HHSO Subscription Brochure 2019-2020

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HHSO'S 38TH SEASON

WELCOME TO OUR 38TH SEASON! Table of Contents . . . . . . . . . . . . . . . . . . . 5 From the Mayor . . . . . . . . . . . . . . . . . . . . 7 From the Chairman . . . . . . . . . . . . . . . . . . 9 From the President and CEO . . . . . . . . . . . . . 11 From the Music Director & Conductor . . . . . . . . 13 Youth Programs . . . . . . . . . . . . . . . . . . 14-16 HHSO Board and Administrative Staff . . . . . . . . 18 Brad Behr, Dir. of Youth Programs . . . . . . . . . . 19 HHSO Legacy Society . . . . . . . . . . . . . . . . 21 Mona Huff, Dir. HHIPC . . . . . . . . . . . . . . . 22 HH International Piano Competition . . . . . . . . . 23 League Board of Directors/Musicales . . . . . . . . . 26 From the President of the HHSO League . . . . . . . 27 Meet the Orchestra . . . . . . . . . . . . . . . . . 29 Meet our Musicians . . . . . . . . . . . . . . . . 30-31 SoundWaves . . . . . . . . . . . . . . . . . . . . 34 SoundBites . . . . . . . . . . . . . . . . . . . . . 35 HH Youth Concerto Competition . . . . . . . . . . . 36 HHSO Music Chamber Institute . . . . . . . . . . . 37 Tribute to Mary Briggs . . . . . . . . . . . . . . 40-41 Donors Supporting the Music . . . . . . . . . . . 42-43 Businesses Supporting the Music . . . . . . . . . . 44 Music Director/Conductor Profile . . . . . . . . . . . 45 HHIPC 25th Year Celebration . . . . . . . . . 114-115 Symphony Under the Stars . . . . . . . . . . . . . 119 Lean Ensemble Theater . . . . . . . . . . . . . . . 121 HHIPC Winner's Recital - Carnegie Hall . . . . . . . 125 Art League of Hilton Head . . . . . . . . . . . 128-130 League Fashion Show/Luncheon . . . . . . . . . . 132 League Kitchen Tour . . . . . . . . . . . . . . . . 133 Hosting a Musician . . . . . . . . . . . . . . . . . 139 Usher Appreciation . . . . . . . . . . . . . . . . . 140 In Gratitude . . . . . . . . . . . . . . . . . . . . . 141 Securing the Future . . . . . . . . . . . . . . . . . 142 List of Advertisers . . . . . . . . . . . . . . . . . . 143 Chefs & Clefs . . . . . . . . . . . . . . . . . . . . 144

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Meet the Artist: Violinist Bella Hristova. . . . . . . . . . . . . 48 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Rachmaninoff and Franck. . . . . . . . . . . . . . . . . . . . . . . 54 Meet the Artist: Pianist Eric Zuber . . . . . . . . . . . . . . . . 56 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 A Visit from St. Nicholas. . . . . . . . . . . . . . . . . . . . . . . . 60 Meet the Artists: Michael Schwartzkopf / . . . . . . . . . . . 62 HH Symphony Orchestra Chorus Meet the Artist: HH Dance Theatre . . . . . . . . . . . . . . . 63 Meet the Artists: Blake White /. . . . . . . . . . . . . . . . . . . 64 Geoffrey Cormier Meet the Artist: Pianist Chaeyoung Park. . . . . . . . . . . . 70 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Mozart & Saint-Saëns and Montgomery’s Starburst. . . . . 76 Meet the Artist: Guest Conductor Kellen Gray. . . . . . . . 78 Meet the Artist: Cellist Miriam K. Smith . . . . . . . . . . . . 79 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Superheroes – Action and Adventure. . . . . . . . . . . . . . . 84 Meet the Artist: Violinist Francis Tsai . . . . . . . . . . . . . . 86 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Grieg & Vaughan Williams and Elgar’s Enigma Variations. . . 90 Meet the Artist: Oboist Reid Messich. . . . . . . . . . . . . . 91 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Wagner & Rimsky-Korsakov and Brahms' Double Concerto. . . 96 Meet the Artist: Cellist Sterling Elliott . . . . . . . . . . . . . . 98 Meet the Artist: Violinist Randall Goosby. . . . . . . . . . . . 99 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Grand Finale: Elijah . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Meet the Artist: HHSO Chorus. . . . . . . . . . . . . . . . . . 106 Meet the Artists: Dr. Shannon Jeffreys / . . . . . . . . . . . 107 GSU Southern Chorale About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Hilton Head Symphony Orchestra | 7 Lagoon Road | Hilton Head Island, SC 29928 843.842.2055 | www.hhso.org

2019 – 2020

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HHSO'S 38TH SEASON

WELCOME! On behalf of the Town of Hilton Head Island, it is my honor and privilege to welcome you to the 38th season of the Hilton Head Symphony Orchestra (HHSO) as they perform “An Unforgettable Season.”

Join Maestro John Morris Russell as he takes you through masterworks, sure to delight all music lovers. The 2019-2020 season will dazzle one and all with the classical works of Beethoven to Tchaikovsky. Enjoy Prokofiev’s Romeo and Juliet and Rachmaninoff’s Piano Concerto No. 3. Experience “Superheros”, a collection of original Hollywood scores of the biggest hits of the decade. Be captivated by the spectacular Mendelssohn’s “Elijah”, with a chorus of over 100 voices!

Celebrating 25 years, the Hilton Head International Piano Competition returns on March 9, 2020. Enjoy the talented young pianists as they compete for cash prices and performance opportunities, which include a performance with the Symphony.

This year’s competition will feature pianists, ages 13-17 and is always enjoyed by all!

The Hilton Head Symphony Orchestra enriches our Island with its offerings that mark the seasons of our lives as well as the seasons of our calendars. Its leaders and musicians bring not only harmony and orchestration to the state, but also reach and teach the young and old alike. The HHSO is one of Hilton Head Island’s treasures, sharing the talents of local musicians, and inviting world-class visitors from near and far!

I stand and applaud the HHSO and all who support it. So, sit back and enjoy the beauty and harmony the Symphony brings to the Lowcountry. This season is sure to be “An Unforgettable Season!”

Warmest wishes,

John J. McCann Mayor, Hilton Head Island

JOHN J. MCCANN MAYOR HILTON HEAD ISLAND "The Hilton Head Symphony Orchestra enriches our Island with its offerings that mark the seasons of our lives as well as the seasons of our calendars. Its leaders and musicians bring not only harmony and orchestration to the state, but also reach and teach the young and old alike."

The Hilton Head Symphony Orchestra thanks the Town of Hilton Head for its support of the Arts in the Lowcountry. We are especially grateful for the support the orchestra receives through Accommodations Tax and thank the members of that committee for their appreciation of what our orchestra brings to the community.

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HHSO'S 38TH SEASON

CHAIRMAN OF THE BOARD Hi, welcome to the 38th Season of your Hilton Head Symphony Orchestra; we’re glad you’re here! This season is entitled, “An Unforgettable Season”, for good reason. From October through April, Maestro John Morris Russell and our Orchestra will dazzle us with nine wonderful concerts; all at our traditional home, First Presbyterian Church.

The music will range from Beethoven to Mendelssohn; with two terrific Pops Concerts, our Holiday Concert and a tribute to Superheroes thrown in for good measure.

Personally, this will be an unforgettable season for me as well. I’m honored to have been chosen by the board, to lead this organization. Last year, we transitioned to our new office and performance space on Lagoon Road. We’re now in and “up and running”. What we see we like; not only rehearsal space, but meeting space for Island organizations both private & public and summertime cabaret and comedy shows.

Most importantly, the move has allowed us to expand our youth programs. We’ve always had to “reach out” to our Lowcountry youth, through our Music Bridges Program, providing musical instruction in Lowcountry schools in grades 3-5 and with the Boys & Girls Club to provide music instruction for children with musical interest in grades K-5. Now we can bring them in-house, with summer long musical camps for Boys & Girls Club members, island and tourist children.

Our Symphony and board are committed to our Lowcountry and believe that this magical area we call home is enhanced by a vibrant Arts & Cultural experience for our residents and guests. We’re proud to be part of that experience. I’m very proud of the HHSO League; we could not function without their volunteering at concerts and more, or the funds raised to help pay for everything mentioned above. If you enjoy our concerts, please think of doing one of two things, or both! Tell a friend or bring a friend to a concert and please think about making a donation to the Symphony to help sustain the high quality of symphonic music you’re experiencing. It will be much appreciated.

In closing, I’m very proud of the staff that makes all this work; they’re a very dedicated and cohesive team. They’re wonderful to work with and I thank them. There is one person that will make this season truly unforgettable, Mary Briggs our President & CEO. Mary has been the heart, soul and guiding light of this organization for the past decade. She had decided to retire for health reasons last year, changing her mind to see the transition to our new facility. I, like many others on the board and staff, are here because of Mary. This year, will be her last. The board, staff and I are committed to making her last year truly unforgettable.

BOB CHERICHELLA CHAIRMAN OF THE BOARD HILTON HEAD SYMPHONY ORCHESTRA "Our Symphony and board are committed to our Lowcountry and believe that this magical area we call home is enhanced by a vibrant Arts & Cultural experience for our residents and guests."

We’re looking forward to seeing you at First Presbyterian Church or SoundWaves.

Thanks for being part of this unforgettable season.

Bob Cherichella 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”!

2019 – 2020

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HHSO'S 38TH SEASON

DEAR FRIENDS OF THE SYMPHONY, It is a pleasure to welcome you to the 38th season of the Hilton Head Symphony Orchestra. It will be an Unforgettable season! Music Director John Morris Russell has planned exciting music for every concert.

All of our season concerts will be held at the beautiful First Presbyterian Church this season. John Morris Russell will be holding pre-concert chats prior to most of these concerts one hour prior to concert time. The exceptions are the Holiday concert and the Superheroes concert. There will be no pre-concert chat prior to those two concerts.

Other highlights of the season include our ever-popular salute to the holiday season, A Visit from St Nicholas and Superheroes in February which features the music from the famous Superheroes movies. Hopefully you enjoyed our fall “Symphony Under the Stars” in Bluffton and will join us for our spring event on Hilton Head in April.

The Hilton Head International Piano Competition returns in March and will be celebrating its 25th anniversary with a gala event in January. This competition is always exciting as we watch 20 extraordinarily talented young pianists vie for cash prizes and performance opportunities including a performance with the HHSO. Our final concert this season will feature Mendelssohn’s glorious Elijah, my absolute favorite choral work. We have invited two premier university choruses to join the Hilton Head Symphony Orchestra Chorus, bringing the number of voices on stage to over 150. This promises to be a spectacular finale to a wonderful season.

After nearly 12 years as President and CEO of this wonderful organization, I will be stepping down from this position on January 1, 2020. I have loved working with the fabulous JMR, our talented musicians, the wonderful board members over the years and our dedicated staff. It has been a great ride! My husband Mike and I will still be here - you’ll see us at concerts and events. The HHSO will always be close to my heart.

Thank you for the support through the years.

Warmest regards,

Mary M. Briggs President and CEO Hilton Head Symphony Orchestra

MARY M. BRIGGS PRESIDENT AND CEO HILTON HEAD SYMPHONY ORCHESTRA "I have loved working with the fabulous JMR, our talented musicians, the wonderful board members over the years and our dedicated staff. It has been a great ride! Thank you for the support through the years."

The Symphony wishes to thank the SC Arts Commission for their continued financial aid. The Symphony supports the mission of the Arts Commission in their effort “to build a thriving arts environment for the benefit of all South Carolinians”. For over 40 years the agency has worked to make it possible for every citizen in the state to enjoy and benefit from the arts.

2019 – 2020

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WELCOME TO THE 38TH SEASON OF YOUR HILTON HEAD SYMPHONY ORCHESTRA, THE ORCHESTRA OF THE LOWCOUNTRY! For those new to us, our season presents a collection of masterworks that appeal to music lovers of all kinds: Beethoven to Bartók. For our many fans, we continue to explore music that is ardent, passionate and impeccably performed— from Rachmaninoff’s audacious Piano Concerto No. 3 and Prokofiev’s searing Romeo and Juliet, to the utterly charming Mozart Symphony No. 39 and the brooding Franck Symphony in D minor. Great Lowcountry traditions include the region’s premiere Holiday celebration, the triumphant return of the HH International Piano Competition winner, Chaeyoung Park, and “Superheroes - Action and Adventure” Pops packed with the original Hollywood scores from the latest blockbusters.

The pinnacle of the season will be Mendelssohn’s masterpiece “Elijah” with a chorus of over 100 voices.

ALWAYS INFORMATIVE, NEVER FORMAL - INVARIABLY ENGAGING AND ENTERTAINING - THE HHSO INSPIRES.

AN UNFORGE T TABLE SE ASON

John Morris Russell Music Director and Conductor Hilton Head Symphony Orchestra

2019 – 2020

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HHSO'S 38TH SEASON

HILTON HEAD SYMPHONY ORCHESTRA YOUTH PROGRAMS The Hilton Head Symphony Orchestra is passionately dedicated to its support of music education. We strive to develop unique partnerships with community organizations and area schools to offer numerous inspiring and enriching programs to unite the Lowcountry. The wealth of music programs for young people continues to be a source of great pride for the HHSO. This year’s youth programming initiatives will engage thousands of our region’s young people. Our Music Bridges, Music Factory for Kids, and HHIPC School Ambassador programs help to introduce musical creativity to elementary students. Additionally, the HHSO’s Chamber Music Institute and Youth Concerto Competition provide world-class training and performance opportunities for middle and high schoolaged students. As one of the premier young artist competitions, the HHIPC supports excellence in the performance of classical piano by showcasing the talents of young pianists from all over the world.

MUSIC BRIDGES By fostering personal musical connections, this season’s Music Bridges program, under the leadership of Maestro John Morris Russell, and President and CEO, Mary Briggs, continues to advance its many offerings to serve the students in the Beaufort County School District.

Throughout the school year, HHSO musicians and guest artists will visit 2nd through 5th grade classrooms to help prepare and excite students for their trip to hear the full orchestra at our annual Young People’s Concerts. This season’s participating classrooms will be from Hilton Head Island’s Creative Arts and International Baccalaureate, Bluffton’s Red Cedar, and Okatie Elementary Schools. During their visits, HHSO musicians complement the BCSD music teachers’ daily curriculum by extending 14

HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON

the opportunity for students to continue to learn about different instruments, interact with professional orchestral players, and become personally engaged in the music-making process.

The in-school programing of Music Bridges culminates with approximately 3,000 students attending our Young People’s Concert in February, where they will hear music from the brilliant cinematic scores featured in our Superheroes program.

the Lowcountry which provided access to the program for numerous students.

HHIPC SCHOOL AMBASSADOR PROGRAM Introduced at the 2003 competition, participating HHIPC competitors have the opportunity to perform selections from their competition repertoire, as well as other favorite works

AFTER-SCHOOL PROGAMMING The HHSO also funds and supports multiple after-school programs in Bluffton and Hilton Head Island. Foxes Jam, initiated in 2016 at Bluffton’s Red Cedar Elementary in conjunction with principal, Kathy Corley, and music teacher, Nathan Kooi, offers both beginning and intermediate string and band classes to students in 3rd-5th grades.

Beginning in September 2019, Red Cedar’s model program will be expanded to Hilton Head Island’s Elementary Schools. In collaboration with principals Sarah Owen and Gretchen Keefner, as well as the Boys & Girls Club of the Lowcountry, HHSO violinist David Katz will instruct an afterschool beginning violin class twice a week for select 4th and 5th graders.

All students participating in our after-school programs have access to instruments purchased and maintained by the Mary Briggs Youth Foundation.

YOUTH CONCERTO COMPETITION Under the direction of Joseph Gimbel, the HHSO sponsors a Youth Concerto Competition for the Southeast Region of the United States. The highly successful competition provides talented young musicians with the opportunity to hone their craft through the adjudication of their performance of solo orchestral repertoire for a live HHI audience. The winners present recitals and are featured as soloists during an HHSO season performance.

HILTON HEAD CHAMBER MUSIC INSTITUTE Founded in 2018 by Judy Gimbel, the Hilton Head Chamber Music Institute provides an intensive ten-day training program focused on the art of chamber music performance for students who play orchestral string instruments. The highly individualized program encompasses coaching, masterclasses, one-on-one instruction, special workshops, and multiple performance experiences at SoundWaves.

SUMMER PROGRAMMING Under the expert guidance of international children’s chorus master Guillermo Brazón, this past summer’s inaugural Music Factory for Kids encouraged participants ages 6-12 to explore their own creativity while discovering the empowerment of musical expression. The camp was offered four days a week at SoundWaves and helped to continue our long-standing partnership with the Boys & Girls Club of

for students of Hilton Head Island schools. Additionally, middle and high school students are given the opportunity to attend early rounds of the competition to experience the highest levels of live music performance. During the BravoPiano! festival, artists visit area schools to inspire and educate students by sharing their piano mastery.

2019 – 2020

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HHSO'S 38TH SEASON

HILTON HEAD SYMPHONY ORCHESTRA YOUTH PROGRAMS

The Symphony gives special thanks to the First Presbyterian Church for their support of our Young People’s Concert and to the Beaufort County Schools for hosting the Spring Concert.

Thanks also to the Bargain Box for their generous contributions to our music education programs at the Hilton Head Boys & Girls Club.

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HILTON HEAD SYMPHONY ORCHESTRA

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HHSO'S 38TH SEASON

2019 – 2020 BOARD OF DIRECTORS & STAFF As of September 1, 2019

BOARD OF DIRECTORS Robert Cherichella Chairman of the Board Ralph Drayer Vice-Chair Terry Orr Secretary Michael Harter Treasurer, Chairman Finance Committee Mary Briggs President and CEO Sandra Benson Stan Cooke Kathleen Corley Beth Corry Joan Dattelbaum Charles Frost Carolyn Hack Dorothy Holmes Mona Huff Mario Incorvaia Gail Kaess Michael Levine Martin Lesch Eric Magnin William Thorpe Amanda Walton Blake White Lois Wilson Ex Officio: John M. Jolley of Counsel McNair Law Firm

HHSO PROGRAM DESIGN: Publishing / Marketing Advisor: Lori Goodridge-Cribb Design / Production: Momentum Media Jeremy Swartz, Charles Grace

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HILTON HEAD SYMPHONY ORCHESTRA

WHO WE ARE OUR VISION To inspire, enrich and unite the Lowcountry through music.

OUR MISSION

HHSO ADMINISTRATIVE STAFF Mary M. Briggs President and CEO Brad Behr Dir. of Education & Community Engagement Sarah Bergin Marketing Director

INSPIRE ...audiences through outstanding and accessible orchestral music

Joseph Gimbel HHSO Youth Concerto Comp. Dir.

...young musicians through opportunities to perform and be recognized

Mona Huff Hilton Head International Piano Competition Director

ENRICH THE COMMUNITY THROUGH ...youth programs

Mario Incorvaia Chief Operating Officer

...community performances

Gayle Lang HHSO Chorus Manager

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

WWW.HHSO.ORG HHSO ADVISORY BOARD Ed Parrish, Chair Jack Alderman Darle Booher Liz Clist Douglas K. Fletcher Charles Sampson James T. Willard Ex Officio: Mary Briggs Bob Cherichella

Mary Ann Rebish Executive Assistant Susan Strange Chief Accountant Jim Way Administrative Manager Julie Williams Assistant to the HHIPC Director

PAST BOARD CHAIRMEN Frank Pape . . . . . . 1982 - 1984 Gordon Gillette . . . . 1984 - 1988 Willis Shay . . . . . . . 1988 - 1993 Charles Taylor . . . . . 1993 - 1997 Ross Rutherford . . . . 1997 - 1998 Charles Taylor . . . . . 1998 - 1999 Robert Rada . . . . . . 1999 - 2002 Walt Graver . . . . . . 2002 - 2003 Charles Taylor . . . . . 2003 - 2005 Fred Caswell . . . . . 2005 - 2008 Margaret Arrington . . 2008 - 2010 Edward Parrish . . . . 2010 - 2013 Darle Booher . . . . . 2013 - 2015 Jim Willard . . . . . . 2015 - 2017 Tim Ridge . . . . . . . 2018 - 2019

HHSO'S 38TH SEASON

BRAD BEHR, D.M. After performing with the Hilton Head Symphony for the past six seasons as a bassoonist, Brad Behr recently moved to Bluffton to become the orchestra’s Director of Youth Programs and Community Engagement. He is excited to become part of a team which continues to enrich the Lowcountry through musical opportunities.

An active performer, he has appeared with numerous ensembles across Pennsylvania and the Southeastern United States. Currently, Dr. Behr performs with the Hilton Head Symphony Orchestra, Savannah Philharmonic, and other ensembles in the region. From 2012 to 2017, he frequently played with the Jacksonville Symphony in all bassoon chairs as needed.

For the 2015-2016 season, he was a member of Jacksonville’s woodwind education and outreach ensemble performing numerous school and community outreach concerts. In addition to previously holding a position with the Tallahassee Symphony Orchestra, he has also performed with orchestras such as the Naples Philharmonic, Orlando Philharmonic, Coastal Symphony of Georgia, and Palm Beach Opera.

From 2012-2017, Dr. Behr served as the adjunct professor of bassoon at the University of North Florida. In addition to directing the Applied Bassoon studio at UNF, he taught courses in Music Education, World Music, Music Literature, and Music Pedagogy. In past summers, Dr. Behr has had the privilege to work as the bassoon coordinator for FSU’s Summer Double Reed Camp, bassoon instructor for the Golden Isles Youth Orchestra Camp, and as an instructor at UNF’s Summer Music Camp.

Dr. Behr holds a B.S. in Music Education from Indiana University of Pennsylvania, as well as a Master of Music, and Doctor of Music in Bassoon Performance from Florida State University. His treatise on electroacoustic bassoon performance was published in spring of 2015.

BRAD BEHR DIRECTOR OF YOUTH PROGRAMS AND COMMUNITY ENGAGEMENT HILTON HEAD SYMPHONY ORCHESTRA "An active performer, he has appeared with numerous ensembles across Pennsylvania and the Southeastern United States. Currently, Dr. Behr performs with the Hilton Head Symphony Orchestra, Savannah Philharmonic, and other ensembles in the region."

2019 – 2020

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HHSO'S 38TH SEASON

HILTON HEAD SYMPHONY ORCHESTRA LEGACY 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. ifts through Your Estate: Name the HHSO as a beneficiary in your will of specific assets, such as a G 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 Mary & Michael Briggs Sandy & Ralph Drayer

Cary & Peter Fleming Robert & Margaret Gallagher Bradley Jacobs

Mary Princing Mary Ann & Tarrant Putnam Judy & Bill Thorpe

2019 – 2020

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HHSO'S 38TH SEASON

MONA HUFF Welcome to the 2019 - 2020 musical season! This is a very special year for the Hilton Head International Piano Competition…our 25th year!

The Competition Committee is busy preparing for our next competition which will be held from March 9th – 14th. I am certain that all attendees will be amazed at the musicianship and artistry of the 20 pianists, ages 13 – 17, who will grace our stage this year.

Our celebration of 25 years will include many special programs. We are planning a special version of our annual fund raiser, “A Musical Feast”, on Saturday, January 25 at Sea Pines Country Club. The evening includes a special program to celebrate the 250th anniversary of the birth of Ludwig van Beethoven. Our guest artist will be Peter Takács, Professor of Piano at Oberlin Conservatory of Music. He is a renowned Beethoven specialist and has recorded all 32 of his piano sonatas. I hope you will join us for this extraordinary evening.

The HHIPC will be offering a Recital Series at SoundWaves again this year.

• The series began with a performance by Ray Ushikubo on October 10th.

MONA HUFF DIRECTOR HILTON HEAD INTERNATIONAL PIANO COMPETITION "These young pianists are extraordinarily talented and truly on the threshold of their careers. I hope you will join us at the competition rounds and say that you saw them when…"

•O n November 22nd Sae Yoon Chon and Zhu Wang, both prize winners of the HHIPC, will celebrate Nan Strauch’s commitment to, and passion for the musical arts, most notably piano.

•A special Valentine’s Day “Evening of Jazz” at SoundWaves. Look for an announcement of our artist soon.

