Manuel Holland ................... 843-842-4422 Financial Planners Christopher Corkern ............ 843-706-2100 Michael Fleischbein........... 843-521-1128* Emily Johnson...................... 843-686-2425 Nathaniel Jones ................... 843-681-8300 Palmer Jones ....................... 843-757-0050 Douglas Lambrecht ............. 843-842-7972 Elizabeth Loda..................... 843-681-7526 Emmy Rooney .................... 843-681-9100* Roger Tennyson ................. 843-422-7532* Jennifer Thompson .............. 843-757-9339

Attorneys Richard B Allen ................... 843-785-3311 Jennie Cerrati ...................... 843-785-2171 Michael Howell .................... 843-785-7590 John Jolley ........................... 843-785-2171 Michael Jordan .................... 843-785-2171 Elizabeth Mayo .................... 843-785-5850 Certified Public Accountants Mark June ............................ 843-842-6500 Steve Miller ......................... 843-706-8440 Michael Putich .................... 843-815-6161 *Board Members

Connect with a Local Professional for your Estate and Financial Planning

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WELCOME TO THE HHSO’S 35TH SEASON

CARNEGIE HALL CHANG-YONG SHIN

2016 FIRST PRIZE WINNER HILTON HEAD INTERNATIONAL PIANO COMPETITION ChangYong Shin of Korea was the 2016 First Prize Winner of the Hilton Head International Piano Competition held this past March. His prize included a $15,000 cash prize, a return engagement as soloist with the Hilton Head Symphony Orchestra on January 29th and 30th, 2017 where he will perform Schumann’s Piano Concerto in A minor; a recital at Weill Recital Hall of Carnegie Hall, and a CD recording on the Steinway & Sons label.

He will have his winner’s recital and New York debut performance at Carnegie Hall’s Weill Recital Hall on November 19th, 2016 at 2:30 pm. His concert will feature works by Beethoven, Bach, Granados, Prokofiev, and the contemporary Korean composer Unsuk Chin. The importance to an artist’s career of being heard on the stages of national and international renowned venues is critical, and we’re proud to offer that opportunity to our winners. The recital and the resulting media exposure add value to a pianist’s resume and enhance the possibilities for future performances – as well as adding to the prominence of our Hilton Head International Piano Competition.

You are welcome to join his Hilton Head friends at the performance in New York, followed by a reception at the brand new Steinway Hall!

This concert is underwritten by Nan and Charles Strauch, longtime supporters of the symphony.

During his return engagement with the orchestra, Mr. Shin will also perform at the sixth Musical Feast Benefit, a special gala planned for January 26th at the Westin Hotel & Spa, Hilton Head. He will perform and then and sit down with John Morris Russell to chat about piano, competitions, and music. This event is open to the public – a lively evening you won’t want to miss.

CHANG-YONG SHIN 2016 First Prize Winner Hilton Head International Piano Competition

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CONGRATULATIONS TO HHSO ON ITS 35TH SEASON!

LEAN ENSEMBLE THEATER

Lean Ensemble Theater, Hilton Head Island’s newest professional theater, launches its second season with the question: Home is Where the Heart is? All four Lean productions explore what happens when you search for something your whole life and find it only to discover you’ve been looking for the wrong thing.

The season opens with Steve Martin’s The Underpants, a laugh-out-loud romp about a marriage that implodes with the scandalous slippage of a woman’s pair of bloomers in public –– an event that triggers witty wordplay and a send-up of gender politics and our obsession with fame.

Speaking of celebrity, LET’s December show, Buyer and Cellar by Jonathan Tolins, embarks on a hilarious yet poignant journey into a star’s insecurity, power, entitlement, and obsessions when a struggling actor becomes caretaker of the quaint “shops” — dolls, costumes, and decorative Americana –– that Barbra Streisand has created in her Malibu basement.

The new year brings Nina Raine’s Tribes, a powerful story of a young deaf man as he ventures into the world of the deaf community and struggles with the tensions his new life unleashes on the hearing family he leaves behind.

Closing out the season, The Clean House by Sarah Ruhl centers on an earthy young Brazilian housekeeper who’d rather be onstage delivering comic lines than cleaning bathrooms. Offbeat humor, impromptu arias, wacky poetry and romance spice big themes of love and loss.

Come see the plays. Stay for the conversation.

“Lean Ensemble Theater has delivered something special... leaving one with the sense that not only has this company found its groove, it will certainly be the one to watch in the months to come.”

— The Island Packet, May 6, 2016

2016–2017

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WELCOME TO THE HHSO’S 35TH SEASON

ART LEAGUE OF HILTON HEAD

Art League Exhibition Schedule

during the HHSO season is listed below.

Receptions are open to the public, often on the first Thursday of the exhibit, from 5-7pm (* Wed) (** other)

ART LEAGUE OF HILTON HEAD celebrates its sixth year of Collaboration with Hilton Head Symphony Orchestra, creating art for HHSO’s season “Music of Grandeur & Majesty”.

Inspired by this year’s musical selections, Art League member artists have created the works of art featured throughout this 2016-17 program book.

Art League of Hilton Head, a 501(c)(3) nonprofit organization, offers year-round visual arts programming from two island locations with a mission to promote and support the visual arts through education, exhibitions and partnerships for the cultural enhancement of the community and its visitors.

Art League Gallery, located mid-island inside Arts Center of Coastal Carolina, has monthly exhibits and happenings.

Hours are Tuesday through Saturday from 10am to 4pm and 90 minutes before theater performances. Art League Academy, located south-island, offers art courses and lectures for all ages and skill levels.Visit www.ArtLeagueHHI.org or call 843.681.5060 for more information.