•C hangYong Shin, our First Prize Winner in 2016 will conclude our 25-year celebration with a recital on April 1st.

We are thrilled to announce that Rounds I and II, held on March 9th – 12th will continue to be held at Central Church. The reviews of this venue were nothing short of spectacular and we are looking forward to returning there. And, as in every competition, we are delighted to have our very own John Morris Russell here to conduct the finals on March 14th at First Presbyterian Church!

These young pianists are extraordinarily talented and truly on the threshold of their careers. I hope you will join us at the competition rounds and say that you saw them when….

Mark your calendars and be sure to join us for a fun-filled year of piano!

Mona Huff

Director Hilton Head International Piano Competition

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HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON

The future arrives on

HILTON HEAD MARCH 9TH...

HHIPC EVENTS LISTING

...will you be there?

OCTOBER 10, 2019 Ray Ushikubo, First Prize Winner of the 2017 HHIPC, recital will include both piano and violin SoundWaves, 7 Lagoon Road at Coligny OCTOBER 27, 2019 Chaeyoung Park, First Prize Winner of the 2019 Competition,in recital at Weill Recital Hall at Carnegie Hall New York City NOVEMBER 22, 2019 Sae Yoon Chon and Zhu Wang Prize Winners at the 2011, 2013 and 2016 HHIPC Recital in conjunction with The Performing Arts Consortium, celebrating Nan Strauch’s commitment to the musical arts SoundWaves, 7 Lagoon Road at Coligny

2O2O

HILTON HEAD INTERNATIONAL PIANO COMPETITION

20 Pianists compete for $22,000 in cash prizes

A return engagement with the Hilton Head Symphony Orchestra & other performance opportunities

JANUARY 25, 2020 A Musical Feast Dinner and Fundraiser, Guest Artist Peter Takács Sea Pines Country Club FEBRUARY 14, 2020 An Evening of Jazz, guest artist to be announced SoundWaves, 7 Lagoon Road MARCH 9 – 14, 2020 Week of Hilton Head International Piano Competition March 9-12, 2020 Rounds I and II Central Church March 13, 2020 Master Classes and Lecture/Recital All Saints Episcopal Church March 14, 2020 Finals First Presbyterian Church

OFFICIAL HOTEL OF THE HHSO AND THE HHIPC

Official Competition Piano

Alink-Argerich Foundation Member since 2005

• C E L E B R AT I N G

APRIL 1, 2020 ChangYong Shin First Prize Winner of the 2016 HHIPC, in recital SoundWaves, 7 Lagoon Road FOR FURTHER INFORMATION ON THESE EVENTS, CALL THE COMPETITION OFFICE AT 843.842.5880

YEARS •

2019 – 2020

23

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HHSO'S 38TH SEASON

THE LEAGUE OF THE HILTON HEAD SYMPHONY ORCHESTRA

E S E N T I N G P R

HHSO MUSICALES 2019 - 2020

2019 - 2020 BOARD & BOARD OF DIRECTORS

MUSICALE #1 • WATER MUSIC Sunday, October 27, 2019, 5-7PM

EXECUTIVE BOARD

Port Royal Beach House - 45 S. Port Royal Drive (Port Royal Plantation)

Gail Kaess President Linda DeLuca Administrative Vice President Candi Hough Vice President Fundraising Judy Walsh Vice President for Membership Terry Hicks Secretary Mona Ridge Treasurer

BOARD OF DIRECTORS Candi Hough Kitchens of Note Lois Hoyt-Berry, Wendye Hearsh Musicales Kathie Miller, Lisa Marie Temple Spring Luncheon Fashion Show Linda Deluca Future Planning/Board Development Nancy Millette Newsletter Carol Gyllenhoff, Barbara Wiles Post-Concert Receptions Clair Craver Spring Fling Peter Forbes Symphony Under The Stars Kathy Zurilla HHIPC Liaison Stan Cooke Concours Liaison Mary Princing SOVA Liaison Mary Princing Past President & Nominating Chairman Nancy Minor Youth Liaison

Micah Gangwer, violin and Daniel Mumm, cello Introducing HHSO acting concertmaster, Micah Gangwer! Micah has invited his good friend and fellow Charleston-based collaborator to share with you some of the most beautiful music written for violin and cello spanning the last 300+ years. A breezy seaside way to kick-off the new Musicale season.

MUSICALE #2 • FELIZ NAVIDAD! Sunday, December 8, 2019, 5-7PM

Candi and Tom Hough 50 Brams Point Road, HHI SC 29926

(Spanish Wells) Guillermo Brazón & Friends

Enjoy everyone’s favorite holiday carols instilled with a zesty Hispanic flavor by international chorus master Guillermo Brazón and performed by his merry elves! Feliz Navidad!

MUSICALE #3 • JAZZ CLASSICS & THE GREAT BEYOND Wednesday, January 22, 2020, 5-7PM SoundWaves - 7 Lagoon Road

Lavon Stevens, piano; Delbert Felix, bass; & Jimmy Ward, guitar Hilton Head favorite Lavon Stevens headlines a formidable trio of jazz luminaries. Together they will bring us great Jazz Standards as well as some “smooth jazz” versions of your favorite music.

MUSICALE #4 • BASSOON, THE FORGOTTEN WOODWIND Wednesday, February 19, 2020, 5-7PM Eileen and Jerry Durkin 10 Galleon (Palmetto Dunes)

Brad Behr, bassoon

Bas’soon it will be time for HHSO’s own Brad Behr to showcase a lesser known voice of the wind section, the bassoon. His performance will showcase the versatility of the instrument with music from Bach to Weber, as well as Villa-Lobos and Paganini. You’ll never hear our wind section the same way again!

MUSICALE #5 •WELCOME TO MY “KEYBOARD” WORLD Sunday, March 29, 2020, 5-7PM SoundWaves - 7 Lagoon Road

Michael Braz, piano & other elegant sounds HHSO principal keyboardist, Michael Braz, invites us into his realm, sharing sounds and stories from the 88-keys of the grand piano to the elegant sounds of the harpsichord, celeste, and even organ.

MUSICALE #6 • BEYOND BOSSA NOVA Sunday, May 3, 2020, 5-7PM Mary and Michael Briggs 31 Old Fort Drive (Hilton Head Plantation)

Jackson & Maggie Evans

Guitarist/Vocalist and husband/wife duo Jackson and Maggie set the Summer mood with a soothing Brazilian Samba and Tropicalia evening for us as we all start packing for our own exotic Summer excursions!

EX-OFFICIO: John Morris Russell HHSO Music Director/Conductor Bob Cherichella HHSO Board Chair Mary Briggs HHSO President and CEO Mario Incorvaia HHSO Chief Operating Officer

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HILTON HEAD SYMPHONY ORCHESTRA

For additional information, please contact Terry Hicks at 843.707.1723.

HHSO'S 38TH SEASON

GAIL KAESS From the opening night romantic strains of Strauss, Beethoven, and Prokofiev, to the glorious triumph of Mendelssohn’s Elijah…Let the Music of the 38th Season Begin!

The past year has been one of many changes, challenges and accomplishments, not only for the Orchestra and the Symphony Board, but for the League Board as well. This will be our first full season in our new home at SoundWaves, and under Mary Princing’s capable leadership we have adapted quite well. Working together as a united team, with many moving parts, we have been a shining example of “harmony in motion”.

The League was founded in 1998 by Ellen Taylor who became the first president.

From a small group of dedicated friends, the League has grown to over 400 committed volunteers who support a variety of fund-raising events and services. Last season League members logged in excess of 3,376 volunteer hours and contributed a total of $60,000 to the Orchestra. We are proud of our contributions.

This Season’s upcoming fund-raising events will include: •O ur annual Kitchens of Note Tour, featuring six lovely kitchens located in beautiful Palmetto Hall. Food tastings will be offered by six local chefs, representing six of the area’s finest restaurants. Sunday, October 6th, noon to four; •S ix evening Musicales, (available to League members only), beginning Sunday October 27th at the beautiful Port Royal Beach House. Two more will be held at Sound Waves, and the remaining three will be held in lovely private homes; and, •T he tenth anniversary Spring Luncheon, Fashion show, and Silent Auction at Sea Pines Country Club Wednesday, March 25th Special League Services include: Nine Monday Evening Post-Concert Receptions hosted by individual communities as well as the Boards of the both the Symphony and the League.

•T he League provides volunteers to support additional Orchestra events such as the fall and spring Symphony Under the Stars, the Hilton Head International Piano Competition, the Youth Concerto Competition and the Concours d’Elegance.

• As a special thank you to our many volunteers the League also sponsors the annual Spring Fling, to recognize another year of dedication and hard work. This year it will be held on Wednesday May 13 at Indigo Hall.

The coming year will continue to bring change, and with it more challenges which we as a Board are ready to meet. We invite you to join us. We are a dynamic group of men and woman who have the ability to achieve anything we set our sights on. The benefits of membership are many… fun, friendship, and new opportunities all derived directly through your support of the outstanding HHSO. It is both easy and rewarding to give back to an organization that gives so much to our community in return.

GAIL KAESS PRESIDENT THE LEAGUE OF THE HHSO "The League has grown to over 400 committed volunteers who support a variety of fund-raising events and services. Last season League members logged in excess of 3,376 volunteer hours and contributed a total of $60,000 to the Orchestra."

A terrific year is ahead of us. So Let the Music of the 38th Season Begin.

Gail Kaess President The League of the HHSO

2019 – 2020

27

SILVER SPONSOR

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Owner

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Providing General and Cosmetic Dentistry on Hilton Head Island since 1986

HHSO'S 38TH SEASON

2019 – 2020 HHSO ORCHESTRA PERSONNEL MUSIC DIRECTOR AND CONDUCTOR John Morris Russell The Estate of Robert and Margaret Gallagher VIOLIN I Micah Gangwer, Acting Concertmaster Charleston, SC *Terry Moore 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 Rafe Goldman Charleston, SC Mario Incorvaia Savannah, GA Tomas Jakubek Charleston, SC David Katz Hilton Head Island, SC Catherine Klimoff Hilton Head Island, SC Angela Loizides Charleston, SC Erica Pisaturo Louisville, KY Kerri Sellman Savannah, GA Essena Setaro Asheville, NC C. Gerome Stewart Atlanta, GA

Marina Volynets Savannah, GA Jonathan Wright Atlanta, GA VIOLA Lizhou Liu, Principal Savannah, GA Mary & Michael Briggs Chair Scott Garrett Fort Mill, SC Vasily Gorkovoy Charlotte, NC Yuri Kholodov Savannah, GA Taliaferro Nash Savannah, GA Matthew Peebles Charleston, SC Jeffery Watson Columbia, SC CELLO *Sarah Schenkman, Principal Savannah, GA Ellen & Charles Taylor Chair Barbara Altman Macon, GA Charmaine Leclair Charleston, SC Lee Richey Winston-Salem, NC 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

FLUTE Lorraine Jones, Principal Savannah, GA Erna B. Graver Memorial Chair Tacy Edwards Charleston, SC OBOE Reid Messich, Principal Athens, GA Patty & Dave Ekedahl Chair Lauren Stuligross, Co-Principal Hilton Head Island, SC 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 Bluffton, SC HORN Stephanie Mason, Principal Statesboro, GA Liz & Walt Schymik Chair in memory of Catherine B. Kaufman Anne Holmi Charleston, SC Brandon Nichols Charleston, SC Debra Sherrill-Ward Charleston, SC

TRUMPET Paul Wesley Lott, Principal Savannah, GA Nancy & John Diamond Chair Phil Ehrmann Atlanta, GA Todd Jenkins North Augusta, GA TROMBONE Carl Polk, Principal Savannah, GA Lin & Robert Rada Chair 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

* Leave of Absence for the 2019-2020 season

2019 – 2020

29

HHSO'S 38TH SEASON

MEET OUR MUSICIANS 2019-2020 CYNTHIA SULKO Cello

Cellist Cynthia Sulko received her Bachelor’s Degree in Cello Performance from the American Conservatory of Music (Chicago, IL), studying under Frank Miller (principal cellist of the Chicago Symphony), and an Artist’s Diploma in Cello Performance from The Boston Conservatory of Music (Boston, MA) studying under Andres Diaz, receiving full scholarships from both.

Cynthia has worked with other world renown cellists such as Wolfgang Laufer (cellist/Fine Arts String Quartet), Hans Jorgen Jensen and Alan Harris (Northwestern University), and Janos Starker, as well as with such conductors as Sir George Solti (Chicago Symphony), Gunther Schuller, Gian Carlo Menotti, and Yoel Levi. Through the blessing of having loving and supportive parents, plus the gift of a musical career, Cynthia has also enjoyed performing in Japan, China, Malaysia, South Korea, Italy, Jamaica, and Switzerland.

For many years, Cynthia has worked with the HHSO, as well as the Savannah Symphony, Atlanta Symphony, Atlanta Opera, Atlanta Ballet, Charleston Symphony, and the Mantovani Orchestra, to name a few. On a side note, Cynthia enjoys the incredibly fresh seafood on Hilton Head Island, as well as “meat and three” restaurants in SC and GA. The Hilton Head Symphony Orchestra organization, including the conductor, staff, musicians, and the patrons of the orchestra, have always been a pleasure to work with, running it like a “family business,” with support and care for each member. Hilton Head is one of those “special places in America,” and being part of the HHSO is definitely both an honor and a privilege.

30

HILTON HEAD SYMPHONY ORCHESTRA

GRACE SOMMER Cello

A native of Atlanta, Georgia, cellist Grace Sommer has played with the Hilton Head Symphony Orchestra since 2015. She is a recent graduate of the Cleveland Institute of Music, where she studied with Dr. Melissa Kraut while also earning her Suzuki Teacher Certification. Grace continues to study independently with Daniel Laufer of the Atlanta Symphony and Paul Kushious of the Cleveland Orchestra. Her other teachers and mentors include Jim Lee, Alan Rafferty, Darrett Adkins, and Joel Dallow.

Grace’s enthusiasm for orchestra has been highlighted by performing as a guest in the cello sections of the Atlanta Symphony Orchestra, National Symphony Orchestra, and Sarasota Orchestra, among others. In 2017, she received the cello fellowship for the National Arts Centre Orchestra’s Institute for Orchestral Studies program, which included six weeks of intense training and concerts with the National Arts Centre Orchestra in Ottawa, Canada.

An avid chamber musician, Grace has played in concerts around the country and has worked with members of the Cavani, Miami, Cleveland, and Emerson Quartets, Sylvia Rosenberg, and Charles Castleman. Following the 2012 and 2014 Atlanta Symphony lockouts and contract disputes, she helped organize an annual chamber music concert where Atlanta Symphony Youth Orchestra alumni and ASO musicians collaborate and perform together to raise money for the ATL Symphony Musician’s fund.

Recently, Grace has spent her summers studying at the Aspen Music Festival and School, the Kent-Blossom Music Festival, and the Chautauqua Institution Music School Festival Orchestra. When not playing cello, she enjoys trail running, vegan food, and long walks with her dog, Charlie.

HHSO'S 38TH SEASON

MICAH GANGWER

TIMOTHY O’MALLEY

Micah Gangwer has been an active orchestral, chamber, and solo musician throughout the southeast since moving to South Carolina in 2006. His playing has been described as “clean, clear, and virtuosic” and “absolutely ravishing” by the Columbia Free Times, and that “he has full command of the violin and can do whatever he wants with it” by Charleston Today.

Timothy O’Malley was first introduced to the cello at the age of nine when he participated in a strings program in Tucson, Arizona. Since then, his studies have taken him across the United States and to Europe.

Violin

Cello

Acting Concertmaster

Micah made his solo debut performing with the Toledo Symphony Orchestra at age 11, and throughout his childhood and college he won a number of regional and national violin/concerto competitions. He has performed as a soloist with various professional and collegiate orchestras across America, and has been showcased on public radio and television.

Previous concerto engagements range from baroque works by Bach, Vivaldi, and Tartini, to 20th/21th century works

by Barber, William Grant Still, Schnittke, and Tan Dun. As a chamber musician he has played in concerts across America and Europe including performances for ambassadors, royalty, and heads of state. In 2003, Micah was a finalist in the internationally renowned Coleman Chamber Music Competition as a member of the Lennox Trio.

Micah has been a violinist with the HHSO since 2011 and lives in Charleston with his wife and violist Rachel, where he is Assistant Concertmaster of the Charleston Symphony. Before moving to the Lowcountry, he held the positions of principal second violin of the South Carolina Philharmonic and Associate/ Acting Concertmaster of the Augusta Symphony. Micah attended Miami University for his undergraduate studies, and the University of Oklahoma and University of South Carolina for graduate school.

While in high school he studied under Angelika May at the Academy for Music and the Performing Arts in Vienna.

He received his Bachelor’s degree in Cello Performance from the Oberlin Conservatory of Music with Norman Fischer and Catherina Meints, and his Master’s degree in Orchestral Performance from the Manhattan School of Music under New York Philharmonic cellist, Alan Stepansky.

Mr. O’Malley has participated in the Boston University Tanglewood Institute, the Quartet Program, Point Counter Point, Music at Penn’s Woods, the National Orchestral Institute and the National Repertory Orchestra.

He is formerly co-principal cellist of the Hilton Head Symphony Orchestra, was a full-time core cellist of the Charleston Symphony, and is a member of Chamber Music Charleston.

His Chamber Music Charleston performances have brought him overseas to the US Virgin Islands as well as Carnegie Hall. In May 2020 he will be featured with Chamber Music Charleston for the Musica En Segura Festival in Spain.

2019 – 2020

31

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HHSO'S 38TH SEASON

Now beginning the second year in our new officeperformance space, SoundWaves, the HHSO is excited for the many events that have found their way to Hilton Head’s newest and highly sought-after performing events space and meeting hall.

In 2019, the HHSO has produced numerous orchestra concerts, chamber music programs, HHIPC piano recitals, cabaret events, piano bar concerts, Youth Concerto Competition Finals, its inaugural 10-day Hilton Head Chamber Music Institute, and its first-ever 10week Summer youth program, Music Factory, all here at Lagoon Road on the periphery of Coligny Plaza.

“This is just one more way for us to fulfill our mission of uniting community efforts through collaboration with other cultural organizations. At the same time, as we unveil SoundWaves in the weeks ahead, we’re celebrating our unique coastal heritage and promoting the Lowcountry as a significant arts and cultural destination.”

Mary Briggs, HHSO President & CEO

Community partners who have held events at SoundWaves include: Lean Ensemble Theater, World Affairs Council, TEDx Hilton Head, Camera Club of Hilton Head, Greater Island Council, Rotary Club of Hilton Head, Philanthropic Educational Organization (PEO), Beaufort Symphony Youth Orchestra, Lowcountry Chamber Music Festival, and Habitat For Humanity.

All of this bodes well for SoundWaves, as we expand the opportunities for our community to enjoy the convenience and amenities of this intimate performance space. Performers have described SoundWaves to be a most ideal venue to try-out their newest material, with our audiences participating in the development of the newest music and trend-setting interpretations of the classics.

Join us at SoundWaves this season as we present even more of the most dynamic performances in a variety of musical and dramatic art forms, as well as some of the hottest popular music around. Bring your organization here to hold meetings and conferences. SoundWaves embraces its role as the venue that brings the Hilton Head community together through exceptional live music and performing arts experiences.

“I loved performing at SoundWaves. The space was intimate without feeling small. The acoustics were great! The audience was really involved and very appreciative.”

Sullivan Fortner, Musician

“We are so pleased with the SoundWaves experience that we plan to hold our evening series here next year.”

Lee Wilwerding, Chairman of the Board, World Affairs Council 34

HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON

SOUNDBITES BY HHSO SoundBites by HHSO, now in its fourth year, creates unique musical experiences for the Lowcountry.

SoundBites continues to develop audience-centered musical events which brings together musicians from the HHSO, in collaboration with other Lowcountry artists, to provide unique concert experiences.

Distinguishing itself from the expected symphonic traditions, each event is part-concert – part mixer.

SoundBites are held in unique venues and consist of dynamic music from a variety of genres including jazz, alternative, dixieland, rock, classical, and others.

Following each set, SoundBites performers mixand-mingle with audience members which creates a unique “backstage” perspective to learn about the lives, collaborations, instruments, and anything else surrounding the musical passions of the Lowcountry’s most talented artists.

DECEMBER 6: Jeremy Davis and Clay Johnson of The Fabulous Equinox Jazz Orchestra @SoundWaves JANUARY 17: Deas Guyz and Friends, featuring Reggie Deas and Martin Lesch @SoundWaves FEBRUARY 29: Sara Burns, singer/songwriter @SoundWaves

APRIL 3: Steve Steele, Cajon virtuoso @The Roasting Room

MAY 15: Enrique Torres Vega, a wide variety of Latin music @SoundWaves

2019 – 2020

35

HHSO'S 38TH SEASON

HHSO YOUTH CONCERTO COMPETITION The HHSO Youth Concerto Competition will be held at SoundWaves on Saturday, February 1, 2020 at 1:30 pm.

The HHSO is proud to present this concerto competition with the hopes of inspiring a younger generation to pursue their goals in the world of music.

IN THE SPOTLIGHT Sterling Elliott, who will be featured as the cello soloist for the HHSO’s March performance of the Brahms Double Concerto, first auditioned for the HHSO’s Youth Concerto Competition in 2013 and was a finalist in the 2014 competition. Although an outstanding performance was given, he was not selected as a prizewinner. The day after the finals, Sterling asked if we could expedite the delivery of the judges’ evaluation forms, as he was to perform in another competition the following week.

With the invaluable experiences gained throughout the HHSO’s YCC finals, as well as his masterful incorporation of our judges’ remarks, Elliott’s performance was awarded 1st prize in the prestigious Sphinx Competition. These successes have helped to make Sterling Elliott one of the most in-demand young artists today. Sterling Elliott’s detailed bio may be found on page 98.

THE HHSO’S YOUTH CONCERTO COMPETITION, A FAMILY TRADITION FOR THE TSAI FAMILY Violinist Eric Tsai, learned of the HHSO’s Youth Concerto Competition from his private teacher in Birmingham, AL, and was a finalist in both 2012 and 2013, earning first prize in the 2013 competition. Eric has since won numerous competition prizes, was featured on NPR’s From the Top, and currently attends the prestigious Curtis Institute of Music.

Following in their older brother’s footsteps, Eric’s siblings have successfully competed in the HHSO’s YCC. Elisabeth and Raymond Tsai both reached the finals, and most recently Francis Tsai won 1st prize at the 2019 YCC. Francis will be a featured soloist with the HHSO in February.

Additionally, youngest brother Asaph was a 2019 winner of a competition for young artists in Atlanta.

With their musical accomplishments on HHI, the Tsai family has actively given back to our community through several recital performances at area churches, as well as appearances in the Young Artist Performance Series.

36

HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON

HILTON HEAD CHAMBER MUSIC INSTITUTE Founded and led by Judy Gimbel, the inaugural Hilton Head Chamber Music Institute united sixteen young musicians from eight states with four world-class instructors for ten days in June of 2019. Faculty members included violinist Carolyn Huebl and cellist Felix Wang from Vanderbilt University, violinist Shannon Thomas from Florida State University, and violist Caroline Coade from the Detroit Symphony Orchestra and the University of Michigan. All of the musicians were generously hosted for the entire institute by our incredible supporters.

Once they arrived on HHI, the young artists were divided into four quartets, with each group coached by a different professional musician. In addition to the works learned in the small ensembles, group master classes - which were also open to the community - allowed for each quartet to receive instruction from all of the faculty members. Outside of their chamber music coaching, participants were also given individual lessons throughout the week.

The HHCMI featured numerous performances during its ten days at SoundWaves. The Institute presented an opening faculty showcase, a concert featuring solos performed by the participants, and two final cumulative performances of works learned by the newly formed quartets. Additionally, the young artists gave four “pop-up” concerts around Coligny Plaza. In collaboration with The Town of Hilton Head’s Office of Cultural Affairs, these performances were streamed online to thousands of viewers.

Outside of the intensive rehearsal and coaching schedule, HHCMI participants experienced much of what Hilton Head has to offer. Evening highlights included a tour of Fish Haul Beach given by the Coastal Discovery Museum, and the attendance of a performance sponsored by the Junior Jazz Foundation to hear Martin Lesch at The Jazz Corner. A final pool party was held at the home of Mike and Mary Briggs.

The 2nd annual HHCMI will take place at SoundWaves from June 10th-20th, and we are looking forward to the return of our marvelous faculty, as well as the opportunity to bring a new group of young chamber musicians to the Lowcountry.

2019 – 2020

37

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HHSO'S 38TH SEASON

MARY M. BRIGGS - A VISIONARY LEADER EXECUTIVE DIRECTOR, 2008 – 2011 | PRESIDENT AND CEO, 2011 – 2019 We honor Mary Briggs for her visionary leadership, her passion for the arts, and her dedication to music education for youth. She has been a true inspiration for all of us!

In her words...

“When I started my journey with the orchestra eleven years ago, I must have known the day would come when I would make the decision to step down....yet I’ve given little thought to departing until now.

In March of 2008 a member of the HHSO board approached me and asked if I would be interested in leaving my position as Assistant Superintendent of Beaufort County Schools to come lead the HHSO. At that time, I had been in the education field for over 35 years. My entire adult life had been dedicated to the education of young people - first in the area of music, and later across all curriculum areas and all grade levels including college. But my enduring lifelong love had been, and continues to be, music. So, after consultation with my family and several interviews with the HHSO Board search committee, I decided to accept the position – and have never looked back!

The past eleven years have certainly held their challenges. When the economy downturned, the orchestra, along with every arts organization across the country, endured a multi-year fight for our very existence. We cut back expenses in staffing and numbers of concerts, froze salaries and used most of our available reserve funds to keep going and to avoid the bankruptcy that doomed many orchestras.

In 2011, our selection of John Morris Russell as Music Director proved to reenergize our musician and audience bases and has contributed greatly to the positive growth of the organization. Two years ago, we began a program of more intimate, interactive performances in private homes, and last year we elevated our presence with a new Lowcountry address and exciting new community role.

SoundWaves is an incredible opportunity for us to expand our footprint to include performance and rehearsal space with a focus on live music.

One of those areas of growth has been near and dear to me – our work with youth through several programs both in the schools and after school. With our Music Bridges program, our Youth Concerto Competition, the Hilton Head Chamber Music Institute, and the continuing expansion and diversification of the Hilton Head International Piano Competition, we are leaders in the music education of youth.

I will continue to support the community organizations that I value, and my heart and support will always remain with the HHSO. This is the first of many opportunities to say thanks for the privilege of serving you.”

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HILTON HEAD SYMPHONY ORCHESTRA

BRAVO MARY!

HHSO'S 38TH SEASON

Under Briggs’s guidance, the Hilton Head Symphony Orchestra has grown to be one of the area’s leading cultural organizations. Its reputation for quality and diversity in music programming has been recognized by its growth in subscribers, with attendance reaching record levels. Concerts have increased from nine to eighteen a year, new educational initiatives have been successful, and a new event and rehearsal space for the symphony has been established. All point to the HHSO’s continued growth and success for the years to come.

Mary Briggs will retire January 1, 2020.

2019 – 2020

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HHSO'S 38TH SEASON

SUPPORTING THE MUSIC As of September 1, 2019

DIAMOND BATON CIRCLE

Helen Heberton

Mary & Michael Briggs Connie Rathman

Vickie & Herwig Baumann

Judy Matchett

Dorothy E. Holmes

Barbara & Karl Becker

In Memory of Raymond L.M. Holmes

Jillian & Malcolm Binks

David McClintock & Mary Milligan

Eloise & Robert Mason

Nancy & David Borghesi

Judy McCracken & John McLaughlin

GOLD BATON CIRCLE

Kathy & Terry Orr

Alice & Juergen-Brockman

Joann McElravy

Betsy & Dan Brown

Doris & Ray Stickel

Bonnie & Richard Burnette

Ellie & John McLauchlin

Vickie & Kevin Halloran

Paul & Joanne Stillman Foundation

Mary Dill Byrd

Sansing McPherson

Mary & Roger Coe

Kathie & Gordon Miller

Barbie & Spence Stouffer

Marcia & James Collett

Patricia & Carl Miller

In Memory of Bill Rathman

Diane & John Myers Charles Strauch

SILVER BATON CIRCLE Carol & Frederick Hack Susan & Edward Parrish Judy & William Thorpe Caroline Tucker

Linda & Bill DeArment

Sharon Miller

CONCERTMASTER'S CIRCLE

Wayne Effron & Gail Kaess

Nancy Minor

Marilyn & Arthur Althans

Sally Evans

Mary & Ian Murray

Mary Anne & James Baehr

Beverly & Charles Farley

Barbara & Harwood Nichols

Barbara Baumgardner

Patricia & Dennis Foley

Mary Noonan

Judy & Stewart Brown

Maggie & Chuck Ford

Kathleen & James Panepinto

Sally Brown

Pauline & Joseph Gareau

Penny & Bo Pearson

Vivian & Fred Burt

Bettina Guenther

Joanne & Phil Phillips

Clair & Ted Craver

Sara & George Hall

Margaret & Gene Rainville

Jim Way Florence & James Willard

CHAIRMAN'S CIRCLE Sandy & Fred Caswell

Jane & Anthony DeFail

Linda & William Harlan

Sylvia & Bill Richards

Carol & Dennis Draeger

Michael Harris

Mona & Tim Ridge

Trish & Jay Elliot

Edward Haslam & Jeffrey Roberts

Nina & Stewart Rodman

Heather & Bob Cherichella

Kathleen Grote

Liz & Todd Clist Joan & Charles Dattelbaum Nancy & John Diamond Sandy & Ralph Drayer Patty & Dave Ekedahl Susan & Michael Harter

Judy & David Russert

Mona & Charles Huff

Midge & Mike Haworth

Pamela & Bob Savage

Marie & John James

Connie & Mike Hellman

Karen & John Simpson

Nancy & James Johns

Patsy & Ford Hutchinson

Patricia Sinatra

Carol & Tom Jones

Jennifer & Mario Incorvaia

Lois & Russell Southwick

Darlene & Brian Marlowe

Joan Israel

Sally & Richard Steedman

Sarah Meyer

Laura & Bret Jacobowitz

Judy & Gary Tauscher

Linda & Ray Moloney

Jane & Hart Joseph

David Theobold

Linda & George Johnson Marianne & George Krall

Carolyn Moore

Alice & Juergen-Brockman

In Memory of Bob Rada

Louise & Paul Lang

Martha & James Neumeister

Betty Ann & Kevin Keane

Grace & Bill Tiernay

Janine & David Nelson

Lois & Roy Plekenpol

Linda & John Kellom

Judy & Terry Tolerton

Mary Princing & Bill Clark

Gleaves Rhodes

Edith & Peter Korda

Judy Walker

Mary Ann & Terry Putnam

Barbara & Michael Sorkin

Kathleen & Don Krahnke

JoLynn & Bill Wayne

Margie & Jake Kriney

Festi & Hans Weitekamper

Lorene & Tom Thornbury Connie & Jerry Voight

ARTIST'S CIRCLE LAST

Christine & Juan Lacerda

Jane & Paul Wexler

Barbara & Neal Aaron

Carol & John Lang

Beth & John Weymouth

Peggy Ashworth

Myla Lerner & Larry Kramer

Robin & Kim Whiting

Winifred Baker & Constance Curnow

Rosalyn Lester

Barbara & Richard Wiles

Dot & Jim Loughlin

Julie Williams

CONDUCTOR'S CIRCLE Anonymous Cary & Peter Fleming

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Estie & Dom Bonanno

HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON

Lois Wilson

Nancy & Christopher Virgulak

Hannah & Alan Obstler

Nancy & Peter Johnson

Ruth & Lee Wilwerding

Joyce Weidenkopf

Anne & Zig Palagyi

Laurel & Richard Johnson

Barbara & Michael Wolf

Marti Willits & Doug Nabholz

Linda & Joseph Palmiero

Jan & Chuck Kreitler

Randie & Michael Wolfe

Judy & Phil Wright

Sue & John Parsons

Leslie & Jim Kreuzer

Judy & Dale Peters

Gary Lambert

SUPPORTER

Susan Ross

Sue & Stefan Laxdal

Audrey & Richard Anderson

Leslie Samuel

Doris Lindner

PRINCIPAL

Sheila & Jim Baden

Barbara & Neil Snow

Elizabeth & John Loda

Noel Adams

Judy & Stan Bluestone

Sheila & Bill Standen

Elizabeth & Klaus Loehr

Linda & Frank Babel

Susan & Mark Britanisky

Kathryn & William Taylor

Carol & Lee Lopez

Harvey Beeferman

Judy & Stuart Brown

John Tolford

Ralph Max Loxley

Sue & Nelson Britt

John Burling

Peggy & Blake White

Ethel & Richard Collins

Patricia & John Canzano

Sally & Jon Wormley

Karen & Buck Edwards

Beverly Chell

Paula & Marc Feinberg

Stan Cooke

FRIEND

Barbara & Hudson Fesche

Carmen & William Cunningham

Dr. & Mrs. Gerald Anderson

Susan & Tom Finn

Joan & Peter Dallos

Gene & Tommy Arnold

Susan & Thomas Forrest

Joan Deery & Paul Capron

Margo & Byron Atwood

Jill & Pat Graybeal

Beverly Chell

Carol & Sherman Barker

Louise & Kenneth Hagstrom

Linda DeLuca

Charlotte Beck

Ann & Charles Harrison

Pam Dyer

Maria & Jordan Berliner

Karin & George Haupstein

Linda Ellis

Dukene & James Brady

Lawrence Hazzard

Barbara & Marvin Frogel

Nancy & Henry Brown

Constance Holbrook

Susan Giattino

Barry Bulat & Trish Hebendahl

Patricia & Howard Hornstra

Lesley & John Gilbert

Janet & C Patrick Burns

Mary Johnson

Judy & Barney Greenhill

Carol & Howard Coonley

Phyllis & Paul Zaffaroni John Zimmerman

Ellena Lucas Mary Marston Carolyn & Lloyd Martin Henry Massey Stella & George Moyser Nancy & Jim Nissley Jo Nuce Shirlene & Neal Post Charlene & Forte Rabb Patricia & Richard Rapp Lorraine & Edward Regenye Joan Reusswig Jean Rice Janet & William Rivers Donna & Robert Rombauer

Kryl & Ken Kerr

Ann & Larry Gunn

Pam & Peter Cooper

Juliana & Sam Kim

James Hales & Sally Tarley

Barbara & Roger Cowdery

Beryl Lamotte

Angela & Noel Horne

James Crippen

Ruth & Joseph Liedtke

Leighann & David Howitt

Dedria & Alexander Cruden

Kathy & Irving Meeker

Nancy Hudak

Nancy & Bill Dix

Pat Shelburne

Louise & David Rose Nancy & Richard Schulman Lauren & Van Schwiebert

Thomas Noble

Sandy & Tom Jernigan

Wendie Elovich

Linda & John Sheppard

Emily & Wilson Oelkers

Joan & Robert Koenig

Dodi & Henry Eschenbach

Dennis Smith

Hazel O'Leary

Rosemary & Gary Kratz

Bonnie & Jay Finch

Linda & Peter Spreadbury

Suzie & R. Willis Post

Henry Martin

Marilyn Fraley

Polly Sten

Betsy Roll

Marcia & Robert Metzger

John Geisler

Barbara Swift

Walt Schymik

Dorothy & David Murphy

Cynthia Gorski-Popiel

Murray Turka

Meike & Henrich Smit

Diana Nadanyi

Pennie & Kent Grimes

Ann West

Angela & Joseph Sommers

Jeffrie & Louis Natale

Harriett Hair

Karen West

Gail & Jim Titus

Barbara & Bill Newby

Jack Hittle

Julia Ann Whelan

Art Villani

Constance Niclas

Diane & Peter Ingrin

Jane & Bob Wintz

2019 – 2020

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HHSO'S 38TH SEASON

SUPPORTING THE MUSIC As of September 1, 2019

DIAMOND SPONSORS $20,000+

LEADERS $2,000+

CHEFS & CLEFS $300+

Goode Vacation Rentals

All My Sons Moving and Storage

Frosty Frog Cafe

Heritage Classic Foundation

Billy Wood Appliance

Hinoki Japanese Restaurant & Sushi Bar

Town of Bluffton - ATAX

Custom Audio Video, LLC

The Island Fudge Shoppe

Town of Hilton Head - ATAX

Gulfstream

It's Greek to Me

Gaylord & Dorothy Donnelley Foundation

Hilton Head Area CEFA

SC Arts Commission

Hilton Head Choral Society

The Jazz Corner - The Junior Jazz Foundation

Island Travel, Inc. PLATINUM SPONSORS $10,000+ Pure Insurance / McGriff Insurance Services Sonesta Resort Hilton Head Island GOLD SPONSORS $5,000+

James C. Moore of Wells Fargo Advisors Lean Ensemble

Sea Grass Grille

LOCALlife HHIPC SPONSORS

Savannah Hilton Head International Airport

Coastal Plains Insurance Custom Audio Video, LLC

Savannah Music Festival

eviCore Healthcare

World Affairs Council

The Great Frame Up The Greenery, Inc.

Boys, Arnold & Company

SUPPORTERS $1,000+

Charter I Realty

All Saints Episcopal Church

Coligny

BlueCross BlueShield of South Carolina

Hilton Head Island/Bluffton Chamber of Commerce

The Cypress of Hilton Head

Carson Realty

Hilton Head Lexus

Forsythe Jewelers

The Greenery, Inc.

The Jazz Corner

Frey Media

Hilton Head Dance Theatre

Rice Music House

Hilton Head Exterminators

Savannah/Hilton Head International Airport

Hilton Head Island Motoring Festival and Concours d’Elegance Hilton Head BMW Rockfish SERG Group SILVER SPONSORS $3,000+ Coastal Home by Marco Polo Hilton Head Dental Team Group 3/pyramids Royal Restrooms TidePointe, A Vi Community

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Sante Fe Café

Rice Music House

The Bargain Box Beaufort County - ATAX

Rollers Wine and Spirits

HILTON HEAD SYMPHONY ORCHESTRA

Hilton Head Night Out Kenneth Kowalyk, DMD Lowcountry Guild Organist Morgan Stanley Wealth Management Palmetto Electric Cooperative Charles Sampson Real Estate Group thefrenchguyphotography O. C. Welch Ford Lincoln Inc.

Gulfstream Herrin Piano

Sonesta Resort Hilton Head Island Steinway & Sons

HHSO'S 38TH SEASON

JOHN MORRIS RUSSELL A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. In his eighth season as Music Director of the Hilton Head Symphony Orchestra, he continues to invigorate the musical life of the Lowcountry as conductor, collaborator and educator, and leads the orchestra’s classical subscription series as well as the prestigious Hilton Head International Piano Competition.

Mr. Russell concurrently serves as Conductor of the world-renowned Cincinnati Pops Orchestra, as well as Principal Pops Conductor of the Buffalo Philharmonic Orchestra, following in the footsteps of Marvin Hamlisch and Doc Severinsen.

The Hilton Head Symphony Orchestra has enjoyed unprecedented artistic growth under John Morris Russell’s leadership; concert attendance has blossomed, the orchestra has doubled its number of concerts, and performs regularly off-island, throughout the region. 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, Georgia Southern University and Claflin University.

Mr. Russell’s recent collaborations around the world include Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Garrick Ohlsson, Rhiannon Giddens, Brian Stokes Mitchell, Jon Kimura Parker, Ann Hampton Callaway, Michael McDonald, Cho-Liang Lin, Sutton Foster, George Takei, Megan Hilty, Ranky-Tanky, Steve Martin, Edie Brickell and the Steep Canyon Rangers, Over the Rhine, Brian Wilson, and Leslie Odom, Jr. Widely considered one of North America's leaders in orchestral educational programming, Mr. Russell helped develop and conducted the LinkUP! educational concert series at Carnegie Hall between 1997-2009 - the oldest and most celebrated series of its kind, originally created by Walter Damrosch in 1891 and made famous by Leonard Bernstein.

In Hilton Head, Mr. Russell began the HHSO Music Bridges program in 2015, 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. The Sound Discoveries series Mr. Russell developed with the Cincinnati Symphony Orchestra in 1997 remains a leading model for educational concerts across the country. In Windsor, he created the Peanut Butter n’ Jam series for young children, Family Jamboree and the One Community-One Symphony project that engaged a dozen high school performing ensembles.

As a guest conductor, Mr. Russell has worked with the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, the Boston Pops, New York Pops, and the National Symphony of Washington, D.C. He frequently conducts Canadian orchestras including Toronto, Calgary, and Vancouver, and has led the orchestras of Detroit, Houston, Indianapolis, Dallas, Milwaukee, the Minnesota Orchestra, Oregon Symphony, Colorado Symphony, New Jersey Symphony, and New York City Ballet.

JOHN MORRIS RUSSELL MUSIC DIRECTOR AND CONDUCTOR HILTON HEAD SYMPHONY ORCHESTRA "The Hilton Head Symphony Orchestra has enjoyed unprecedented artistic growth under John Morris Russell’s leadership; concert attendance has blossomed, the orchestra has doubled its number of concerts, and performs regularly off-island, throughout the region."

John Morris Russell earned degrees from the University of Southern California, Los Angeles and Williams College in Massachusetts, and has studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

2019 – 2020

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OPENING NIGHT OCTOBER 20 & 21 2019 • OPENING NIGHT

SPONSOR Sunday, October 20, 2019 Monday, October 21, 2019

SEASON SPONSOR

Inspiring, enriching and uniting the Lowcountry

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HILTON HEAD SYMPHONY ORCHESTRA

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON

OPENING NIGHT • OCTOBER 20 & 21 2019

Sunday, October 20, 2019 | 5pm Monday, October 21, 2019 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR BELLA HRISTOVA, VIOLIN

PROGRAM STRAUSS

Don Juan, Op. 20

BEETHOVEN Romance No. 1 in G major, Op. 40 Romance No. 2 in F major, Op. 50 Bella Hristova, Violin

INTERMISSION PROKOFIEV

Romeo and Juliet, Op. 64 Suite 2, No. 1 The Montagues and the Capulets Suite 2, No. 2 Juliet – The Young Girl Suite 1, No. 1 Folk Dance Suite 1, No. 7 Death of Tybalt Suite 2, No. 5 Romeo and Juliet before Parting Suite 2, No. 6 Dance of the Maids from the Antilles Suite 2, No. 7 Romeo at Juliet's Grave

P O S T- C O N C E R T R E C E P T I O N S The League of the Hilton Head Symphony Orchestra sponsor a post concert reception in the Gathering space after every Monday night performance.

2019 – 2020

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MEET THE ARTIST

OCTOBER 20 & 21 2019 • OPENING NIGHT

BELLA HRISTOVA Internationally acclaimed violinist Bella Hristova is known for her passionate and powerful performances, beautiful sound, and compelling command of her instrument.

Her numerous prizes include a 2013 Avery Fisher Career Grant, First Prize in the Young Concert Artists International Auditions, and First Prize in the Michael Hill International Violin Competition. She has performed extensively as a soloist with orchestras including the Orchestra of St. Luke’s, the New York String Orchestra, and the Kansas City and Milwaukee Symphonies. She has performed recitals at Carnegie Hall, Merkin Concert Hall, the Kennedy Center in Washington, DC, and Boston’s Isabella Gardner Museum, and regularly appears with The Chamber Music Society of Lincoln Center. In 2017, she toured New Zealand performing the complete Beethoven Sonatas for Piano and Violin with renowned pianist Michael Houstoun.

BELLA HRISTOVA VIOLIN OPENING NIGHT October 20 & 21, 2019 "Internationally acclaimed violinist Bella Hristova is known for her passionate and powerful performances, beautiful sound, and compelling command of her instrument."

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Performances with orchestra during the 2018-19 season include Vivaldi with the New York String Orchestra at Carnegie Hall, Sibelius with the Wheeling Symphony and the Brevard Philharmonic, Barber with the Hawaii Symphony and National Philharmonic Orchestra, and Mendelssohn with the Winnipeg Symphony and Naples Philharmonic, where she stepped in to perform a cancellation on short notice.

“Bella Unaccompanied,” Ms. Hristova’s recording on A.W. Tonegold Records, features works by Corigliano, Kevin Puts, Piazzolla, Milstein, and Bach. A committed proponent of new music, she commissioned iconic American composer Joan Tower to write “Second String Force,” which she premiered and performed in recitals throughout the United States and abroad. She further collaborated with her husband David Ludwig on a violin concerto written for her through a consortium of eight major orchestras across the country.

Bella Hristova began violin studies at the age of six in her native Bulgaria. She then studied with Ida Kavafian at the Curtis Institute of Music in Philadelphia, and received her Artist Diploma with Jaime Laredo at Indiana University.

Ms. Hristova plays a 1655 Nicolò Amati violin, once owned by the violinist Louis Krasner.

HILTON HEAD SYMPHONY ORCHESTRA

PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Richard Strauss came from an extremely conservative family. His father, Franz Joseph, the principal horn player in the Munich Court Orchestra, considered Brahms a radical and Wagner’s music beyond the pale, forbidding his son to listen to it. Richard assimilated the music of the early and middle nineteenth century in his early works, composing as a committed classicist. But he soon discovered that the musical language taught by his father was too confining for his own fertile mind.

Strauss quickly found his voice through his own unique development of the tone poem, or symphonic poem, a purely instrumental rendition of a text, usually poetic or narrative in nature. The term “symphonic poem” had been coined by Liszt in 1854 for compositions accompanied by a program that the audience was supposed to read before listening to the music. Don Juan, completed in 1889, was the first to be publicly performed, and catapulted him to international recognition.

OPENING NIGHT • OCTOBER 20 & 21 2019

DON JUAN, OP. 20 TONE POEM AFTER NIKOLAUS LENAU Richard Strauss 1864-1949

and was immortalized musically in Mozart's opera Don Giovanni and in English literature in Byron’s Don Juan.

Lenau's version follows Don Juan through five debauched conquests that leave a wake of misery and death. In response to his brother’s attempt to dissuade him from his dissolute lifestyle, Don Juan expounds on his desire to experience all the diverse and novel joys of sexual gratification and to die of a kiss from the ideal woman.

In Lenau’s play, Don Juan’s paramour/victims are: Maria, who follows him to escape from a forced marriage and is abandoned; Clara, who actually rejects him before he can reject her; Isabella, whom Don Juan seduces, disguised as her fiancé; Anna, who never actually appears but whom Don Juan apostrophizes from afar; and finally, an unnamed woman who dies of a broken heart. Don Juan receives the news of her death at a masked ball.

Unlike Tirso's Don Juan and Mozart’s Don Giovanni,

Strauss completed the score in Bayreuth where he was a coach at the Festspielhaus, the venue Wagner had built to showcase his music dramas.

At the time, the 24-year-old Strauss was involved in a scandalous love affair with a married woman. He expressed his youthful exuberance, using three extracts from Don Juan, an incomplete verse play by Nikolaus Lenau (1802-1850), which he copied as a preface in the score.

Lenau’s play is just one of the many incarnations of the Don Juan legend. The Don first appeared on the literary scene in the seventeenth-century Spanish play El burlador de Sevilla (The Trickster of Seville) by Tirso de Molina,

Any Which Way | Mary Sullivan

2019 – 2020

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OCTOBER 20 & 21 2019 • OPENING NIGHT

PROGRAM NOTES

Lenau’s hero is not felled by a stone dinner guest meting out divine retribution. Rather, he intentionally lowers his guard during a duel with the son of one of his victims, whose father had become collateral damage during one of the Don’s exploits, because victory, and even life itself, has lost its appeal. All this, Strauss condenses and transforms into a single symphonic movement in sonata allegro form.

In the tone poem Strauss does not follow the specific details of Lenau’s play. Instead he develops an opening theme expressing the wild sexual striving of his hero, followed by subsidiary themes representing the Don’s various conquests. Although it is difficult to identify any of the specific paramours of the source play, Strauss creates

Influence of Personality | George Watson

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HILTON HEAD SYMPHONY ORCHESTRA

a different musical character for each of the secondary themes that reflect their diverse personalities and qualities of love. One theme is introduced by a soaring solo violin melody; a second accompanied by a gasping flute motive and the third a Spanish oboe melody. Strauss develops them all alongside the restless motives of the Don. The second half of the tone poem begins with the socalled “Carnival Scene,” which corresponds to Lenau’s masked ball. It marks the beginning of the Don’s decline, including pricks of conscience as his former lovers haunt of his thoughts. Their themes are intertwined with his new heroic theme and ultimately undermine his personality.