PARTICIPATING ARTISTS

Joan Ackerman Earline Allen Chris Clayton Peter Dallos

Crescendo | Diana Nadanyi

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Norma Deal Juliana Kim Georgina Kimbell Arlene Linder

Zippy Violin | Georgina Kimbell

August 30 - Sept 24 Backstage: Fotos & Filters by Billy Howe September 27 - October 1 Got Art? Exhibition and Fundraiser** October 3 - 8 Morris & Whiteside Auction** October 11 - November 5 Elemental by Juliana Kim November 8 - December 3 David Noyes December 6 - January 31 Fine Arts Craft Guild (National Juried Show) January 3 – 28 Anything Goes Member Show January 31 - February 25 De Aarts ob We People Gullah Exhibition** March 7 - April 1 Alex Sharma April 4 - 29 The Art of Art Quilting by Art Quilters of the Low Country May 2 - June 3 Biennale (National Juried Show)

Joan Moreau McKeever Nancy Mitchell Diana Nadanyi Kendra Natter

John Norlander Kathryn Riley Parker Fanoula Sevastos Alex Sharma

Wendy Steed Frank Sullivan Mary Sullivan

Showtime | Norma Deal

HILTON HEAD SYMPHONY ORCHESTRA

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Program Page Borders: A Gentle Convergence | Mar y Sullivan

Liberty Oak | Nancy Mitchell

Incoming | Joan Moreau McKeever

No. 3 | Arlene Linder

Splendor | Fanoula Sevastos

Majestic Oaks | Wendy Steed

Fallen Tree | Kendra Natter

The Conversation | Alex Sharma

Egret at Sunset | Georgina Kimbell

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IN GRATITUDE The Hilton Head Symphony Orchestra expresses its sincere gratitude to its League,The League of the Hilton Head Symphony Orchestra, for their generous contribution to the symphony and its youth programs. Your assistance at all our events helps to make each of our concerts memorable, and your fundraising efforts contribute to the success and well-being of the symphony.

MANY THANKS! Haven’t joined the League yet?

When you join the League, now 400 people strong, you will meet new friends, promote the growth of the Symphony and support our music education programs in the schools and the HH Boys & Girls Club.

Consider joining the League of the Symphony Orchestra TODAY. You may download an application from the symphony website and choose the areas of volunteering of most interest to you. For more information, visit the League at www.hhso.org or send an email to mmiletic@aol.com.

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WELCOME TO THE HHSO’S 35TH SEASON

KITCHENS OF NOTE The HHSO League’s Fourth Annual “Kitchens of Note” Tour was held on Sunday, September 25 at the beautiful Berkeley Hall Club. Six elegantly diverse kitchens were on display. The Berkeley Hall hosts shared their homes and hospitality to the delight of over 400 attendees as they toured the beautiful kitchens and sampled delicious food specialties. Our six hosts went above and beyond to facilitate the intricate planning and cooperation needed for our success. We thank them for all they did.

Each kitchen featured the chef from one of six popular restaurants in Hilton Head and Bluffton. Those included from Hilton Head: Ombra Cocina Rustica, Old Fort Pub, Lucky Rooster Kitchen and Bar and from Bluffton: Bluffton Room, R & D Wine Boutique and Pearl Kitchen and Bar. Their artistry with food was obvious. We salute them for their generous contribution.

The Berkeley Hall Club staff and Security made planning this event a pleasure. The League committee could not have done it without their support. It was exceptional!

The HHSO League members once again exhibited their incredible volunteer efforts. More than 60 men and women gave their time and energy to the success of the day. Our guests met them as greeters, docents and parking assistants for this self-driving event.

Volunteers are the heart of the League.

We are grateful for the local business partners who value this event and the funds it raised to benefit the HHSO and its Youth Programs. Our terrific sponsors this year were Billy Wood Appliance, StoneWorks, Sun Trust, John Kilmer Fine Interiors, Worth New York, Traditions of Hilton Head and Le Cookery.

“Kitchens Tour of Note” will continue yearly on the last Sunday in September. It joins the other major fund-raising projects the League sponsors- the Annual Fashion Show and Auction and the member-only Musicales.

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CHEFS CLEFS P L EA SE SUP PORT T H E S E FI NE R ESTA UR A N T S T H AT SUP P O RT T H E H H S O

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WELCOME TO THE HHSO’S 35TH SEASON

THANK YOU CAN’T USE YOUR TICKETS? It would be shame to leave a seat empty! If you know in advance you won’t be able to attend a concert, why not give your ticket to someone else? Or, if you prefer, you may donate your ticket to us for resale. If you do, someone else will benefit by being able to purchase your ticket, the HHSO benefits from extra income, and the musicians benefit by playing to a full house!

Just call us at 843-842-2055 the Friday before the concert to turn in your ticket. Everyone benefits!

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We wish to thank our Sponsors and Advertisers for their commitment and loyalty to the Hilton Head Symphony Orchestra.

We ask our supporters to recognize the businesses who advertise in this program book by supporting them throughout the year. If you have the opportunity, please acknowledge their support with a resounding “ThankYou”!

HILTON HEAD SYMPHONY ORCHESTRA

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PERFORMANCE SPONSORS We appreciate your commitment and generosity.

FREY MEDIA

consult | create | connect

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To me, these great trees sing a song of life, memory and grandeur. — JOHN MORRIS RUSSELL

HHSO

SYM PHONY OF TH E LOWCOUNTRY

PHOTO BY LLOYD WAINSCOTT

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