He wanders despondently through a churchyard where

PROGRAM NOTES

OPENING NIGHT • OCTOBER 20 & 21 2019

he comes upon the statue of a nobleman whom he has killed, and in a final act of bravado invites him to supper.

But it is the nobleman’s son, Pedro, who arrives, seeking revenge. Observed by the ghosts of all his lovers and illegitimate children, Don Juan begins by putting up a valiant fight, during which all the themes reappear and the music becomes increasingly frantic. Suddenly the music halts and a minor chord precedes a trumpet call as Don Juan surrenders to his adversary and despair. In contrast to Don Giovanni’s fiery defiance, pianissimo timpani and pizzicato basses conclude the piece.

ROMANCE NO. 1 IN G MAJOR, OP. 40 ROMANCE NO. 2 IN F MAJOR, OP. 50 Ludwig van Beethoven 1770-1827 At the turn of the nineteenth century the Romance was a popular musical form, slow in tempo and simple in structure. It was a natural musical form for Ludwig van Beethoven, who considered himself a “Tone Poet.”

Little is known about the circumstances of the composition of the Romance in G major, a rondo, except that it was probably composed in late 1801 or early 1802 and published in December 1803. One unusual feature of this piece for orchestra and soloist is that the solo violin begins it. The violin continues to dominate throughout, with the orchestra mostly just echoing the solo line. The Romance is a simple rondo with a refrain and two episodes of new, but related, melodies.

The circumstances of the composition of the Romance in F major are obscure as well. It was probably first performed in November 1798 by Ignaz Schuppanzigh, whose Schuppanzigh quartet – probably the first professional string quartet – was later to premiere many of Beethoven’s string quartets. It was published in 1805. According to Barry Cooper in his book Beethoven (Oxford University Press, 2000), the Romance could be a reworking of the missing slow movement of the Violin Concerto in C major (WoO 5) of which only part of the first movement has survived. At the time, the title “Romanza” was frequently used for slow movements of violin concertos.

SELECTIONS FROM THE BALLET SUITES OF ROMEO AND JULIET, OP. 64 Sergey Prokofiev 1891-1953 The idea of composing a ballet based on Shakespeare’s Romeo and Juliet, a relatively “safe” lyrical subject, came

Norm Levy | Chorus of Colors

2019 – 2020

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OCTOBER 20 & 21 2019 • OPENING NIGHT

PROGRAM NOTES

to Prokofiev in the spring of 1935. A ballet on the same topic, written in 1925 by the English composer Constant Lambert for impresario Sergey Diaghilev’s Ballets Russes, may have given him the idea.

2. Juliet as a young girl from Act I describes the young girl, her interaction with her nurse, her mother and her reaction to her prospective marriage.

After returning to the Soviet Union, Prokofiev received a commission for the ballet from the Kirov Ballet in Leningrad; when Kirov backed out, the Moscow Bolshoy Theater took it over. Prokofiev tried to adhere as closely as possible to Shakespeare’s play, using both dance and mime to convey the story. When his innovative and complex score frightened the Bolshoy and the cast declared the music “undanceable,” Prokofiev revised the score. Their insistence, however, that the ballet have a happy ending turned out to be more than he could stomach. Romeo and Juliet was dead in the water.

II.

In the end, a hugely successful premiere took place in Brno, Czechoslovakia, in December 1938. Embarrassed, the Kirov took it on once again and after much wrangling, the ballet was finally premiered in Leningrad in January 1940. Galina Ulanova, the ballerina who danced Juliet, expressed the difficulties surrounding the production in a humorous parody of Shakespeare’s epilogue to the play: “There never was a story of more woe Than Prokofiev’s music for Romeo” Romeo and Juliet is a long ballet with 52 numbers, but the rapid switches between dramatic and lyrical sections assure that the tension is maintained. One of the reasons for the ballet’s immediate acceptance was the fact that by the time of the premiere, the music was already wellknown. In view of the production delays, and never one to let good music go to waste, Prokofiev arranged two orchestral suites from the ballet score, which premiered in 1936 and 1937. During the same period he also made a piano arrangement of ten excerpts and performed them in Moscow. He assembled the Third Suite from the ballet in 1946.

It is common practice now for conductors to excerpt their own suites from the ballet. These suites, like Prokofiev’s own, do not necessarily adhere to the logical sequence of the story but are combined to be musically balanced. Today’s selections are: 1. The Montagues and the Capulets combines parts of from Act I, where the Duke forbids the two families, on the pain of death, to continue their feud, with the heavyfooted dance scene from the ballroom scene of Act II.

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HILTON HEAD SYMPHONY ORCHESTRA

3. Folk Dance is part of the festival, which opens Act 4. Death of Tybalt; combines various sections from the end of Act II, including the duel and Tybalt’s death 5. Romeo and Juliet before Parting is the lover’s farewell after their only night as married couple.

6. Dance of the Maidens with Lilies. Juliet's maidens come in her chamber to wake her at the morning of her wedding with Paris. She appears to be dead and her family mourns.

7. Romeo at Juliet’s Tomb is from the concluding scenes of the ballet, including Juliet’s funeral procession.

PROGRAM NOTES

OPENING NIGHT • OCTOBER 20 & 21 2019

Cousins Beach Stroll | Brenda Luczynski

2019 – 2020

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NOVEMBER 17 & 18, 2019 • RACHMANINOFF & FRANCK

RACHMANINOFF & FRANCK SPONSOR Sunday, November 17, 2019 Monday, November 18, 2019

SEASON SPONSOR

Inspiring, enriching and uniting the Lowcountry

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HILTON HEAD SYMPHONY ORCHESTRA

RACHMANINOFF & FRANCK • NOVEMBER 17 & 18, 2019

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, November 17, 2019 | 5pm Monday, November 18, 2019 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR ERIC ZUBER, PIANO

PROGRAM RACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30

Allegro ma non tanto Intermezzo Finale Eric Zuber, Piano

INTERMISSION FRANCK Symphony in D minor Lento-Allegro non troppo Allegretto Allegro non troppo

P O S T- C O N C E R T R E C E P T I O N S The League of the Hilton Head Symphony Orchestra sponsor a post concert reception in the Gathering space after every Monday night performance.

2019 – 2020

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NOVEMBER 17 & 18, 2019 • RACHMANINOFF & FRANCK

MEET THE ARTIST

ERIC ZUBER Hailed as an "irresistibly fluid" and "illuminating" pianist by the New York Times and the Cleveland Plain Dealer, Eric Zuber has established himself as one of the leaders of a new generation of American pianism.

During a period of just a few years, Dr. Zuber was a recipient of major prizes from ten of the world's most prestigious international piano competitions including Arthur Rubinstein, Cleveland, Seoul, Sydney, Dublin, Honens, and the Pianoe-Competition. He was also awarded Gold Medals in both the Hilton Head and Boesendorfer International Piano Competitions. For these and many other remarkable achievements, he was given the Arthur Rubinstein Prize by The Juilliard School. Dr. Zuber is also a two-time recipient of the Gina Bachauer Prize at Juilliard—one of only a handful of pianists in the school’s history to have won the award twice in two consecutive years.

ERIC ZUBER PIANO RACHMANINOFF & FRANCK November 17 & 18, 2019 "After making his orchestral debut at the age of twelve with the Baltimore Symphony Orchestra, he has gone on to perform with many of the major orchestras in the United States and abroad including Cleveland, Israel, Indianapolis, Minnesota, Phoenix, Sydney, RTE National, and the Royal Philharmonic."

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Dr. Zuber has made solo appearances at the Kennedy Center, Carnegie's Weill Recital Hall, Merkin Hall, the Sydney Opera House, Severance Hall and for the International Keyboard Institute and Festival in New York City. After making his orchestral debut at the age of twelve with the Baltimore Symphony Orchestra, he has gone on to perform with many of the major orchestras in the United States and abroad including Cleveland, Israel, Indianapolis, Minnesota, Phoenix, Sydney, RTE National, and the Royal Philharmonic. His collaborations with internationally acclaimed artists include performances with Lewis Kaplan, Paul Huang, Amir Eldan, Charlie Neidich, Joseph Silverstein, Gerard Schwartz, Johannes Moser, and Amanda Roocroft.

In addition to a busy solo and collaborative career, Dr. Zuber is dedicated to help the next generation of aspiring young artists. He is currently on the faculty of the International School of Music and has held previous faculty appointments at Columbus State University, Ball State University, the University of Memphis' Rudi E. Scheidt School of Music, the Peabody Institute, and at the Bowdoin International Music Festival. He is also a frequent guest artist and teacher at various universities in and out of the United States, and has given masterclasses at Oklahoma University, Ohio University, Rutgers, Arizona State University, Bard College, Shenandoah University, and at Hanyang and Sookmyung Univerisities in Seoul. This summer he will join the faculty for the Walled City International Piano Festival and Competition in Northern Ireland, the Cleveland International Piano Preparatory Academy and Festival, and the Asia International Piano Festival held at Ehwa University in South Korea.

Eric holds degrees from the Peabody Institute of the Johns Hopkins University (B.M., A.D., D.M.A.), the Curtis Institute of Music (Diploma), and the Juilliard School (M.M).

His major teachers have been Boris Slutsky, Leon Fleisher, Claude Frank, and Robert McDonald.

HILTON HEAD SYMPHONY ORCHESTRA

PROGRAM NOTES

RACHMANINOFF & FRANCK • NOVEMBER 17 & 18, 2019

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

PIANO CONCERTO NO. 3 IN D MINOR, OP. 30 Sergey Rachmaninoff 1873-1943 Following the success of his Second Piano Concerto in 1901, Sergey Rachmaninoff’s career took off and evolved successfully in three directions. He continued to compose, including his Symphony No. 2 in 1906-07, he traveled extensively both at home and in Western Europe as a virtuoso pianist, and he was a sought-after conductor.

He tried to apportion his time evenly among the three.

Rachmaninoff composed the Piano Concerto No. 3 in 1909 for a long-planned first tour of the United States where he was going to be featured in the exhausting capacity of wearing all three hats. He was ambivalent about the tour and significantly pressed for time. He did not begin the Concerto until June, taking with him a silent keyboard on which he practiced assiduously during the

crossing. The tour and the Concerto were an artistic and financial success. And just as Haydn had been wooed to make his permanent home in London after the success of his “Salomon,” or “London,” symphonies, both the Boston and Cincinnati Symphonies offered Rachmaninoff their podiums. Ironically, in 1917, he was forced into exile, his fortune confiscated and his estate demolished during the violence of the Russian Revolution. He continued to tour the Untied States, primarily as pianist, and with the imminence of war in Europe in 1939, he eventually relocated with his family in Beverly Hills where he died.

The Concerto premiered on November 28, 1909 with the New York Orchestra under Walter Damrosch and was repeated two months later with the same orchestra under Gustav Mahler. Unfortunately, we know nothing of what transpired between these two giants.

Intrusion | Earline Allen 2019 – 2020

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PROGRAM NOTES

The Concerto gained immediate and enduring popularity, especially with pianists. It requires immense stamina from the soloist, and it attests as much to the composer’s melodic inventiveness as to his outstanding pianistic abilities.

The opening movement is particularly rich in thematic material with new ideas and moods introduced throughout.

Over the throbbing orchestra, the piano enters on the third measure with a sad melody in a narrow range, the melancholy mood prevailing throughout the elaborate development of the theme. The staccato second theme, introduced by the strings, is converted by the piano into a flowing lyrical, but dark, melody. The extremely long written-out cadenza takes nearly a third of the entire movement and is briefly joined halfway through first by a flute, then by the other woodwinds. Finally, the opening theme returns and the movement concludes in a whisper.

A languid theme on the oboe opens the Intermezzo, followed with a variation by the orchestra and finally by the soloist. The orchestra and piano continue in numerous permutations and variations, including a faster and livelier waltzlike variation that brightens the mood towards the end of the movement.

But the opening mood returns in the coda.

and 60s. Franck was an easy-going, unassuming person, who never knew how to promote his works. As a result, much of his music was either ignored during his lifetime or derided by the doctrinaire academicians. He achieved worldwide recognition only in the twentieth century. But his students adored him, calling him “Pater seraphicus,” and his influence on the future of French music was enormous. He was appointed in 1871 as professor of organ at the Conservatoire, but his classes evolved into de facto composition classes for the succeeding generation of major French composers, including Vincent d’Indy, Henri Duparc, Ernest Chausson and Paul Dukas.

The Symphony in D minor was a late work. Franck was reluctant to try his hand at a symphony and, ironically, it was the success of his pupil Vincent d’Indy’s Symphony on a French Mountain Air in 1887 that encouraged him to attempt one as well. He finished it in 1888 and it premiered in the following year. The Symphony was a dismal failure.

Critics, music professors and in particular composer Charles Gounod lambasted it as: “...the affirmation of

The Finale follows without interruption with a sudden shift in mood and an exuberant display of pianistic brilliance. The movement is episodic with contrasting sections and, again, a wealth of themes and a broad romantic melody to announce the conclusion.

SYMPHONY IN D MINOR César Franck 1822-1890 A Belgian by birth who lived and taught most of his life in France, César Franck was one of the most influential music teachers of the period and a famous organist. Although he enrolled in the Paris Conservatoire at age 15, his maturation as a composer came late in life – he composed his most lasting compositions while in his 50s Colors Of Winter | Georgina Kimball

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PROGRAM NOTES

RACHMANINOFF & FRANCK • NOVEMBER 17 & 18, 2019

impotence carried to the point of dogma.” A pedantic teacher at the conservatory decided that the work could not be called a symphony at all because the English horn solo in the second movement. “Who ever heard of writing for an English horn in a symphony?” he asserted. Wrongly, by the way; Haydn had two in his Symphony No. 22 and Hector Berlioz, another Frenchman no less, opens the slow movement of the Symphonie fantastique with one of the most famous English horn solos in the repertory.

(FYI, Dvorák composed the Symphony No. 9 in 1893, after Franck’s.)

The Symphony digresses from the classical form in other ways as well. It has only three movements and its structure is cyclical – all the themes recur towards the end, a method widely used by Franz Liszt, one of Franck’s models, and a feature of some of his other works, particularly the Violin Sonata. The opening three-note phrase of the slow introduction is a variant of the famous opening of the fourth movement of Beethoven’s last quartet (Op. 135) where he wrote Muss es sein? (Must it be?) above the notes. Liszt had also used the phrase in the opening of the tone poem Les Preludes. Wagner aficionados will also recognize it as the “fate” Leimotif from The Ring of the Nibelungen.

Franck opens the Symphony with slow, foreboding statements of the motive, later expanding it into a fullfledged theme, in an aggressive, even threatening transformation in the Allegro. The movement vacillates between the two tempi. There are only two themes in this movement, the second a contrasting, but an equally strong-willed, lyrical melody. The movement is something of a pitched battle between the two themes.

The second movement opens with a haunting theme on the harp supported by pianissimo pizzicato strings.

The “notorious” English horn takes up the theme, which is completed by the horn. Franck uses the theme as a refrain between a series of new melodies, which he combines melodically and contrapuntally into the original theme at the end of the movement.

The final movement opens with a melody in D major and a contrasting secondary theme. Soon, however, the “English horn” theme from the second movement recurs.

This is no example of cyclical tokenism. Franck also integrates the themes from the first movement, concluding the Symphony with a near repeat of the ending of the first movement.

2019 – 2020

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DECEMBER 1 & 2, 2019 • A VISIT FROM ST. NICHOL AS

A VISIT FROM ST. NICHOLAS SPONSORS Sunday, December 1, 2019 Monday, December 2, 2019

SEASON SPONSOR

Inspiring, enriching and uniting the Lowcountry

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A VISIT FROM ST. NICHOL AS • DECEMBER 1 & 2, 2019

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, December 1, 2019 | 5pm Monday, December 2, 2019 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR HILTON HEAD SYMPHONY ORCHESTRA CHORUS MICHAEL SCHWARTZKOPF, DIRECTOR EFFINGHAM COUNTY HIGH SCHOOL CHORUS WES PERKINS, DIRECTOR HILTON HEAD DANCE THEATRE JOHN CARLYLE, DIRECTOR BLAKE WHITE, NARRATOR GEOFFREY CORMEIR, PUPPETEER

PROGRAM ARR. WENDELL ARR. MOUNSEY ARR. HARRIS TCHAIKOVSKY ARR. HOLCOMB BERLIN/BENNET PENA PELLETT ARR. SEBESKY

We Need a Little Christmas Hark!

We Three Kings Waltz of the Snowflakes Festive Sounds of Hanukkah/A Candle is a Small Thing I'm Dreaming of a White Christmas Mele Kalikimaka Little Drummer Boy A Christmas Scherzo

INTERMISSION BRADFORD WILLIAMS SILVESTRI/BRUBAKER JESSEL/GOULD CORELLI

SCHERMERHORN ARR. FINNEGAN

Angels We Have Heard on High Somewhere In My Memory Polar Express Parade of the Wooden Soldiers A Visit from St. Nicholas Blake White, Narrator Geoffrey Cormier, Puppeteer I Believe Sing Along

2019 – 2020

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MEET THE ARTISTS

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.

MICHAEL

SCHWARTZKOPF DIRECTOR A VISIT FROM ST. NICHOLAS December 1 & 2, 2019 "As a singer and performer, his repertoire spans the entire spectrum of classical and popular music, opera, and musical theatre."

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 Maestro John Morris Russell since 2012, the HHSOC is featured in both the HHSO holiday and spring concerts, having performed Vivaldi's Gloria, selections from Handel's Messiah, Poulenc's Gloria, Silvestri's The Polar Express, Gershwin's Porgy and Bess in Concert, and an all-Gilbert and Sullivan evening featuring selections from The Mikado, Pirates of Penzance, H.M.S. Pinafore and a semi-staged version of Trial by Jury - all to rave reviews. 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.

Michael 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 Grammynominated 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.

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MEET THE ARTISTS

2019-2020 SEASON The Nutc racke r

Nov ember 15-17 & 22-24, 2019 Sea ha wk Cult ura l Center

Guests of the Hil to n H e ad Symphony Orch e s tra A VI SI T F ROM ST. NICHOLAS D ecember 1-2, 2019

Terpsic hore

April 4-5, 2020 Art s Cent er of Coast al Carol i na

Terpsic hore, To o Eloise

Ma y 15-17, 2020 Sea ha wk Cult ura l Center

W W W. H I LTO N H E A D DA N C E . CO M

EFFINGHAM COUNTY HIGH SCHOOL CHORUS

A VISIT FROM ST. NICHOLAS December 1 & 2, 2019

Under the direction of Wes Perkins the past 15 years, the choirs of Effingham County High School have performed in Washington, D.C., Nashville, TN, Atlanta, GA, and Orlando, FL. The choirs consistently receive Superior ratings at the GMEA Large Group Performance Evaluation and have received Gold ratings with Heritage Festivals nationally.

Wes Perkins is a native of Effingham County and received his undergraduate degree at Armstrong Atlantic State University in Savannah, GA. He also holds a Master of Music in Choral Conducting from Georgia Southern University. Wes has performed as bass soloist with the Savannah Symphony Orchestra and the Hilton Head Symphony Orchestra. He is a staff singer at St. John’s Episcopal in Savannah and has been teaching for 17 years, with 15 of those at ECHS.

"The choirs of Effingham County High School have performed in Washington, D.C., Nashville, TN, Atlanta, GA, and Orlando, FL."

2019 – 2020

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A VISIT FROM ST. NICHOL AS • DECEMBER 1 & 2, 2019

SUPPORTING THE ARTS

DECEMBER 1 & 2, 2019 • A VISIT FROM ST. NICHOL AS

MEET THE ARTISTS

BLAKE WHITE, NARRATOR Blake White is the Founding Artistic & Executive Director of Lean Ensemble Theater on Hilton Head Island.

In addition to Lean, Blake’s acting and directing credits stretch from Boston to New Mexico, among others, as well as several off- and off-off and not close to Broadway companies. Blake has also previously provided spoken word narration in concerts with the Hilton Head Choral Society and the Hilton Head Symphony Orchestra.

BLAKE WHITE EXECUTIVE DIRECTOR LEAN ENSEMBLE

Blake is a member of the Stage Directors & Choreographers Society as well as the boards of the Hilton Head Symphony Orchestra, Lean Ensemble Theater and the South Carolina Theatre Association, where he is chair of the professional division.

GEOFFREY CORMEIR Geoffrey Cormier grew up on James Island, played percussion in a group called the Archetypes (which specialized in medieval music) and went to work for the Jim Henson Company in 1998 designing sets. Soon he was learning everything he could about puppetry. Cormier gravitated toward the dark art of shadow puppets. Years of research, travel and performance followed.

GEOFFREY CORMEIR PUPPETEER

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A VISIT FROM ST. NICHOL AS • DECEMBER 1 & 2, 2019

Peppermint Magic | Georgina Kimball

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2019 – 2020

DECEMBER 1 & 2, 2019 • A VISIT FROM ST. NICHOL AS

Prancing through the Snow | Brenda Luczynski

Nutty Buddy | Georgina Kimball

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Santa Baby | Brenda Luczynski

A VISIT FROM ST. NICHOL AS • DECEMBER 1 & 2, 2019

Holiday Dreams | Georgina Kimball

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2019 – 2020

J A N U A R Y 1 2 & 1 3 , 2 0 2 0 • D V O Ř Á K & B A R T Ó K & B E E T H O V E N ' S 4 T H

DVOŘÁK & BARTÓK & BEETHOVEN'S 4TH SPONSOR Sunday, January 12, 2020 Monday, January 13, 2020

SEASON SPONSOR

Inspiring, enriching and uniting the Lowcountry

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HILTON HEAD SYMPHONY ORCHESTRA

D V O Ř Á K & B A R T Ó K & B E E T H O V E N ' S 4 T H • J A N U A R Y 1 2 & 1 3 , 2 0 2 0

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, January 12, 2020 | 5pm Monday, January 13, 2020 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR CHAEYOUNG PARK, PIANO

PROGRAM ̌ K DVORÁ Slavonic Dance No. 8 in G minor, Op. 46 Presto BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 Allegro moderato

Andante con moto Rondo-Vivace Chaeyoung Park, Piano

INTERMISSION BARTÓK Concerto for Orchestra

Introduzione: Andante non troppo-Allegro vivace

Giuoco delle coppie: Allegro scherzando

Elegia: Andante non troppo

Intermezzo interrotto: Allegretto Finale: Pesante-Presto

P O S T- C O N C E R T R E C E P T I O N S The League of the Hilton Head Symphony Orchestra sponsor a post concert reception in the Gathering space after every Monday night performance.

2019 – 2020

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MEET THE ARTIST

CHAEYOUNG PARK Twenty-two-year old Korean pianist Chaeyoung Park was the First Prize winner of the 2019 Hilton Head International Piano Competition. She was also awarded the Silver Medal in the 2016 Gina Bachauer International Young Artists Competition. Ms. Park has received top awards in many other national and international competitions including the Juilliard Gina Bachauer Competition (2017), the Gold Medal in Music from the National YoungArts Foundation and the Discretionary and Young Jury Award in the Arthur Fraser International Piano Competition (2014). In 2015 she won Third Prize at both the Cleveland International Young Artists Piano Competition and the Yamaha USASU International Senior Piano Competition.

CHAEYOUNG PARK PIANO DVOŘÁK & BARTÓK & BEETHOVEN'S 4TH January 12 & 13, 2020 "As an avid chamber musician, Ms. Park was one of five pianists accepted into the prestigious Ravinia’s Steans Music Institute this summer and participated in Juilliard ChamberFest."

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Ms. Park has performed at Chicago Symphony Orchestra Hall, Merkin Hall at the Kaufman Music Center in New York, Cleveland Museum of Art, Weill Recital Hall at Carnegie, New World Center in Miami, Helzberg Hall at the Kauffman Center for Performing Arts, Kodak Hall at the Eastman School of Music and Lied Center of Kansas. She has performed with the Utah Symphony, Kansas City Symphony, Rochester Philharmonic, Canton Symphony, New Millennium Symphony, and the Topeka Symphony among others.

As an avid chamber musician, Ms. Park was one of five pianists accepted into the prestigious Ravinia’s Steans Music Institute this summer and participated in Juilliard ChamberFest. She has worked with renowned artists such as Leon Fleisher, Robert Levin, Gilbert Kalish, Frans Helmerson, Pamela Frank, and Michael Stern.

After starting piano at age six in South Korea, Chaeyoung Park moved to Lawrence, Kansas in 2007 and studied with Jack Winerock at the University of Kansas for eight years. She is currently studying at The Juilliard School under the tutelage of Robert McDonald where she is a recipient of a Kovner Fellowship.

Chaeyoung Park is very excited about finishing her first recording under the Steinway & Sons/Archiv label which will include the complete Musica Ricercata by Ligeti and is due to be released in 2020.

HILTON HEAD SYMPHONY ORCHESTRA

PROGRAM NOTES

D V O Ř Á K & B A R T Ó K & B E E T H O V E N ' S 4 T H • J A N U A R Y 1 2 & 1 3 , 2 0 2 0

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

SLAVONIC DANCE, OP. 46, NO. 8 Antonín Dvořák 1841-1904

As deafness descended on him, it was also his last performance as a soloist.

Dvořák was a devoted Czech nationalist. Like his older compatriot Bedrich Smetana, he freely incorporated folk elements into his music, utilizing characteristic peasant rhythms and melodic motives but never actually quoting entire folk melodies. The Opus 46 Slavonic Dances were first composed for piano duet and then immediately orchestrated by the composer. This dual approach proved to be a win/win arrangement for both publisher and composer. The dances could be played both in the concert hall, where they were recognized as the heir to Brahms's Hungarian Dances, as well as purchased for home music making. They were so successful that Dvořák’s publisher, Simrock commissioned another set (Op. 72) in 1880, whichDvořák finally got around to completing in 1885.

With the composition of the G major Concerto in 1806, Beethoven broke important new ground. The standard concerto form at the time consisted of the so-called double exposition, in which the orchestra plays the dual role of introducing much of the thematic material of the movement as well as building up tension and expectation for the entrance of the soloist. But the Fourth Piano Concerto opens with the soloist – briefly but significantly – stating the main thematic and rhythmic motive that drives the movement. The orchestra then takes up its traditional role but starts off by offering a response to the piano in a distant key. Thus begins a remarkably complex work in which the two forces continually engage in a true musical dialogue.

The dances all follow a similar form with two or more sections containing themes in contrasting moods and tempi. The first section – sometimes also fairly complex in structure – serves as a refrain for the dance as a whole.

The dances comprise a wide range of moods all displaying the composer's dazzling melodic gift.

No. 8 in G minor is a Bohemian furiant, a folkdance alternating 3/4 and 2/4 time. A short contrasting middle section retains the metric ostinato pattern despite the more subdued mood.

PIANO CONCERTO NO. 4 IN G MAJOR, OP. 58 Ludwig van Beethoven 1770-1827 Beethoven composed the Fourth Piano Concerto concurrently with the Fifth Symphony, and the first movement of the Concerto shares with the Symphony the same upbeat rhythmic figure, although in a very different mood. The premiere, at a private subscription concert, took place in March 1807 together with the premiere of the Fourth Symphony and the Overture to Coriolan. It was, however, at the historic Beethoven-Konzert of Dec. 22, 1808 that the general public first heard the G major Concerto, with Beethoven wearing two hats, as conductor and soloist. This was one of those typical monster concerts of the period at which the Fifth and Sixth Symphonies, the Concert Aria “Ah Perfido” and the Choral Fantasia were also premiered. True to Beethoven’s form, the orchestra was poorly and hastily rehearsed; many of the orchestral parts were not yet ready; Beethoven quarreled with the musicians; and the hall was freezing cold.

The Journey is the Destination | Donna Varner

2019 – 2020

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The second movement has recently engendered quite a bit of musicological controversy. The conversation between soloist and orchestra of the first movement escalates into an argument. The orchestra's demanding fortissimo, answered by the piano's gentle, almost pleading response, has been associated with the legend of Orpheus's taming of the wild beasts or even his confrontation with the forces of death to recover his lost Eurydice. The ease with which this program can be applied to the movement has led some scholars to suggest that it might have originated with Beethoven himself, although there is certainly no documentary evidence for the association.

By the time the finale opens, the mood has cleared, and soloist and orchestra return to their conversation in a cheery rondo. Again, Beethoven alters the typical structure by beginning this movement with the orchestra, rather than the soloist. The two occasionally interrupt each other. And at times, the orchestra "mumbles" a commentary, reiterating the opening rhythmic pattern, as the piano performs its fanciful elaborations.

Audiences did not take to the Fourth Concerto at first, preferring the more conventional Third or more dramatic Fifth. It fell into neglect until Mendelssohn revived it in 1836, performing it frequently thereafter. It became a favorite of pianist Clara Schumann, who played it throughout Europe and also wrote cadenzas for it.

CONCERTO FOR ORCHESTRA Béla Bartók 1881-1945 In the fall of 1940, Béla Bartók fled his native Hungary with his family and sailed for the United States. For a couple of years he eked out a precarious living teaching piano and performing with his wife, Ditta, also a pianist.

By the end of 1942 when he fell ill with what turned out to be a form of leukemia, his future looked bleak indeed.

Early in 1943 he was too weak to deliver an entire series of lectures at Harvard University, the fee for which he had counted on to support him and his wife until the fall.

Then, in early summer, at the suggestion of violinist Joseph Szigeti and conductor Fritz Reiner – both fellow Hungarians – Bartók received a commission from Serge Koussevitzky, conductor of the Boston Symphony, for a large orchestral work in memory of his late wife, Natalie.

The commission so revived Bartók’s spirit that after spending the next few weeks at Saranac Lake, New York, he returned in October with the completed score of the

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Concerto for Orchestra. He finalized the orchestration during the winter in Asheville, NC, and Koussevitzky premiered it with the Boston Symphony in December 1944 to resounding acclaim.

In notes for the premiere, Bartók wrote: “The title of this symphony-like orchestral work is explained by its tendency to treat the single orchestral instruments in a concertant or soloistic manner.” The five-movement work is a showpiece for orchestra players, allowing each of the sections and section soloists a chance to demonstrate their virtuosity. The Concerto is structured like an arch, as are many of Bartók's works, with the central Elegy framed by two outer movements in sonata form and two inner intermezzo-like movements. Biographer Halsey Stevens provided an explanation for the huge appeal of this work, writing that it combines such diverse elements as Bach fugues and Schoenberg atonality, which had influenced Bartók throughout his creative years. All the melodies, harmonies and rhythms are colored by the peasant music that was Bartók’s great love.

Among its most striking features is the Concerto’s kaleidoscope of orchestral colors emanating from the generally thin texture that showcases only a few instruments at a time, often in stunning combinations.

The Introduzione opens with an eerie Andante for the double basses and cellos, accompanied by tremolos in muted upper strings. Gradually, other instrument groups enter, adding additional color. The violins introduce a vigorously rhythmic main theme for the Allegro. A second theme for solo trombone comes in soon after.

The second movement Giuoco delle coppie (Game of Pairs) opens with a rhythmic ostinato for side drum, which persists throughout the entire movement. Five unrelated (according to Bartók) dance themes are then strung jauntily together, featuring in turn pairs of bassoons, oboes, clarinets, flutes and muted trumpets. A short chorale-like melody follows on five brass instruments, after which the five pairs of wind instruments return in order with more elaborate accompaniment.

The Elegia is the work’s centerpiece, described by the composer as a “Lugubrious death song…of misty texture and rudimentary motifs.” After a mysterious opening, the whole orchestra suddenly enters fortissimo restating the themes, followed by a reprise of the beginning of the movement.

The Intermezzo interrotto (Interrupted Intermezzo) is just that. Bartók described its structure as “ABA –

PROGRAM NOTES

D V O Ř Á K & B A R T Ó K & B E E T H O V E N ' S 4 T H • J A N U A R Y 1 2 & 1 3 , 2 0 2 0

interruption – BA.” It opens with a lively theme, resembling one of the composer’s many rhythmically asymmetric peasant dances. There follows a cantilena said to be based on a popular Hungarian national melody. Suddenly the movement is interrupted by what, according to the composer’s son Peter, is a parody of the first movement of Shostakovich’s Seventh (“Leningrad”) Symphony, popular at the time because of the war and the devastating siege of the city. Both Shostakovich and, subsequently Bartók, satirize the Germans with a march partly based on the aria “Nun geh’ ich ins Maxim” from Franz Léhar’s The Merry Widow. Peter says that the banality of the march so irritated his father that he parodied Shostakovich’s parody by writing circus music. As the interruption fades away, the cantilena and then the peasant dance return, but in shortened form.

The finale, Pesante, opens with a riotous horn call, followed by a fiery Romanian dance, a perpetuum mobile figure, by the whole orchestra. A second dance is introduced by the high woodwinds, and a third on the horns. The themes are developed in a complicated fugue of brilliant orchestral colors.

Originally, the work ended 22 bars short of the version we hear today. In spite of his frailty and illness, Bartók traveled to Boston to hear the premiere, where he realized that his ending was unsatisfactory. He immediately sat down to write the brilliant 22-measure coda. There is a recording available of the premiere, with the original ending, which, indeed, does not match the quality of the rest of the Concerto.

Celestial Impact | George Watson

2019 – 2020

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Time Out | Pete Schramm

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The Prophet | Mary Sullivan

Strumming | Gayle Miller

Memories | Juliana Kim

2019 – 2020

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JANUARY 26 & 27, 2020 • MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST

MOZART & SAINT-SAËNS AND MONTGOMERY'S STARBURST SPONSORS Sunday, January 26, 2020

Monday, January 27, 2020

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MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST • JANUARY 26 & 27, 2020

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, January 26, 2020 | 5pm Monday, January 27, 2020 | 8pm

KELLEN GRAY, CONDUCTOR MIRIAM K. SMITH, CELLO

PROGRAM MOZART Symphony No. 39 in E-flat major, K. 543 Adagio-Allegro Andante con moto Menuetto:Allegretto Allegro

INTERMISSION MONTGOMERY

Starburst

SAINT-SAËNS Cello Concerto No. 1 in A minor, Op. 33 Allegro non troppo Allegro con moto Allegro non troppo Miriam K. Smith, Cello

P O S T- C O N C E R T R E C E P T I O N S The League of the Hilton Head Symphony Orchestra sponsor a post concert reception in the Gathering space after every Monday night performance.

2019 – 2020

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JANUARY 26 & 27, 2020 • MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST

MEET THE CONDUCTOR

KELLEN GRAY The 2018-19 season marks Kellen Gray’s first as Assistant Conductor at the Charleston Symphony Orchestra of South Carolina and Music Director of the Charleston Symphony Youth Orchestra. Kellen has earned a reputation as a versatile and imaginative conductor through his enthusiasm for traditional, experimental, and integrative multimedia art programs.

Previously, Kellen served as Project Inclusion Freeman Conducting Fellow, and later, Assistant Conductor at Chicago Sinfonietta, under Mei-Ann Chen, while fulfilling duties as Associate Conductor of the Columbus Ballet (GA) from 2016-18. Before leaving Chicago, Kellen made his Chicago Symphony Center debut, which Jacob Davis of Chicago’s Picture This Post, described as, “conducted with a laser-like focus that allowed the entire orchestra to seem to become one organism.”

KELLEN GRAY CONDUCTOR MOZART & SAINT- SAËNS AND MONTGOMERY'S STARBURST January 26 & 27, 2020 "Kellen has earned a reputation as a versatile and imaginative conductor through his enthusiasm for traditional, experimental, and integrative multimedia art programs."

From 2014-16, Kellen was Assistant Conductor at the Valdosta Symphony Orchestra, under Howard Hsu and Music Director of the Valdosta Symphony Youth Orchestra of Georgia. Also in 2016, he was one of eight Conducting Fellows at Eastern Music Festival where he studied with Gerard Schwarz, Grant Cooper, and Jose-Luis Novo. Of his North Carolina debut at Eastern Music Festival, Peter Perret of the Classical Voice of North Carolina referred to Kellen as an “...imposing young Georgian with gestures so smooth and polished they’re almost choreography in themselves.” At a 2017 festival celebrating the 100th birthday of Georgia-born author, Carson McCullers, Kellen was awarded the honor of guest-conducting a collaboration of the music of David Diamond and the premiere of Karen Allen’s debut film, “A Tree, A Rock, A Cloud.”

Kellen is a frequent cover conductor at the Charlotte Symphony Orchestra for both subscription series’ and Pops programs. As a part of his commitment to music education, since 2015 , Kellen has been a frequent Guest Conductor for the GISA (Georgia Independent Schools Association) All-Select Honors Orchestra, and often volunteered time to work with public school orchestras in Georgia. During the holidays of 2014 and 2015, he was cover conductor for the Hollywood Concert Orchestra during their tours of China.

Kellen received his earliest musical training from the public school system of South Carolina in his hometown of Rock Hill. He earned an undergraduate degree in Violin Performance and an Artist’s Diploma in Orchestral Conducting from the Schwob School of Music at Columbus State University (GA), and his Master’s degree in Orchestral Conducting from Valdosta State University.

Recently, Kellen spoke on a panel discussion at the 2018 League of American Orchestras conference on the value of leadership pipelines in classical music based on diversity, inclusion, and equity.

In addition to his duties in Charleston, SC, Kellen is looking forward to a busy year of guest-conducting, lecturing, recording projects, and becoming a greater presence in the Charleston-area community.

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MIRIAM K. SMITH Miriam K. Smith, a young American cellist, is rapidly gaining recognition as a concert soloist. She made her orchestral debut at age 8 playing the complete Haydn Cello Concerto No. 1 in C Major with the Seven Hills Sinfonietta. Recent engagements have included her debut with the Cincinnati Symphony Orchestra and Louisville Orchestra playing Tchaikovsky Rococo Variations for children’s concerts, and as a featured soloist with the Wright State Chamber Orchestra.

Ms. Smith opened the Wisconsin Chamber Orchestra’s 2019 Masterworks Series as the featured artist performing the Saint-Saëns Cello Concerto No. 1 in A Minor. While on tour she has done TV and radio interviews as well as private and public community outreach performances.

She has performed twice in recital at Carnegie Hall as 1st Prize Winner of the American Protégé International and American Fine Arts Festival competitions, as well as the Cleveland Orchestra’s Rainbow Concerts in Severance Hall, and the 2016 and 2017 Emerging Artists series of the Green Mountain Chamber Music Festival in Burlington, VT. Her 2018 season included solo recitals given in Cincinnati and Chicago, performing as concert soloist for an outdoor crowd of 40,000+ with the Wisconsin Chamber Orchestra’s televised Concerts on the Square, and recording her Global Music Awardwinning album Ignite!

Miriam has played in public master classes for cellists such as Alisa Weilerstein, Peter Wiley, Richard Aaron, and Alan Harris. Ms. Smith’s primary studies have been with Sarah Kim and Alan Rafferty since beginning cello at age 4.

MIRIAM K. SMITH CELLO MOZART & SAINT -SAËNS AND MONTGOMERY'S STARBURST January 26 & 27, 2020 "She made her orchestral debut at age 8 playing the complete Haydn Cello Concerto No. 1 in C Major with the Seven Hills Sinfonietta."

2019 – 2020

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MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST • JANUARY 26 & 27, 2020

MEET THE ARTIST

JANUARY 26 & 27, 2020 • MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST

PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

SYMPHONY NO. 39 IN E-FLAT MAJOR, K. 543 Wolfgang Amadeus Mozart 1756–1791 Mozart composed the three symphonies Nos. 39 through 41 in 1788 for a series of autumn concerts to be performed in Vienna. With the exception of the Clarinet Concerto and the Piano Concerto in B-flat, K 595, these symphonies represent the culmination of Mozart’s orchestral music.

Given their position in Mozart’s biography, a good deal of mythology has accrued concerning these symphonies among which are: Mozart never heard these works performed in concert; the G minor Symphony (No. 40) represents the outpouring of the composer’s tragic despair and even premonition of his early death. In fact, it is likely that the 1788 Vienna concerts actually did come off. The revisions of the G minor and “Jupiter“ symphonies suggest that Mozart carried all three in his portfolio for tours through Germany in 1789 and 1790.

At least one of them was also performed in 1791, the year of Mozart’s death; the conductor was Antonio Salieri (Mozart’s fictionalized mediocre nemesis in the play and film Amadeus).

What is true about the period of the composition of these symphonies is that Mozart was suffering from severe financial problems. Many of these difficulties were clearly of his own making – he borrowed from one creditor to pay off another while still trying desperately to live high off the hog. But circumstances beyond Mozart’s control were also affecting his finances; The Austrian Empire’s war with Turkey drained funds that might otherwise have been spent on the arts with the result that the frequency of concerts and opera dropped off sharply after 1788.

Symphony No. 39 is unusual in its scoring for winds.

Taking advantage of the middle European love affair with the recently developed clarinet, Mozart substitutes the newest member of the winds for the customary oboes.

Only with Beethoven and his contemporaries did the clarinet join the oboe as a staple of the woodwind section.

The work opens with a majestic slow introduction leading rather unexpectedly into a sprightly 6/8 allegro. Mozart connects the two sections through the transformation of a series of descending scales in the violins in both sections.

While the first movement calls Haydn’s “Drumroll” Symphony, No. 103, to mind, the second, Andante con moto, might possibly have influenced Schubert. In this

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movement and in the “Unfinished” Symphony, a lilting, optimistic theme is sharply contrasted with a dark minor middle section. The following Minuet and trio movement is more like a refined German Ländler than a true minuet.

The final Allegro con moto is made up of several short melodic motives but essentially only one true theme. While the movement follows the typical harmonic structure of sonata form, it repeats the opening theme in place of a true second theme and as part of the closing material of the exposition and the final cadence of the symphony itself.

STARBURST Jessie Montgomery b. 1981 Jessie Montgomery composed Starburst in 2012 for the Sphinx Virtuosi, a chamber orchestra of 18 of the nation’s top Black and Latina classical soloists, primarily alumni of the internationally renowned Sphinx Competition.

(Sphinx crisscrosses the country inspiring aspiring young musicians of color.)

Montgomery writes about Starburst: This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premieres the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.

Montgomery is a violinist, composer and educator with a graduate degree in Composition and Multimedia from New York University. She is a member of the Catalyst Quartet, and is a collaborator touring with cellist Yo-Yo Ma’s Silk Road Ensemble. Among her many contributions to musical organizations in the New York area, she performs and composes for the Sphinx Organization.

A review of her debut album, Strum, Music for Strings, sums up her eclectic musical style: “The album combines classical chamber music with elements of folk music, spirituals, improvisation, poetry and politics, crafting a unique and insightful new-music perspective on the cross-cultural intersections of American history.”

CONCERTO NO. 1 IN A MINOR FOR CELLO & ORCHESTRA, OP. 33 Camille Saint-Saëns 1835-1921 Camille Saint-Saëns was a child prodigy, who wrote his first piano compositions at age three. At ten he made his formal debut at the Salle Pleyel in Paris, playing Mozart and Beethoven piano concertos, and offered to play any one of Beethoven’s 32 piano sonatas from memory as an encore. 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. His visceral dislike of Debussy made frequent headlines in the tabloid press. As an

MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST • JANUARY 26 & 27, 2020

PROGRAM NOTES

accomplished organist and pianist, he premiered his five piano concertos himself with elegant, effortless grace.

But neither his compositions nor his pianism were ever pinnacles of passion or emotion. Berlioz noted that SaintSaëns “...knows everything but lacks inexperience.”

The defeat of France at the hands of Prussia in 1871 shocked the country’s pride and spurred a revival of French arts and letters. One of the results was the founding by Saint-Saëns and his colleagues of the Société Nationale de Musique, whose motto and purpose was “Ars Gallica.”

(French art). One of its offshoots was the establishment of three newly energized competing symphony orchestras in Paris by three great conductors – Édouard Colonne, Jules-Étienne Pasdeloup and Charles Lamoureux – who urgently looked for new works by French composers.

Mirror Canyon | Mary Sullivan

2019 – 2020

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PROGRAM NOTES

Saint-Saëns composed the Concerto in 1872 in response to this demand. It is in three continuous movements without pause, in the manner of the Cello Concerto by Robert Schumann. Unlike the standard classic concerto, Saint-Saëns’s Concerto opens with only a single orchestral chord, after which the soloist introduces the principal themes. The first one is an assertive and virtuosic melody that will be revisited throughout the Concerto as a unifying device. The cello also introduces the standard contrasting second theme. There is virtually no development section in this movement, merely a varied restatement of the themes in order. The second theme gradually softens the mood and the music glides into the second movement, an understated minuet in the orchestra. When the cello

Beach View | Norma Deal

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enters, it plays a counter-melody over the minuet and then a little waltz on its own. Once again, the end of the Minuet blends without pause into the Finale.

While many nineteenth century works bring back the opening theme at the end as a way of providing closure and an arch-like structure, Saint-Saëns expands greatly on this architectural concept. The Finale, the longest of the movements, continues the development of the opening theme of the Concerto but also includes a new more expansive second theme, as well as a burst of new thematic material, and, of course, rapid scales, arpeggios and high harmonics that permit the soloist to indulge in virtuosic brilliance. The Concerto concludes with a coda, accelerating the tempo for a dramatic finish.

MOZART & SAINT-SAËNS AND MONTGOMERY 'S STARBURST • JANUARY 26 & 27, 2020

Breakfast at Rita's | Donna Varner

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2019 – 2020

FEBRUARY 9 & 10, 2020 • SUPERHEROES – ACTION AND ADVENTURE

SUPERHEROES – ACTION AND ADVENTURE SPONSORS Sunday, February 9, 2020

Monday, February 10, 2020

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HILTON HEAD SYMPHONY ORCHESTRA

SUPERHEROES – ACTION AND ADVENTURE • FEBRUARY 9 & 10, 2020

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, February 9, 2020 | 5pm Monday, February 10, 2020 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR FRANCIS TSAI, VIOLIN 2019 HHSO YOUTH CONCERTO COMPETITION WINNER

PROGRAM WILLIAMS Raiders of the Lost Ark: Raiders March ELFMAN Batman: Main Theme SILVESTRI The Avengers: Main Theme WAGNER Ride of the Valkyries BRUCH Scottish Fantasy, Op. 46 Finale: Allegro guerriero Francis Tsai, Violin BADELT Pirates of the Caribbean OTTMAN Fantastic Four: Rise of the Silver Surfer POWELL X-Men: The Last Stand

INTERMISSION SILVESTRI Captain America - The First Avenger: Captain America March HOWARD The Dark Knight: Suite ANTHONY Conduktor’s Theme WILLIAMS Superman: Love Theme TCHAIKOVSKY 1812 Overture: Finale LOVELAND You Raise Me Up

P O S T- C O N C E R T R E C E P T I O N S The League of the Hilton Head Symphony Orchestra sponsor a post concert reception in the Gathering space after every Monday night performance.

2019 – 2020

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FEBRUARY 9 & 10, 2020 • SUPERHEROES – ACTION AND ADVENTURE

MEET THE ARTIST

FRANCIS TSAI Thirteen-year-old Francis Tsai began his violin studies at the age of five.

As the First Prize winner of the 2016 Samuel Fordis Young Artist Concerto Competition, he appeared as a soloist with the Georgia Philharmonic Orchestra. He was also the First Prize winner of the 2017 Lois Pickard Scholarship Competition, Fourth Prize winner of the 2019 Blount-Slawson Young Artist Concerto Competition, and First Prize winner of the 2019 Hilton Head Symphony Orchestra Youth Concerto Competition. In addition, he has participated in the Bowdoin International Music Festival in Brunswick, Maine.

Francis performs frequently in retirement homes with his siblings, playing the violin, and sometimes the viola. His primary teachers are Jeffrey Flaniken of Samford University in Birmingham, AL, and Sergiu Schwartz of Schwob School of Music at Columbus State University in Columbus, GA.

FRANCIS TSAI

When Francis is away from his classical instruments, he is passionate about playing the drums. His favorite school subjects are math and science. He also enjoys swimming, venturing into the woods, and listening to the rock band “Newsboys.”

VIOLIN SUPERHEROES – ACTION AND ADVENTURE February 9 & 10, 2020 "When Francis is away from his classical instruments, he is passionate about playing the drums."

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PROGRAM NOTES

SUPERHEROES – ACTION AND ADVENTURE • FEBRUARY 9 & 10, 2020

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

FROM DIE WALKÜRE WALKÜRENRITT (RIDE OF THE VALKYRIES) Richard Wagner 1813-1883 The over 15 hours of Richard Wagner’s four operas that together make up Der Ring des Nibelungen – Das Rheingold, Die Walküre, Siegfried and Götterdämmerung – comprise probably the most massive musical creation ever composed. It was also one of the most influential for musical development at the end of the nineteenth and early twentieth centuries, not least of all in the expansion of the orchestra and innovations in orchestration.

Wagner had numerous axes to grind with his massive tetralogy. He envisioned the mythological theme to represent the superiority of the German people – a theme that became the centerpiece of Hitler’s Third Reich. He conceived a

system of musical symbolism in which dozens of specific musical motives, or Leitmotiven, represented characters, objects and abstract concepts, which when combined provided simultaneous layers of meaning to the music and text. Wagner considered the complete integration of music, text and spectacle, or Gesamtkunstwerk (total art work), to be the pinnacle of his own genius, as well as the model for the perfection of artistic creativity of the future.

Perhaps the most famous of the orchestral pieces from The Ring is the Ride of the Valkyries from the second opera in the tetralogy, Die Walküre. Here, Wagner paints with music the rhythm of the galloping horses, the rush of the wind as they fly through the air and the calls of Wotan’s maiden daughters as they swoop down to the battlefields to take fallen heroes up to Valhalla.

Urban Cathedral | Donna Varner 2019 – 2020

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PROGRAM NOTES

SCOTTISH FANTASY, OP. 46 FINALE, ALLEGRO GUERRIERO (WAR-LIKE) Max Bruch 1838-1920 One of the hallmarks of nineteenth-century romanticism in music was the lionizing of the virtuoso violin and piano soloist, influenced by those two great showmen, Niccoló Paganini and Franz Liszt. The result was an insatiable demand for new virtuosic works, and nearly every composer of the period contributed at least one concerto to the repertory.

dances characteristic rhythms and melodic motives, molding and “civilizing” them for sophisticated concert audiences. There was a particularly widespread interest in Scotland, fueled in part by the novels of Sir Walter Scott with their description of wild landscapes and quasi savagery on the outskirts of civilized Europe. They also came under the influence of the poems of Ossian, believed at the time to have been an ancient Scottish bard who actually turned out to be a hoax perpetrated by Scottish writer James MacPherson (1736-1796).

At the same time, the Romantic composers were attracted to folk songs, as part of the budding nationalist movements and the idealization of the common people.

In general, composers’ approach to folk music was often casual, as they extracted from the original songs and

Bruch was a German composer, conductor and music teacher, one of the lesser figures of German late Romanticism, who spent most of his career moving within Germany from one minor post to another. Only in 1891 were his talents finally recognized when he became

Paris Bridge if Angels | Brenda Luczynski

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PROGRAM NOTES

SUPERHEROES – ACTION AND ADVENTURE • FEBRUARY 9 & 10, 2020

professor of composition at the prestigious Berlin Conservatory.

Bruch composed the Scottish Fantasy in 1879-80, crediting his inspiration to the novels of Scott. Although Bruch inserted the disclaimer “free use” into the actual title: Fantasia for the Violin, with Orchestra and Harp, with the Free Use of Scottish Folk-Melodies, Highlanders were still incensed at the “insensitive” way he treated their beloved songs, rendering them nearly unrecognizable. It had to be pointed out to them that he had merely used the melodies as a starting point to create a virtuoso showpiece. To make the work truly international, he dedicated it to the Spanish violinist Pablo Sarasate.

The spectacularly acrobatic Finale is based on the ballad “Scots Wha Hae wi’ Wallace Bled,” – the same melody Hector Berlioz had used in his Overture to Rob Roy – plus a couple of contrasting melodies, all subject to elaborate variations by the violin. According to legend, the text on which this song is based was proclaimed by Robert the Bruce at the Battle of Bannockburn in 1314 – as “modified” by the Scottish poet Robert Burns. No ersatz Scottish music would have been complete without capitalizing on the so-called “Scotch snap,” the rhythmic “short-long” figure in which the accent is placed on the short part of the metric foot.

Dynamic Drummer | Georgina Kimball

Colorful Melody | Gayle Miller

2019 – 2020

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FEBRUARY 23 & 24, 2020 • GRIEG & VAUGHAN WILLIAMS AND ELGAR'S ENIGMA VARIATIONS

GRIEG & VAUGHAN WILLIAMS AND ELGAR'S ENIGMA VARIATIONS SPONSOR Sunday, February 23, 2020 Monday, February 24, 2020

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Inspiring, enriching and uniting the Lowcountry

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HILTON HEAD SYMPHONY ORCHESTRA

GRIEG & VAUGHAN WILLIAMS AND ELGAR'S ENIGMA VARIATIONS • FEBRUARY 23 & 24, 2020

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, February 23, 2020 | 5pm Monday, February 24, 2020 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR REID MESSICH, OBOE

PROGRAM GRIEG Holberg Suite, Op. 40 Prelude Sarabonde Gavotte and Musette Air Rigaudon VAUGHAN WILLIAMS Oboe Concerto in A minor Rondo pastorale Minuet and Musette Finale- Scherzo Reid Messich, Oboe

INTERMISSION ELGAR Enigma Variations, Op. 36 “C.A.E.” L'istesso tempo “H.D.S-P.” Allegro “R.B.T.” Allegretto

“W.M.B.” Allegro di molto “R.P.A.” Moderato “Ysobel” Andantino “Troyte” Presto “W.N.” Allegretto “Nimrod” Moderato “Dorabella” Intermezzo-Allegretto

“G.R.S” Allegro di molto “B.G.N.” Andante “***” Romanza Moderato “E.D.U.” Finale

2019 – 2020

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MEET THE ARTIST

REID MESSICH Reid Messich serves as Associate Professor of Oboe at the University of Georgia where he is an active member of the Georgia Woodwind Quintet. Messich also serves as Co-Principal Oboist with Memphis’s IRIS Orchestra, under the direction of Maestro Michael Stern and as the Principal Oboist of the Hilton Head Symphony Orchestra, under the direction of Maestro John Morris Russell.

Each year during the summer months, Messich serves as instructor of oboe and woodwind literature at the MasterWorks Music Festival. In demand, Messich maintains an active international and national performance career as an orchestral musician, soloist, and clinician. He has presented recitals and been a guest artist at the International Double Reed Society on numerous occasions. Under the direction of Joseph Silverstein, he toured Japan and in 2017 Messich performed and taught at the Harbin Summer Music Festival in China.

REID MESSICH OBOE GRIEG & VAUGHAN WILLIAMS AND ELGAR'S ENIGMA VARIATIONS February 23 & 24, 2020 "In demand, Messich maintains an active international and national performance career as an orchestral musician, soloist, and clinician."

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Messich has performed with many of the world’s greatest musical artists and has played under the baton of prestigious conductors such as Christoph von Dohnanyi, Christoph Eschenbach, Otto-Werner Mueller, Sir Roger Norrington, Sir Simon Rattle, David Robertson, Mstislav Rostropovich, Wolfgang Sawallisch, Robert Spano, Yuri Temirkanov, and Hans Vonk.

Messich records on the Mark Masters label. The CD Chroma, featuring the Georgia Woodwind Quintet, can be found on iTunes as well as his recording of Bozza’s Suite breve en trio. In 2016 he was part of the world premiere as well as recording solo artist for Christopher Stark’s, Velocity Meadows, for solo oboe, wind ensemble, and electronics.

Messich received his Bachelor of Music degree at the prestigious Curtis Institute of Music where he studied under the direction of Richard Woodhams. He received his Master of Music degree and Doctor of Music degree from the Florida State University where he studied with Dr. Eric Ohlsson. His other primary teachers include, Elaine Douvas, John Mack, and Joseph Robinson. Messich performs on a Yamaha YOB 841 Duet Series. In his spare time Messich is an avid Pittsburgh Steeler fan and enjoys spending time with his wife, Kaitlin, and daughter, Lowry.

HILTON HEAD SYMPHONY ORCHESTRA

GRIEG & VAUGHAN WILLIAMS AND ELGAR'S ENIGMA VARIATIONS • FEBRUARY 23 & 24, 2020

PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

FROM HOLBERG’S TIME, OP. 40 (HOLBERG SUITE) Edvard Grieg 1843-1907 The most successful and best known of nineteenthcentury Scandinavian composers, the Norwegian Edvard Grieg was one of the great exponents of Romantic nationalism. As a composer, pianist and conductor he was popular in Europe’s music centers. His wife Nina was an accomplished singer, and the two traveled extensively together, popularizing his songs and piano works. In the process he also helped bring the writings of Scandinavian literati – the most famous being the playwright Henrik Ibsen – to the attention of the rest of Europe. Grieg excelled in the smaller musical forms, intimate songs, short piano pieces and Scandinavian dances.

As a student he had been a failure. He quit school at 15 never to return. Under the sponsorship of Norwegian violinist Ole Bull he was granted a scholarship to the

Conservatory in Leipzig but hated his teachers there and never forgave them their conservatism and pedantry. After his return to Norway, he developed the lasting interest in Norwegian folk music that would solidify his reputation.

Understandably, he was not satisfied with the constraints of the classical sonata structures and of all his surviving output only eight works fall into this category, including the famous piano concerto, a string quartet, a piano sonata, three violin sonatas and a cello sonata. In all his other compositions he insisted on the freedom of form so dear to the Romantic tradition.

Playwright Ludvig Holberg (1684-1754) was known as the Molière of the North and the first Scandinavian literary figure to garner a reputation outside his own region. Although Danish by birth, Holberg had spent time in Bergen, Norway – then a province of Denmark – and Grieg composed the suite From Holberg’s Time in 1884 to commemorate the bicentennial of Holberg’s birth.

Glory Glory | Mary Sullivan 2019 – 2020

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PROGRAM NOTES

Grieg originally composed the Holberg Suite for piano, orchestrating it a year later. He particularly sought to recreate the Baroque idiom, especially the suites of the French keyboard masters Jean-Philippe Rameau and François Couperin, who were Holberg’s contemporaries.

However, the style of Domenico Scarlatti and J. S. Bach, born a year after Holberg, can be heard respectively in the toccata-like figuration of the Prelude and the ornamental melody in the Air. CONCERTO FOR OBOE AND STRING ORCHESTRA Ralph Vaughan Williams 1872-1958 Ralph Vaughan Williams came from a distinguished family: his paternal grandfather was the first Judge of Common Pleas; his maternal grandparents were Josiah Wedgwood III and one of Charles Darwin sisters. Although the family encouraged his youthful musical talents, they later disapproved of his choice of music as a career; he prevailed, graduating with a Mus.B from Trinity College, Cambridge, in 1894.

Considered radical in his young days and a lifelong agnostic (despite his contributions to religious music), he believed that music was the birthright of every individual. In his long, productive life – his last symphony was premiered just four months before his death at age 85 – Vaughan Williams practiced what he preached.

He wrote music for numerous instrumental and vocal combinations, as well as for levels of sophistication and performing ability.

Inspired by the virtuosity of the famed English oboist, Léon Goossens, Vaughan Williams composed this Concerto in 1944. It is a deliberately small-scale work, more noted for its craftsmanship than for its meaning, message or inspiration. Vaughan Williams agreed with the conductor Sir Henry Wood that it would be unsuitable for the Promenade Concerts performed in cavernous Albert Hall but would need a more intimate setting to be effective. The lighthearted atmosphere of the concerto can be seen already in the titles for the three movements: Rondo Pastorale, Minuet & Musette, Scherzo Finale.

The solo oboe in the symphony orchestra is often the voice for lyrical or deeply emotive moments. In this concerto, it assumes one more role - acrobatic agility in the finale. It thus requires a master of the instrument to make the solo part sound effortless rather than awkward.

The Concerto opens with an introductory sinuous solo

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melisma that recalls the composer’s The Lark Ascending and, for those that are familiar with the earlier work, inevitably evokes a comparison between the emotive qualities of oboe and violin. Typically, Vaughan Williams indulges his penchant for weaving English folksong into his music. Aptly titled “Pastorale,” the first movement presents a stream of folk-like melodies. The Allegro takes up a more energetic tune with a staccato theme with a toggling motive. Metaphorically, the Pastorale progresses through a full day from dawn and sundown, birdcall serenades flanking a shepherd’s workday.

Since the soloist is seldom silent, Vaughan Williams tones down the virtuosic passagework in the short Minuet and Musette. Seldom repeating large sections of music, the Minuet does not conform to the standard repeat structure of the eighteenth-century model.

The Finale is a technical showpiece and extremely difficult to play. A series of rapid, wide leaps opens the movement, a motivic gesture rather than a true theme.

As in the first movement, Vaughan Williams periodically varies the tempo spinning out one melody after another, allowing the instrument to display its lyrical voice.

ENIGMA VARIATIONS, OP. 36 ‘VARIATIONS ON AN ORIGINAL THEME’ Edward Elgar 1857-1934 If you look at photographs of Edward Elgar, read about his tastes or listen to his music, he projects the stereotype of Imperial Britain’s aristocracy or, as composer Constant Lambert described Elgar, “[the image of]... an almost intolerable air of smugness, self-assurance and autocratic benevolence...” His military bearing, walrus moustache, country gentleman’s dress – all very proper and Edwardian – matched his conservative, violently anti-Liberal ideas. His style appeared to have been fostered and fully sanctioned by the equally conservative Royal College of Music.

The reality was very different: Elgar was born to a lower middle class family and never served in the army. Worst of all, his father was a music store owner, or as the British used to say, “in trade.” And he was a Catholic. He was nervous, insecure, and prone to depression and hypochondria; he always carried a chip on his shoulder for not being “fully accepted.” Musically, he was completely self-taught. But to the chagrin of Britain’s music establishment, Elgar – an “outsider” – was the first English composer since Henry Purcell (1659-1695) to achieve world fame. It was the

Enigma Variations, composed in 1899 when he was 42 that propelled him out of his parochial obscurity to worldwide recognition.

Elgar had begun the Variations as a private amusement for his wife, Alice, whom he adored. He created musical portraits of their friends, later turning them into a proper orchestral composition at her suggestion. The expressive and stately theme was his own, but Elgar claimed that he had employed a second, hidden theme along with the main obvious one. This second theme has remained a mystery to this day, although in later years Elgar said that it was derived from a melody “...so well-known that it is strange no one has discovered it.”

The Elgar friends and their peculiarities are portrayed in the 14 variations, each of which is headed by a nickname or initials, making some of the identities a puzzle as well – although by now scholars have figured out the lot: 1. CAE: Elgar’s wife Caroline Alice, whose inspiration contributed to a romantic and delicate touch to the theme.

2. HDSP: H.D. Steuart-Powell, amateur pianist and chamber music partner of Elgar. The detached, rapid staccato note replicates the sound of the piano.

GRIEG & VAUGHAN WILLIAMS AND ELGAR'S ENIGMA VARIATIONS • FEBRUARY 23 & 24, 2020

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3. RBT: R.B. Townshend, author, eccentric and actor with a “funny voice.”

4. WMB: William M. Baker, a country squire and neighbor. The variation suggests that the man fancied the hunt.

5. RPA: Richard Arnold, son of poet Matthew Arnold, music lover, conversationalist and party wit. The contrast in the two parts of the variation suggests Arnold was eloquent on both serious and frivolous topics.

6. Ysobel: Isabel Fitton, an amateur violist with hopeless fingering difficulties.

7. Troyte: Arthur Troyte Griffin, well-known architect and terrible amateur pianist. The pounding of the timpani says it all.

8. WN: Miss Winifred Norbury, owner of an eighteenthcentury house with a nervous laugh, both of which Elgar loved. It leads without pause to: 9. Nimrod (the Bible’s great hunter): A.J. Jaeger (“hunter” in German), an editor at Novello, Elgar’s publisher. Jaeger’s encouragement and support were crucial for Elgar in his major debut. His love for Beethoven is hinted at in a quote from the Pathétique sonata. This, the second longest of the variations, is traditionally performed as a separate piece to memorialize the death of an orchestra musician.

10. Dorabella: Dora Penny, a frequent visitor with hesitant speech, whose nickname derived from Mozart’s Cosi fan tutte.

11. GRS: George R. Sinclair, organist; actually the variation is a musical description of Dan, Sinclair’s bulldog, falling into the river, paddling out and barking.

12. BGN: Basil G. Nevinson, amateur cellist and close friend.

13. ***: Lady Mary Lygon and a second, earlier, younger flame who had left Elgar heartbroken; one went to Australia, the other to New Zealand, hence the steamer engine thump and the quote from Mendelssohn’s Calm Sea and Prosperous Voyage. The second part of the variation, a clarinet solo, suggests a wrenching farewell.

14. EDU: Edoo, the nickname for Elgar himself, known only to his closest friends; his self-portrait sounds quite heroic.

Lost At Sea | Norma Deal

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WAGNER & RIMSKY-KORSAKOV AND BRAHMS' DOUBLE CONCERTO SPONSOR Sunday, March 22, 2020 Monday, March 23, 2020

SEASON SPONSOR

Inspiring, enriching and uniting the Lowcountry

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WAGNER & RIMSKY-KORSAKOV AND BRAHMS' DOUBLE CONCERTO • MARCH 22 & 23, 2020

JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

2019-2020 | 38TH SEASON Sunday, March 22, 2020 | 5pm Monday, March 23, 2020 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR RANDALL GOOSBY, VIOLIN STERLING ELLIOTT, CELLO

PROGRAM BRAHMS Concerto for Violin and Cello in A minor, Op. 102 Allegro Andante Vivace non troppo Randall Goosby, Violin Sterling Elliott, Cello

INTERMISSION WAGNER The Flying Dutchman Overture, WWV 63 RIMSKY-KORSAKOV Russian Easter Festival Overture, Op. 36

P O S T- C O N C E R T R E C E P T I O N S The League of the Hilton Head Symphony Orchestra sponsor a post concert reception in the Gathering space after every Monday night performance.

2019 – 2020

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STERLING ELLIOTT Sterling Elliott began his studies at age three, made his solo debut at seven winning the Junior Division of the PYO Concerto Competition, and at fourteen won First Place in the 2014 National Sphinx Competition. He also won the 2014 Richmond Symphony Concerto Competition and Bay Youth Orchestra Concerto Competition, took Second Place in the 2015 Richmond Symphony Concerto Competition, and was runner-up in the Hampton Roads Philharmonic Concerto Competition.

Mr. Elliott performed for Yo-Yo Ma and has played alongside recording artist Jennifer Hudson. He was awarded the 2016 Isaac Stern Award by the Sphinx Organization, and was featured in a three-page interview in the October 2015 edition of “Strings” Magazine.

STERLING ELLIOTT CELLO WAGNER & RIMSKYKORSAKOV AND BRAHMS' DOUBLE CONCERTO MARCH 22 & 23, 2020 "Recent honors include First Place in 2019 National Sphinx Competition Senior Division, 2019 Camerata Artists International Competition, and Grand Prize in the First Presbyterian Young Artist Competition."

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In addition, he has attended the Eastern Music Festival and Aspen Music Festival, and was selected to study alongside Itzhak Perlman and Ronald Leonard at the Summer Perlman Music Program. In April 2016 he attended a three-week residency in Tel Aviv, Israel, where he studied with Paul Katz and performed with fellow Perlman Music Program students.

Recent honors include First Place in 2019 National Sphinx Competition Senior Division, 2019 Camerata Artists International Competition, and Grand Prize in the First Presbyterian Young Artist Competition.

Mr. Elliott has soloed with the New York Philharmonic, The Cleveland Orchestra, Virginia Symphony Orchestra, the Hilton Head Symphony Orchestra, the South Bend Symphony Orchestra, the New World Symphony, the Buffalo Philharmonic Orchestra, the San Francisco Chamber Orchestra, and many more as well as a performance at the 2019 World Economic Forum in Davos, Switzerland. In 2015 & 2016 Sterling performed a 7-week national tour with the Sphinx Virtuosi, and in 2018 was a featured soloist on tour including a performance at Carnegie Hall.

Sterling Elliott is currently pursuing a bachelor’s degree in cello performance at The Juilliard School, where he studies with Joel Krosnick and is the proud recipient of a Kovner Fellowship.

HILTON HEAD SYMPHONY ORCHESTRA

RANDALL GOOSBY American violinist Randall Goosby first performed as soloist with orchestra at the age of nine, with the Jacksonville Symphony. When he performed with the New York Philharmonic on a Young People’s Concert at Avery Fisher Hall at the age of thirteen, The New York Times raved that he “exerted a masterly level of control and lavished an exquisite tone…his performance won him a deserved standing ovation for its sheer virtuosity.”

Upcoming appearances include the Bach Double Concerto with Itzhak Perlman and the Grand Rapids Symphony Orchestra, and he has previously performed as soloist with The Cleveland Orchestra, the Buffalo, Rochester and Orlando Philharmonics, and the symphonies of Nashville, Memphis, Grand Rapids, Albany (GA), Adelphi (NY), Arkansas, Modesto, South Bend and New World.

In addition to formal concerts, Mr. Goosby shares his love of music in outreach programs for public schools, children’s hospitals and music programs across the country. He is currently on faculty at Opportunity Music Project, a nonprofit organization which provides free lessons, instruments and mentoring for children from low-income families in New York City, and gives performances through Concerts in Motion, another NYC-based nonprofit which provides private house concerts for elderly and otherwise homebound patrons.

Mr. Goosby won First Prize in the 2018 Young Concert Artists International Auditions as well as the Buffalo Chamber Music Society Prize, Harriman-Jewell Series Prize, Vancouver Society Prize, The LP Classics, Inc. Debut Recording Prize and the Sander Buchman Prize, which provides major support for his New York debut.

At thirteen, Mr. Goosby was the youngest recipient ever to win the Sphinx Concerto Competition, which led to an invitation by Tony-nominated actor Delroy Lindo to perform at the 18th MOVIEGUIDE® Faith & Values Awards Gala in Beverly Hills. He also received Sphinx’s Isaac Stern Award, and made two appearances at Carnegie Hall as part of the organization’s Young Artist Development Program. He has participated in The Perlman Music Program’s Chamber Music Workshop, been featured on National Public Radio’s “From the Top,” and been honored as Rising Star of the Stradivari Society.

Randall Goosby began violin studies at the age of seven. He received a full scholarship to The Juilliard School’s Pre-College program, continued at Juilliard as an undergraduate student of Itzhak Perlman and Catherine Cho, and is currently pursuing a Master’s Degree there on a Kovner Fellowship under the tutelage of two YCA alumni, Donald Weilerstein and Laurie Smukler.

Mr. Goosby plays a Guadagnini violin on loan from The Juilliard School.

RANDALL GOOSBY VIOLIN WAGNER & RIMSKYKORSAKOV AND BRAHMS' DOUBLE CONCERTO MARCH 22 & 23, 2020 "At thirteen, Mr. Goosby was the youngest recipient ever to win the Sphinx Concerto Competition, which led to an invitation

by Tony-nominated actor Delroy Lindo to perform at the 18th MOVIEGUIDE® Faith & Values Awards Gala in Beverly Hills."

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MARCH 22 & 23, 2020 • WAGNER & RIMSKY-KORSAKOV AND BRAHMS' DOUBLE CONCERTO

PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

CONCERTO FOR VIOLIN, CELLO AND ORCHESTRA IN A MINOR, OP. 102 Johannes Brahms 1833-1897

symphony that never materialized. But Brahms continued to revise it even after the premiere, which took place in October 1887 with Joachim and Hausmann as soloists.

It does not pay to get involved in other people’s marital squabbles. When Brahms's friends of 30 years, the violinist Joseph Joachim and his wife entered into a messy divorce battle, Joachim accused Brahms of taking his wife's side and broke off all contact with his friend. The concerto was Brahms's peace offering; and while it brought the two friends back together, they never resumed the warmth of their original friendship. By adding the cello, Brahms also partially fulfilled a promise to Robert Hausmann, cellist of the Joachim quartet, to write a cello concerto.

By the date of the Double Concerto, Brahms considered himself an “elder statesman” of music, looking to the past rather than to the future. The Concerto has little of the virtuosic glitter of most Romantic concertos, composed by and for musicians with competitive technical showmanship. Rather, it is introspective and subdued. There are no technical acrobatics for either of the two soloists, only the intensity of the themes and their development drive the work.

The material for the concerto, composed during the summer of 1887, originated as sketches for a fifth

Out of the Mist | Donna Varner

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Most double concertos feature identical instruments or at least instruments of similar range in order to insure equality when both soloists are in "opposition," or perfect

WAGNER & RIMSKY-KORSAKOV AND BRAHMS' DOUBLE CONCERTO • MARCH 22 & 23, 2020

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blending when they are in "accord." The combination of extremes in this concerto had only a few distant precedents in double concertos and symphonies concertantes for violin and cello, including concertos by Vivaldi, Telemann, J. C. Bach, Carl Stamitz and Louis Spohr. Listeners used to pyrotechnic fiddling will find none of that in this Concerto.

Surprisingly, the cello is the dominant instrument of the two soloists, creating a somber, autumnal cast to the entire work.

The presentation of the themes throughout the Double Concerto comes in stages, often interrupted by solo passages, so that a complete melody emerges only after a considerable length of time; the entire first theme occurs only several minutes into the movement. Much of the movement becomes a rhapsodic interplay between the soloists and the orchestra, in which three themes are dissected and reconstituted in a myriad of ways, straying into distant keys and exploring the limits of the possible sonorities of the instruments.

The Andante is a simple ABA form. The two soloists have long singing lines that twine sinuously around each other – in a similar manner to another double concerto, the second movement of Bach's Concerto in D minor for two violins and Mozart’s Sinfonia Concertante for violin and viola. It opens with a four-note motive in the winds, the beginning of the main theme, which is introduced by the violin and cello playing an octave apart.

In the Finale, Brahms rolls out an astonishing number of themes, only some of them separated by the rondo refrain. The clue to rationale for the melodic proliferation in this movement rests with its relationship to the dances of the time. Waltzes and polkas introduce one melody after another, only periodically punctuated by a refrain.

Popular – and inauthentic – Gypsy music followed the same pattern, and the rondo theme recalls Brahms Gypsy and Hungarian Dances.

Ralph Vaughan Williams once recalled hearing the Concerto played as a piano trio in Berlin in 1897 with Joachim and Hausmann as soloists and Karl Barth as the pianist taking the place of the orchestra. We tend to forget how difficult it was to disseminate orchestral music before the days of sound recording. In those days piano and chamber transcriptions were the most popular way to familiarize the public at large with new orchestral compositions and were a thriving industry. Brahms himself may have transcribed the Concerto.

Chellist | Gayle Miller

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OVERTURE TO THE FLYING DUTCHMAN Richard Wagner 1813-1883

complications end in the death and apotheosis of the lovers.

In 1840 Richard Wagner left his post at the Opera of Riga and headed to Paris to seek his fortune. Crossing the North Sea his ship was caught in a violent storm that reminded him of a picturesque Nordic legend in poet Heinrich Heine’s Memorien. It is the tale of a Dutch sailor who tried to round the Cape of Good Hope in a gale, swearing in his rage that he would fight against Hell itself to reach his destination. For this blasphemy he is condemned to fight continual storms, making landfall only once every seven years until the end of time unless released from the curse by the love of a faithful woman.

He is finally rescued from this ordeal by Senta, who is unfortunately already betrothed to someone else. The

One of Wagner’s early music dramas – he refused to call them operas – The Flying Dutchman inaugurated the string of nine music dramas based on medieval legends or themes. It also introduces the motif of redemption through love that pervades the composer’s entire oeuvre.

Two Chairs | Juliana Kim

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The overture comprises all the important themes from the opera: the harmonically hollow horn and bassoon theme of the tortured Dutchman accompanied by the howling winds and undulating waves; a rousing village sailors’ chorus; and the refrain from the ballad of the Dutchman that has captured Senta’s imagination and becomes identified with her love for him.

In his early music dramas, The Flying Dutchman, Lohengrin and Tannhäuser, Wagner began to develop a system of melodic motives, or Leitmotiven, to musically represent people, events and even abstract ideas. The culmination of his work occurs in the tetraolgy, The Ring of the Nibelungen, which contains nearly 100 such themes.

RUSSIAN EASTER FESTIVAL OVERTURE, OP. 36 Nikolay Rimsky-Korsakov 1844-1908 In the development of the tradition of Russian national music, Nikolay Rimsky-Korsakov fills a place of honor.

Musically self-taught, he trained originally as a naval officer and served in that capacity from 1862 to 1873.

Throughout his naval career he studied music on the side until 1871 when he won a faculty position at the St. Petersburg Conservatory in spite of the fact that he had little formal training. Henceforth, he taught and encouraged nearly every young Russian composer from Alexander Glazunov and Anton Arensky to Igor Stravinsky and Sergey Prokofiev. After the deaths of Alexander Borodin and Modest Mussorgsky, Rimsky-Korsakov edited and completed their manuscripts – especially their operas – and had them published. The fact that his “corrected” versions of Mussorgsky’s works used to dominate the original versions on stage and in recordings attests to the sheer force of his influence. He also helped publish the works of many other Russian composers.

WAGNER & RIMSKY-KORSAKOV AND BRAHMS' DOUBLE CONCERTO • MARCH 22 & 23, 2020

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A lengthy slow introduction is based on the chant melody “Let God arise,” alternating with another chant.

“An angel cried out,” for solo cello. The beginning of the Allegro is based on the chant “Let them also that hate Him flee before Him,” which introduces the holiday mood of the Russian Orthodox service with a reproduction of the joyous, almost dance-like tolling of bells. The Obikhod theme, “Christ is arisen,” forms a subsidiary part of the Overture, appearing amid the trumpet blasts and the tolling of the bells, constituting a triumphant coda.

Rimsky-Korsakov composed the Russian Easter Festival Overture in 1888 and conducted the premiere the same year. He took his themes from the Obikhod, a famous collection of canticles of the Russian Orthodox Church.

The work reflects his fascination with the legends and rituals of pagan and early Christian Russia. He prefaced the score with quotes from the 68th Psalm and the 16th chapter of Mark, adding some words of his own that allude to a more primitive vernal symbolism in keeping with his own pantheistic outlook.

In order to perfectly appreciate the Overture, RimskyKorsakov believed that one should have attended at least one Easter morning service in a Russian Orthodox Church.

In his autobiography, he wrote some comprehensive program notes for the work: “This legendary and heathen side of the holiday, this transition from the gloomy and mysterious evening of Passion Saturday to the unbridled pagan-religious merry-making of Easter Sunday, is what I was eager to reproduce in my overture…”

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GRAND FINALE: ELIJAH SPONSOR Sunday, April 26, 2020 Monday, April 27, 2020

SEASON SPONSOR

Inspiring, enriching and uniting the Lowcountry

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JOHN MORRIS RUSSELL, MUSIC DIRECTOR AND CONDUCTOR Robert and Margaret Gallagher Memorial Chair

G R A N D F I N A L E : E L I JA H • A P RIL 26 & 2 7, 20 20

2019-2020 | 38TH SEASON Sunday, April 26, 2020 | 5pm Monday, April 27, 2020 | 8pm

JOHN MORRIS RUSSELL, CONDUCTOR HILTON HEAD SYMPHONY ORCHESTRA CHORUS MICHAEL SCHWARTZKOPF, DIRECTOR GEORGIA SOUTHERN UNIVERSITY SOUTHERN CHORALE SHANNON JEFFREYS, DIRECTOR GEORGIA SOUTHERN UNIVERSITY ARMSTRONG CHORALE ROBERT HARRIS, DIRECTOR

PROGRAM

INTERMISSION

MENDELSSOHN Elijah

Hear ye, Israel!

Be not afraid, said God the Lord

Introduction (Elijah): As God the Lord of Israel liveth

Overture

The Lord hath exalted thee

1. Quartet, Chorus: Help, Lord!

2. D uet (Soprano, Mezzo), Chorus: Lord, bow thine ear to our pray'r

3. Recitative (Obadiah): Ye people, rend your hearts

It is enough, O Lord

4. Aria (Obadiah): If with all your hearts ye truly seek me

See, now he sleepeth

5. Chorus: Yet doth the Lord see it not

Lift thine eyes to the mountains

6. Recitative (Angel): Elijah, get thee hence

7. Double Quartet: For He shall give his angels charge

10. Recitative (Elijah, Ahab, Chorus): As God the Lord of Sabboth liveth

11. Chorus: Baal, we cry to thee

Above Him stood the Seraphim

12. Recitative (Elijah), Chorus: Call him louder! For he is a God

Then did Elijah the prophet break forth

13. Recitative (Elijah), Chorus: Call him louder! He heareth not

Then shall the righteous shine forth

14. Recitative (Elijah): Draw near, all ye people; Lord God of Abraham

Oh come, everyone that thirsteth

15. Quartet: Cast thy burden upon the Lord

And then, then shall your light break forth

16. Recitative (Elijah), Chorus: O Thou, who makest Thine Angels/The fire descends

17. Aria (Elijah): Is not His word like a fire!

18. Aria (Mezzo): Woe unto them who forsake Him!

19. Recitative (Obadiah, Elijah, Child), Chorus: O man of God, help thy people

20. Chorus: Thanks be to God!

Woe to him! He shall perish Man of God, now let my words

He, watching over Israel Night falleth round me, O Lord Behold! God the Lord passed by

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MEET THE ARTISTS

HILTON HEAD SYMPHONY ORCHESTRA CHORUS GRAND FINALE: ELIJAH April 26 & 27, 2020 "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."

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 ARTISTS

Southern Chorale is the premiere choral ensemble of Georgia Southern University and is directed by Dr. Shannon Jeffreys, Associate Professor of Music and Director of Choral Activities. Southern Chorale’s membership draws from the most talented vocal students to provide a professional foundation for performance and choral music education majors and a meaningful musical experience for those University students who wish to continue to sing in an elite ensemble. This primarily undergraduate ensemble performs literature from all styles and periods with an emphasis on a cappella repertoire and masterworks with orchestra.

In addition to numerous campus and community performances, Southern Chorale has appeared at conferences of the American Choral Directors Association, National Collegiate Choral Organization, and National Association for Music Education. The choir won significant prizes in the Anton Bruckner International Choral Competition in Linz, Austria in 2013 and months later earned the highest score given in Sing ‘N’ Joy International Competition and Festival, winning the Spiritual Category. During the summer of 2016, they won the Grand Prize in the mixed category and the spirituals category at the Laurea Mundi Budapest. This summer, they received Gold in the Ave Verum ICC in Baden, Austria and Level I Certificate in the International Chamber Choir Competition in Marktoberdorf, Germany. Southern Chorale looks forward to this collaboration with the Hilton Head Symphony Orchestra and Chorus after recently performing Brahms' Ein deutches Requiem.

GRAND FINALE: ELIJAH April 26 & 27, 2020 "This primarily undergraduate ensemble performs literature from all styles and periods with an emphasis on a cappella repertoire and masterworks with orchestra."

DR. SHANNON JEFFREYS Dr. Shannon Jeffreys is Associate Professor and Director of Choral Activities at Georgia Southern University in Statesboro, Georgia. Her focus is the Southern Chorale, teaching in the undergraduate and graduate conducting and music education curriculums, along with directing Southern Gentlemen and mentoring Southern Sirens. In 2015, she received the College of Liberal Arts and Social Science’s Award of Distinction in Teaching. She has led these choirs in five international choral competitions and two national competitions where the choirs won significant awards.

In 2019, she received the conductor’s award from the Ave Verum International Choral Competition in Baden, Austria. Choirs under her direction have also been featured at multiple state and national conferences, most recently performing at the National Collegiate Choral Organization’s National Conference.

Dr. Jeffreys maintains an active schedule as a presenter, adjudicator, lecturer and guest conductor from secondary to collegiate institutions throughout the United States and serves as an international choral adjudicator with Meeting Music. She serves on the Artistic Committee for Music for All National Choral Festival and recently published in ACDA’s ChorTeach. In 2015, she launched the first Southern Invitational High School Choral Competition that is now the first regional choral festival affiliate for Music for All National Choir Festival presented by Yamaha.

Before coming to Georgia Southern, Dr. Jeffreys served as Director of Vocal Studies at Erskine College and Theological Seminary. She holds degrees in music performance and conducting from Birmingham Southern College, the University of Mississippi, and the University of South Carolina.

SHANNON JEFFREYS DIRECTOR GRAND FINALE: ELIJAH April 26 & 27, 2020

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SOUTHERN CHORALE

MEET THE ARTISTS

A P RIL 26 & 2 7, 20 20 • G R A N D F I N A L E : E L I JA H

SOUTHERN CHORALE

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PROGRAM NOTES

G R A N D F I N A L E : E L I JA H • A P RIL 26 & 2 7, 20 20

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

ELIJAH, OP. 70 Felix Mendelssohn 1809-1847 Felix Mendelssohn was the scion of a famous German Jewish family deeply involved in the Enlightenment movement of the eighteenth century – his grandfather was the philosopher Moses Mendelssohn. His father, a banker, used to joke “I used to be known as the son of my father; now I am known as the father of my son!”

Like many members of his family, Felix, together with his siblings, converted to Christianity in 1816, not so much out of religious conviction as from a desire to allow him to partake more fully of German culture and to gain greater social acceptance. Yet, throughout his short life he expressed a deep belief in his new faith in numerous hymns, settings of Psalms and other religious compositions; at the same time he never completely abandoned his Jewish roots. He demonstrated this dual allegiance in his two oratorios, Paulus, (1836) based on the Christian Scriptures, and Elijah (1846) based on the Hebrew Scriptures.

popular in England. His prodigious abilities captured the notice of Queen Victoria and Prince Albert, who granted him a private audience during which both the composer and the Queen performed. He conducted Paulus in 1837 and his Symphony No. 2 – Lobgesang (Hymn of Praise) in 1840 at the Birmingham Festival. In 1845 the Festival Committee wrote him to solicit a new oratorio for the following season’s festival, just the spur the composer needed to take up the abandoned Elijah project. But this time he wrote the libretto himself – in German – albeit with Schubring’s assistance in choosing suitable biblical texts.

He drove himself furiously to finish the work, including an English version, in time for the festival in August 1846, and conducted the premiere before a packed hall. It was

Not long after the premiere of Paulus, Mendelssohn was seeking an Old Testament subject for a new oratorio. In 1838 he even asked a friend, the theologian Julius Schubring, to prepare a libretto on the subject of the prophet Elijah.

Mendelssohn had definite ideas about the nature of the text, as he wrote to Schubring, “…the dramatic element should predominate. The personages should act and speak as if they were living beings.” But Schubring felt that the oratorio should be a musical sermon, stressing the moral and uplifting aspects of the Biblical texts; he considered any degree of dramatic realism inappropriate in a sacred work. The team fell apart and the project dropped.

As a youth, Mendelssohn had traveled extensively in the British Isles, ultimately becoming extremely Sima's Secret Garden | Donna Varner

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A P RIL 26 & 2 7, 20 20 • G R A N D F I N A L E : E L I JA H

PROGRAM NOTES

a tremendous and unprecedented success, probably the highlight of Mendelssohn’s career. Sadly, he died 14 months later.

In England, Elijah quickly attained a status second only to Handel’s Messiah. It received countless performances, including at the Three Choirs Festival (rotating among the cathedrals of Hereford, Gloucester and Worcester) where it was scheduled every year from 1847 to 1930. Its popularity did not wane until the middle of the last century when tastes ran more to Baroque oratorios.

Mendelssohn was well schooled in these Baroque predecessors. In 1829 he had personally mounted a J.S. Bach revival with an historic performance of the St. Matthew Passion in Berlin that virtually rescued the great composer’s music from the counterpoint classroom. His sojourns in Britain allowed him to explore Handel’s choral music extensively and to conduct a number of the oratorios.

Portuguese Sunset | Brenda Luczynski

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More than in Messiah, Elijah’s roots lie in Handel’s dramatic oratorios, Saul, Judas Maccabaeus, Jephtha, etc.

These “operas without staging” brought to life the drama and personalities of biblical characters, interspersing the narratives with musical commentary on the moral issues raised by their behavior. In both his own oratorios, Mendelssohn used larger than life personalities whose greatness did not preclude human suffering. In Elijah, however, he learned from the mistakes in Paulus, which was too preachy. Not content with a single incident, Mendelssohn set the prophet’s entire biography as a series of gripping dramatic crises. Often cited as a pre-figuring of Christ, Elijah begins his career in popular triumph in Part 1; in Part 2, he faces persecution, despair and finally apotheosis. The chorus plays the dual role of commentator and community, as it had in ancient Greek drama.

In Part 1 God has stricken Israel with a drought, presumably as punishment for its apostasy in accepting

PROGRAM NOTES

G R A N D F I N A L E : E L I JA H • A P RIL 26 & 2 7, 20 20

its neighbors’ false god, Baal. Despite Elijah’s clear-cut statement that opens the Oratorio, explaining the reasons behind the disaster, no one appears to be listening. To turn the Israelites around, the prophet must undergo three trials that test both him and his God. The first comes immediately as a widow begs him to revive her dead child. Despite Elijah’s success through his prayer to God, the Israelites still don’t get it, begging Baal to alleviate their suffering from the drought. For his second trial, Elijah pits the One God against Baal to test which one will bring the desperately needed rain. For many people the contest with Baal is the heart of the oratorio: the glib chorus (“Baal, we cry to thee”); Elijah’s mocking challenge (“Call him louder”); the chorus’s increasingly frantic pleas; Elijah’s prayer (“Lord, God of Abraham”); the agonizing wait until a child’s reports of the slowly gathering storm; and Elijah’s song of triumph (“Is not His word like a fire!”).

If there is any weakness in Mendelssohn’s oratorio, it results from his having to outdo himself, topping one of the greatest scenes in the history of the oratorio. Part 2, which centers on the prophet’s inner struggle as he is persecuted

by King Ahab and particularly Queen Jezebel, lacks the dramatic excitement of Part 1. Handel might have given Jezebel an aria di bravura (as he does to most of his female villains), but Mendelssohn allows her only a recitative to whip the Israelites into a murderous mob. Here, he borrows his musical and dramatic approach from Bach’s two Passions.

Warned and comforted by his friend Obadiah, Elijah faces his final challenge, despair – not in God but in himself and the failings of the community. Mendelssohn strives to make this internal struggle the most critical event in the prophet’s life, especially in Elijah’s suicidal aria “It is enough” and the arioso, “Oh, Lord, I have labored in vain.”

Mendelssohn returns to the Handelian model, giving his protagonist two emotional arias instead of the somber, but stark, accompanied recitatives of Bach’s Jesus.

However compelling Mendelssohn’s portrayal of his hero/prophet, the co-star of Elijah is the chorus. Alongside Elijah’s personal drama is the collective drama of the Israelite community. From the strident final invocation to Baal (“Baal, give an answer!” to the lilting “He, watching over Israel, slumbers not nor sleeps,” Mendelssohn, with unprecedented skill and originality, captures in music the essence of each change in the quixotic psychology of the Israelites. For a chorister, it doesn’t get any better than this.

Those uncounted British performances were as much for the singers as the audience.

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HHIPC

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HHSO'S 38TH SEASON

THE INCREDIBLE 25-YEAR JOURNEY OF THE HILTON HEAD INTERNATIONAL PIANO COMPETITION

HILTON HEAD INTERNATIONAL PIANO COMPETITION

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In today’s fast-moving, hyper-competitive world, there is no guarantee that things will last. Not even the good things.

So why is the Hilton Head International Piano Competition still here 25 years after its 1996 debut? And not just here but thriving! The story begins like this….

THE EARLY YEARS The Hilton Head Orchestra was barely 12 years old when the Board embarked on an ambitious venture—the formation of an international piano competition. It was a bold step for a young organization aspiring to grow beyond its community orchestra roots.

In 1995, Sterling Adams, Professor of Piano at Georgia Southern University, and John Gosling, Music Director and Conductor of the Orchestra, brought the idea to Chairman of the Board, Charles Taylor. It was approved and the real work began—figuring out how to structure, operate and market an international classical music event taking place on an island of barely 30,000 people known for its golf courses and beaches. A dozen or so individuals got the competition off the ground. They brought a range of skills and valuable experience to the task, not to mention countless hours of unpaid work. Several of these wonderful people are no longer with us.*

Barbara Cain

Nancy Hansman

Dr. John & Geneva Griz

Willis Shay

Kathleen* & Brock Rowley Valerie Curry*

Walter Graver* Nina Rodman Charles Taylor*

LOOKING FORWARD  The progress continues. Today the HHIPC operates on a 3-year cycle: pianists 18 – 30, pianists 13 – 17, and BravoPiano!—a Festival from Bach to Brubeck. We have moved beyond competition week and do special events during the year at which fans of classical and jazz piano can enjoy top artists in relaxed, intimate settings. With a strong brand and unwavering support from the Hilton Head Symphony Orchestra, the future is bright.

THE COMPETITION GROWS UP As the competition found its footing, it required additional resources. More than 1,600 volunteers have stepped up to diverse jobs such as hosting competitors and judges in their homes, ushering and arranging for competitors to perform at local schools. Hundreds of financial benefactors have joined the cause—prize donors and individual contributors through the 88 Key Society and Pay-for-a-Piper appeals.

Local businesses support the competition through grants, cash donations and in-kind contributions. Affirming success in bringing tourists to the island, the Town of Hilton Head grants the HHSO Accommodations Tax funds. Last year, nearly 50% of visits to the competition were from outside ATAX boundaries.

The competition’s history has been one of continuous forward progress—reaching a high watermark and quickly eclipsing it. We have hosted more than 400 artists. In their teens and twenties when they performed here, they now enjoy careers as lauded concert pianists and recording artists. Some have created their own competitions and piano festivals, judged at top competitions and joined the faculties of universities and music conservatories in the United States, Europe and Asia.

The Hilton Head International Piano Competition has come a long way since its modest debut. It is now one of the largest piano competitions in the United States and held in high esteem internationally.

THEN & NOW 1996

2019

1-day event 41 applicants, 9 countries 16 competitors, 8 countries 1 judge Single 20-minute performance Solo performances only $3,000 in cash prizes Return engagement with the HH Symphony Heard locally

8-day event 237 applicants, 31 countries 20 competitors, 11 countries 3-judge selection and 7-judge competition panels 25, 30 and 50-minute performances Solo performances + concerti with the Orchestra $34,000 in cash prizes Return engagement with the HH Symphony Recital at Carnegie’s Weill Recital Hall Live-streamed to an international audience in 65 countries

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October 25, 2019 Ambassador Peter Ammon Former German Ambassador to France, USA, and the UK Title: US and German Relations post 1989

November 1, 2019 Monica Araya Director of Costa Rica Limpia Title: A Small Country with Big Ideas

December 6, 2019 Michael Shifter President of the InterAmerican Dialogue Title: The Chaos in Venezuela

SPEAKER PROGRAM 2019-2020

Deglobalization is the process of diminishing interdependence and integration between nation-states. This term is widely used to describe periods in history when economic trade and investment between countries decline. It stands in contrast to globalization, in which nations become increasingly integrated and dependent upon each other over time.

Our Friday Speakers Series will focus on the disruptions deglobalization can cause to established economic, military and political relationships and alliances that have existed since the end of World War II. The series will also explore any opportunities that may arise as a result of these new relationships that may foster a different but new world order beyond that given by the Bretton-Woods Agreement.

For a complete listing of speakers and their biographies, go to www.wachh.org.

Be a part of a vibrant group of learners, leaders and thinkers!

Joby Warrick National security reporter for the Washington Post Title: Black Flags and Red Lines: Forever Wars in a Time of Fraying Alliances April 24, 2020 Lieutenant General H.R. McMaster Visiting Fellow at Freeman Spogli Institute for International Studies at Stanford University TITLE: Battlegrounds: The Fights to Defend the Free World

Richard MacGregor Senior Fellow for east Asia at the Lowy Institute Title: Australia and China: The West’s Tipping Point

Deglobalization: Disruptions and Opportunities.

MEMBERSHIP HAS ITS PRIVILEGES!

February 21, 2020

May 1, 2020

World Affairs Council of Hilton Head

• 14 Speaker Presentations • Member only discussion groups • Daily Chatter & Weekly World News • And so much more for only $100!

JOIN NOW

We encourage you to become a member for the July 2019–June 2020 program year. Contact the Executive Director at 843-384-6758 or wachhi@gmail.com. For more information visit the website or contact the WACHH office.

WACHH is the regional hub for international exchange, dialogue and learning.

World Affairs Council of Hilton Head PO Box 22523, Hilton Head Island, SC 29925 843.384.6758 www.wachh.org

James C. Moore and John R. Wigington are pleased to support the Hilton Head Symphony Orchestra

James C. Moore Financial Advisor Vice President - Investments Wells Fargo Advisors james.moore@wfadvisors.com Direct: 843-681-1417

John R. Wigington Financial Advisor Vice President - Investment Officer Wells Fargo Advisors John.wigington@wfadvisors.com www.wfadvisors.com/john.wigington Direct: 843-681-1438

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Investment and Insurance Products: NOT FDIC Insured NO Bank Guarantee MAY Lose Value Wells Fargo Advisors is a trade name used by Wells Fargo Clearing Services, LLC, Member SIPC, a registered broker-dealer and affiliate of Wells Fargo & Company. Š 2018 Wells Fargo Clearing Services. All rights reserved. CAR-0819-05203.

KITCHENS OF NOTE

H I LT O N H E A D S Y M P H O N Y ORCHESTRA PRESENTS

SY MPHON Y UNDER T HE S TA RS

DRE A M A LIT TLE DRE A M H I LT O N H E A D I S L A N D T UESDAY, APR 7, 2020 • 6P M WE D N ESDAY, APR 8 , 2020 • 6P M John Morris Russell, Conductor Kimberly Hawkey, Soprano In a large festive tent under the baton of John Morris Russell, patrons can enjoy the music and dinner with friends. A sultry evening of scintillating classics, chanteuse and song revivalist Kimberly Hawkey makes her eagerly awaited return to mix an intoxicating cocktail of Jazz, Americana, and Broadway.

You may 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. Additional seating options are priced at $50 for concert seating and the popular outside lawn seating is $25. For tickets call 843-842-2055 or go online at hhso.org

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HHSO'S 38TH SEASON

LEAN ENSEMBLE THEATER GOES BOLD! Four years ago Lean Ensemble Theater leapt onto the Lowcountry stage, producing plays that are rarely, if ever, seen in our idyllic community. This season we’re upping our game with works that are bolder, more brilliant, devastating and hilarious.

In fact, this is a season where each and every play makes the hair on the back of my neck stand up and scares me just a little, in the most thrilling way.

It’s a season that confirms why we do what we do.

We open with the 2016 Tony Award and Drama Desk winner for best play, The Humans—an intimate look at Thanksgiving dinner with a modern American family–which is searingly funny and painfully troubled.

Then, in December comes Every Brilliant Thing, the most uplifting piece of theater I’ve encountered, as it delves into the depths and finds the heights of human experience. You’ll leave this interactive theatrical experience feeling as though you’ve been conversing with an old friend.

Next year brings The Christians, where we witness a crisis of faith as a pastor experiences a revelation that confirms his faith but shakes the foundations of his megachurch along with the will of his congregation.

First-time parenthood offers up challenges which we all plan for and those we never anticipated.

In March, Cry It Out drops us into the thick of navigating “newborn” anxieties in all its comedic glory. This is a play that is worth a date night!

We close the season with the hands-down funniest play I’ve seen in years––Death of a Streetcar Named Virginia Woolf, A Parody. Developed at Chicago’s famed Second City, this wicked comedy mashes up many of the American Theater’s most iconic characters who come face-to-face in New Orleans where they spar, charm, seduce and, well, sweat.

So join us at Lean Ensemble in a joyous new season of music, theater, arts and culture on Hilton Head Island.

Blake White Founding Artistic & Executive Director

2019 – 2020

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HHSO'S 38TH SEASON

CHAEYOUNG PARK AT CARNEGIE 2019 COMPETITION WINNER’S RECITAL SUNDAY, OCTOBER 27, 2019 WEILL RECITAL HALL AT CARNEGIE HALL, NEW YORK CITY ENGAGEMENT UNDERWRITTEN BY THE STRAUCH FAMILY “Chaeyoung Park is a young artist of genuine musicality, great artistic personality, impressive virtuosity, and a most engaging stage presence.”

— Pavlina Dokovska, Chair of the 2019 HHIPC Jury In 2001, the Hilton Head International Piano Competition introduced a recital at Weill Recital Hall in Carnegie Hall as part of its first prize. This year’s winner, 22-year-old Chaeyoung Park of South Korea, thrilled Hilton Head audiences in March with performances of Mozart, Bartók, Bach, Rachmaninoff, Debussy and Brahms. Her performance of Prokofiev’s Concerto No. 3 in C major with the Hilton Head Orchestra in the finals was simply dazzling.

Ms. Park has received top awards in numerous national and international competitions including the Gina Bachauer and Cleveland International Young Artists Competitions. She is currently studying at The Juilliard School under the tutelage of Robert McDonald. Ms. Park is finishing her first recording on the Steinway & Sons label. It is due to be released in 2020.

You are invited to join us in New York City on October 27.

Ms. Park will be playing selections from Ligeti’s Musica ricercata, Ravel’s Valses nobles et sentimentales, Bartók’s Out of Doors, Sz. 81 and Brahms Sonata No. 3 in F minor, Op. 5.

Tickets are available by calling 843-842-5880, The Carnegie Hall Box Office, by calling CarnegieCharge at 212-247-7800 or online at www.Carnegiehall.org.

2019 – 2020

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2019– 2020

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HHSO'S 38TH SEASON

ART LEAGUE OF HILTON HEAD Art League of Hilton Head celebrates its eighth year of collaboration with Hilton Head Symphony Orchestra. Inspired by this year's musical selections, Art League Exhibiting Artists have created the works of art featured throughout this 2019-20 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 of inspiring visual arts for our community and its visitors through exhibitions, education and partnerships.

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

Hours are Monday through Saturday, from 10am - 4pm, Sunday from 12 - 4pm and 90 minutes before theater performances.

Art League Academy, located south-island, offers art classes and workshops in all media for all ages and skill levels. Visit www.

ArtLeagueHHI.org or call 843.681.5060 for more information.

PARTICIPATING ARTISTS EARLINE ALLEN NORMA DEAL DONNA VARNER JULIANA KIM GEORGINA KIMBALL NORMAN LEVY BRENDA LUCZYNSKI GAYLE MILLER PETE SHRAMM MARY SULLIVAN GEORGE WATSON The Halo | Norman Levy

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HHSO'S 38TH SEASON

ART LEAGUE EXHIBITION SCHEDULE

Up Beat | Gayle Miller

during the HHSO season Monthly Featured Shows are listed below.

Receptions are open free to the public, the first or second Wednesday of the exhibit, from 5-7pm.

AUGUST

ARTISTS OF ALLENDALE GULLAH ART AT AL ACADEMY

SEPTEMBER

ADDISON PALMER

SEPT 27

GOT ART? AUCTION

OCTOBER

BILL BOGLE

NOVEMBER

MURRAY SEASE

DECEMBER

ART LEAGUE JEWELERS

JANUARY

ANYTHING GOES! MEMBERS EXHIBIT

FEBRUARY

GULLAH EXHIBIT

MARCH

KENDRA NATTER

APRIL

ABSTRACT ART X 3

MAY

JOHN GREGOR Sultry | Gayle Miller

2019 – 2020

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No Pink Flamingos Allowed | George Watson

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HHSO'S 38TH SEASON

THE LEAGUE OF THE HHSO PRESENTS

TENTH ANNUAL LEAGUE LUNCHEON/FASHION SHOW TO BENEFIT THE YOUTH PROGRAMS OF THE HHSO The League of Hilton Head Symphony Orchestra invites you to attend the 10th Annual Spring Luncheon, Fashion Show and Silent Auction. This popular signature event will be held in the beautiful ballroom and rotunda of Sea Pines Country Club on March 25, 2020.

The 10th Annual

Fashion Show luncheon & silent auction

A BENEFIT FOR THE HILTON HEAD SYMPHONY ORCHESTRA AND ITS YOUTH PROGRAMS

Presenting Sponsor, Evelyn & Arthur, promises to delight the audience with its beautiful apparel and fashions. They are renowned for their clothing and fashion design, contemporary clothing, in addition to accessories and gifts for fashionable women.

Prior to a delicious luncheon, enjoy a social hour with time to greet friends, take part in the 50/50 Raffle and reverse raffles, and bid in unique Silent Auction items.

The silent auction will include Spa Services, Jewelry, Restaurant Certificates, Get Away Packages, Assorted Gift Packages and much more!

Put your table of 10 together now, or come with a friend, and join us at this wonderful event benefiting the Hilton Head Symphony Orchestra.

For reservations, call Judy Walsh at 216-375-6374 or email her at walshjudy72@gmail.com.

WED., MARCH 25, 2020 SEA PINES COUNTRY CLUB PRESENTING SPONSOR

Evelyn & Arthur A SILENT AUCTION AND SOCIAL HOUR BEGIN AT 11AM Last year’s event sold out, make your reservations early to ensure seating. Email Judy Walsh at walshjudy72@gmail.com to make your reservations.

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The League of the Hilton Head Symphony Orchestra presents

“KITCHENS OF NOTE” TOUR PALMETTO HALL

Sunday, October 6th, 2019 Noon to 4:00 pm

KITCHENS OF NOTE TOUR – A NOTE OF THANKS The beautiful Hilton Head community of Palmetto Hall was the site of the League of the Hilton Head Symphony Orchestra’s 7th annual “Kitchens of Note” Tour held on Sunday, October 6, 2019. The tour included six designer kitchens in custom homes, and each kitchen featured a chef providing tasty signature treats from popular eating destinations in Bluffton and Hilton Head Island.

Many thanks to the Palmetto Hall community and the six wonderful host families who opened their homes and welcomed us, the generous sponsor businesses that support our programs with their donations, and the host restaurants and chefs who donated their time and special tasting menus for you.

League events happen because of the indefatigable League volunteers. Some 65 men and women served as house captains, docents, greeters, ticket takers, and parking attendants at this year's tour. These fine people are the backbone of the HHSO League - we thank them all for their service!

And finally, we thank you, the members of the community, who attended our annual event. The funds raised support the Orchestra and its many Youth Music Programs.

For the Love of Music,

A self-driving tour featuring 6 kitchens and 6 local chefs

Candice Hough, Chairman

PARTICIPATING RESTAURANTS Charlie’s L’etoile Verte • Marley’s • Mixx on Main • Mulberry Street Trattoria Olive & Fig Mediterranean Kitchen • SAVORY Café & Provisions

TICKETS ARE $45 EACH (tickets limited) Tickets may be purchased at:

Burke’s Pharmacy • Le Cookery • Markel’s Card and Gifts or call 843.837.3892 or go online at www.hhso.org (Please pay ticket vendors with check or cash only.)

Sponsored by

BILLY WOOD APPLIANCE Le Cookery • Traditions of Hilton Head • Sterling Hight • Tom Peeples Builder Vitality Spa • The Green Thumb

2019 – 2020

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OUR 2019-2020 SEASON IS UNDER WAY!

JOIN US FOR SONG — ONE CONCERT OR ALL!

TIM REYNOLDS

ARTISTIC DIRECTOR

The Sounds of Christmas

— DECEMBER 13th • 7PM

FIRST PRESBYTERIAN CHURCH | 540 William Hilton Pkwy., Hilton Head Island

Music, By Georg e

— MARCH 27th • 7PM

FIRST PRESBYTERIAN CHURCH | 540 William Hilton Pkwy., Hilton Head Island

America Sings!

— MAY 24th • 7PM

HOLY FAMILY CATHOLIC CHURCH | 24 Pope Ave., Hilton Head Island

THE

IN US ALL Call 843-341-3818 • Purchase at the door or Go to TICKETS at hiltonheadchoralsociety.org

Morgan Stanley is proud to sponsor

Hilton Head Symphony Orchestra Kevin Courtney Associate Vice President | Financial Advisor kevin.courtney@morganstanley.com NMLS #1279472 William Bridgers Vice President | Financial Advisor william.a.bridgers@morganstanley.com NMLS #1369856 600 Main Street Hilton Head Island, SC 29926 843-689-6646 © 2019 Morgan Stanley Smith Barney LLC. Member SIPC. SUP001 CRC 2639194 07/19

FIND CONCERT SCHEDULES AND MORE!

GET OUR FREE

MyNightOut PHONE APP

LIVE MUSIC • EVENTS • BARS DINING • LODGING

SHOPPING • DINING • HEALTH • BEAUTY COMMUNITY & RECREATION

ADVERTISE YOUR EVENT

i n f o@Hilt onHeadNight O ut .com 843- 802- 0428

2019– 2020

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SATURDAY, MARCH 28, 2020

Atlanta Symphony Orchestra & André Watts Robert Spano, Music Director

BEETHOVEN Piano Concerto No. 5 in E-flat Major, Opus 73 (“Emperor”) BEETHOVEN Symphony No. 7 in A Major, Opus 92

M A R C H 2 6 –A P R I L 1 1 , 2 0 2 0 Festival Lineup & Tickets: savannahmusicfestival.org Box Office 912.525.5050

Proudly Serving The enTire lowcounry Since 2006

I T ’ S

INTRODUCING

S H O W T I M E !

BLACK LABEL LINCOLN NAVIGATOR

FordPass Rewards™

An exciting new program that rewards you for the things you do with us.

O. C. Welch Ford Lincoln Inc. 4920 Independence Blvd • Hardeeville, SC 29927 • 843-288-0100 • goseeoc.com 2019– 2020

137

An Audience with “The King of Instruments”

LOW COUNTRY CHAPTER OF THE

AMERICAN GUILD OF ORGANISTS www.lccago.org

Please join us as we celebrate our 21 st season! Free admission to all concerts. Donations appreciated.

Fri., October 11, 2019 • 7pm Peter and the Wolf with Organ, Percussion and Narrator All Saints Episcopal Church 3001 Meeting St., HHI

January 24-25, 2020 Handbell Clinic with Kathleen Shaw Concert on Saturday at 3pm St. Luke’s Church 44 Pope Ave., HHI

Tues., March 3rd, 2020 • 6:30pm Potluck Dinner and Doctoral Lecture by Pam Kane St. Gregory the Great Catholic Church 38 St. Gregory Dr., Bluffton

IN ADDITION: NOON CONCERTS ON THE 2ND FRIDAY OF EACH MONTH. VISIT OUR WEBSITE FOR DETAILS.

138

HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON A special thank you to all the host families!

Catherine Adams Marilyn and Buzz Althans Kathy and David Alven Peggy Ashworth Helen Baker Laurette and Lou Benfante Mary and Mike Briggs Ginger and Mike Caporal Heather and Bob Cherichella Stan Cooke Joan and Charlie Dattelbaum Scottie Davis Linda DeLuca Pat Dowey Linda Ellis Paula and Marc Feinberg Gigi and Brian Goode Mary Jo Happley Ann and Charlie Harrison Sue and Mike Harter Sharon and Gordon Hassing Barbara Holmes Nancy Huber Nancy Hudak Fran Hubbell Mona and Joe Huff Juliana and Sam Kim Rosemary and Gary Kratz Doris Lindner Clair and Jim Mackie Suzy and Ray Makalous Alison and Graham May Toy Mergler Nancy Minor Carolyn Moore Mary and Ian Murray Linda and Glenn Neff Mary Noonan Emily and Wil Oelkers Susan and Ed Parrish Kathie and John Patten Phyllis Patterson Judy and Dale Peters Jane Phillips Sandy and David Pollock Mary Ann and Terry Putnam Jo Qualiana Connie Randall Susan and Dean Roberts Betsy and Bob Roll Pam and Dave Schofield Barbara and Bunch Singer Barbara and Roger Soens Myra and Bill Stinnett Lorene and Tom Thornbury Judy and Bill Thorpe Jennifer and John Tupper Betsy and John Vinton Connie and Jerry Voight

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 WinstonSalem. 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 an 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.

• 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.

If you are interested in hosting a musician, call the HHSO office at 843.842.2055.

2019 – 2020

139

HHSO'S 38TH SEASON

USHER LIST - HHSO THANKS YOU! Our dedicated Ushers play a major role in creating a welcoming environment at each of our concerts, making sure every person feels comfortably at home. We value their commitment to the HHSO and would like to say “Thank You” to all those who donate their time to serve the orchestra and their community.

140

SUNDAY MATINEES

MONDAY NIGHTS

Peggy Basile Alan Biggs Laurie Biggs Nancy Calhoun-Sullivan Mary Ann Carpenter Rebecca Chick Doreen Cubie Jan Cunningham Sally Farrar Doug Fletcher Welsa Fletcher Natalie Giles Debbie Gregory Lynn Gustafson Susan Johnson Anne Martin Lee JoAnn Lee Joe Lepis MaryLou Lepis Toney Mathews Barry Moss Lynn Moss Ellen Newfield Nancy O'Neil Phyllis Patterson Cassandra Piovoso Lori Pittard Jean Podgorski Marilyn Powers Linda Schneider Diana Seggie Lee & Julie Sell Joel Spiegel Sally Stein Lynne Tanis Heather Witherspoon John Witherspoon

Jan Bender Ruth Brown Jeanette Carlton Connie Davidson Terry Delling Sandy Dickson Corrine Dorer Ruth Egan Ruth Hook Edda Ingrao Barbara Johnson Rita Jones Janet Kleber Jane Laux Blaine Lotz Lynne Lotz Katie Miller Phyllis Patterson Cassandra Piovoso Kay Sartorius Linda Schneider Charlotte Springer Cindy Troyer Norma VanAmberg Barb Wiebe John Witherspoon

HILTON HEAD SYMPHONY ORCHESTRA

HHSO'S 38TH SEASON

Inspiring, enriching and uniting the Lowcountry

THANK YOU! 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 “Thank You!”

IN GRATITUDE THE HILTON HEAD SYMPHONY ORCHESTRA EXPRESSES ITS SINCERE GRATITUDE TO ITS LEAGUE.

The HHSO is grateful to 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 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.

2019 – 2020

141

HHSO'S 38TH SEASON

SECURING THE FUTURE / HHSO ENDOWED CHAIR PROGRAM 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 Sandy and Fred Caswell . . . . . . . Principal Percussion Marge and Paul Coble . . . . . . . . . . Principal Clarinet Nancy and John Diamond . . . . . . . Principal Trumpet Patty and David Ekedahl . . . . . . . . . Principal Oboe Margaret and Robert 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 Doris and Willis Shay . . . . . . . . . . Principal Bassoon Ellen and Charles Taylor . . . . . . . . . . Principal Cello Ann and Michael Waters . . . . . . . . . .Principal Bass Judy F. and Dr. William P. Thorpe (in honor of Richard B. Heyman, MD) . . Principal Tuba Jean S. Wolff (in memory of Alfred W. Wolff) . Section Violin

Your 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: The following chairs are available for endowing: Violin II Principal Chair . . $35,000.

Section Chairs . . 20% less than Principal 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.

HOW YOU CAN HELP THE HILTON HEAD SYMPHONY ORCHESTRA The Hilton Head Symphony Orchestra relies on the community to help it achieve its mission “to inspire, enrich and unite the Lowcountry through music” with exceptional performances and educational programs.

If you wish to help in any of these ways, or in any other way, please call us at 843-842-2055.

142

HILTON HEAD SYMPHONY ORCHESTRA

There are many ways that you can help: BECOME A CONCERT SPONSOR BECOME A MUSICIAN CHAIR SPONSOR BECOME A YOUNG PEOPLE’S CONCERT SPONSOR SPONSOR A GUEST ARTIST MAKE A DONATION IN SOMEONE’S HONOR MAKE A CONTRIBUTION FROM YOUR IRA FOR A TAX BENEFIT MAKE A BEQUEST TO THE HHSO IN YOUR ESTATE PLANS

HHSO

Inspiring, enriching and uniting the Lowcountry

LIST OF ADVERTISERS We appreciate your commitment and generosity.

All My Sons Moving and Storage. . . . . . . . .131

James C. Moore of Wells Fargo Advisors . . . . 117

All Saints Episcopal Church . . . . . . . . . . . 119

Jazz Corner Junior – The Jazz Foundation . . 144

Billy Wood Appliance . . . . . . . . . . . . . . . 118

Kenneth Kowalyk, DMD. . . . . . . . . . . . . 126

Blue Cross / Blue Shield of SC. . . . . . . . . 126

LOCALlife . . . . . . . . . . . . . . . . . . . . . . 120

Boys, Arnold & Company . . . . . . . . . . . . . . 3

Lowcountry Guild Organists . . . . . . . . . . . 138

Carson Realty . . . . . . . . . . . . . . . . . . . 137

Morgan Stanley Wealth Management. . . . . 135

Charles Sampson Realty Group . . . . . . . . . 127

O. C. Welch Ford Lincoln, Inc. . . . . . . . . . 137

Charter One Realty. . . . . . . . . . . . . . . . . . 6

Palmetto Electric Cooperative . . . . . . . . . 122

Coligny. . . . . . . . . . . . . . . . . . . . . . . . . 8

PURE/McGriff Insurance . . . . . . . . . . . . . . 1

Custom Audio Video, LLC. . . . . . . . . . . . . 39

Rice Music House. . . . . . . . . . . . . . . . . .113

Forsythe Jewelers. . . . . . . . . . . . . . . . . . 10

Rockfish Seafood & Steaks . . . . . . . . . . . . 20

Frey Media. . . . . . . . . . . . . . . . . . . . . . 24

Rollers Wine & Spirits . . . . . . . . . . . . . . . 144

Frosty Frog Cafe . . . . . . . . . . . . . . . . . . 144

Royal Restrooms . . . . . . . . . . . . . . . . . . . 32

Goode Vacation Rentals. . . . .Inside Front Cover

Santa Fe Café. . . . . . . . . . . . . . . . . . . 144

Group 3 /pyramids . . . . . . . . . . . . . . . . . 25

Savannah /Hilton Head

Gulfstream. . . . . . . . . . . . . . . . . . . . . .112

International Airport. . . . . . . . . . . . . . . 124

Hilton Head Area CEFA . . . . . . . . . . . . . 123

Savannah Music Festival. . . . . . . . . . . . . 136

Hilton Head BMW . . . . . . . . . . . . . . . . . . 12

Seagrass Grille . . . . . . . . . . . . . . . . . . . 144

Hilton Head Choral Society. . . . . . . . . . . 134

SERG Group. . . . . . . . . . . . . . . . . . . . . . 4

Hilton Head Dance Theatre. . . . . . . . . . . . 63

Sonesta Resort Hilton Head Island . . . . . . . . 17

Hilton Head Dental Team. . . . . . . . . . . . . 28

The Cypress of Hilton Head. . . . . . . . . . . . . 2

Hilton Head Exterminators. . . . . . . . . . . 122

The Greenery, Inc. . . . . . . . . . . . . . . . . . 127

Hilton Head Night Out. . . . . . . . . . . . . . 135

The Island Fudge Shoppe. . . . . . . . . . . . 144

Hinoki Japanese & Sushi Bar. . . . . . . . . . 144

The French Guy Photography. . . . . . . . . . 138

Island Travel, Inc. . . . . . . . . . . . . . . . . . . 38

TidePointe, a Vi Community . . . . . . . . . . . . 33

It’s Greek To Me. . . . . . . . . . . . . . . . . . 144

World Affairs Council Hilton Head. . . . . . . .116

2019– 2020

143

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HHSO

Inspiring, enriching and uniting the Lowcountry

PERFORMANCE SPONSORS We appreciate your commitment and generosity.

H I LT O N H E A D S Y M P H O N Y O R C H E S T R A 20 1 9 - 20 2 0