DECEMBER 3
TUESDAY, DECEMBER 3 NOVEMBER 19
Select Dates: Nov. 29 - Dec. 30
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At Tuesday Musical, we treat you to the thrill of discovery with carefully curated musical experiences you won’t find anywhere else. Superstars and hidden gems. The classics and redefined genres. Special programs that connect you with the musicians and their inspirations.
Tuesday Musical’s Akron Concert Series promises artful, entertaining and engaging opportunities with every concert. We are thrilled that you are here to enjoy them with us!
Cynthia Snider Executive Director
Details and tickets at tuesdaymusical.org and 330.761.3460.
Be kind to the patrons around you — and to this evening’s musicians. Please silence your cell phones and limit the taking of photos and videos.
Pianist Simone Dinnerstein — Tuesday, November 19: One of the world’s most sought-after pianists, Simone Dinnerstein came to the instrument later in life, dropped out of Juilliard, and struggled for recognition until she scraped together the funds to record Bach’s epic Goldberg Variations — which exploded to #1 on Billboard’s classical music chart. She’s this season’s Margaret Baxtresser Pianist.
Joyce DiDonato with Kings Return — Tuesday, December 3: A fun and unexpected holiday program. Superstar mezzo-soprano Joyce DiDonato reached out to the young a cappella singers of Kings Return after seeing their barebones stairwell performances in videos that went viral. Lucky us: We’re the first stop on their combined national tour.
Czech National Philharmonic —
Tuesday, February 11: The Czech National Philharmonic Orchestra is one of the country’s leading and oldest symphony orchestras. Conducted by Maestro Pavel Snajdr, the program features Smetana’s Overture to The Bartered Bride and Dvořák’s Violin Concerto in A minor Op. 53 and Symphony No. 7 in D minor, Op. 70.
Akron Bicentennial Concert —
Tuesday, April 22: We’re celebrating Akron with a new fanfare! Tuesday Musical’s Myers New Music Fund has commissioned internationally acclaimed composer Peter Boyer to create and conduct the world premiere of Fanfare for Akron as a highlight of our Akron Bicentennial Concert — featuring the brass and percussion sections of the world-famous Cleveland Orchestra, led by TCO principal trumpet Michael Sachs.
Isidore String Quartet with Pianist Jeremy Denk — Tuesday, March 4: Stars-in-the-making, Isidore won the Banff International String Competition in 2022 and received the prestigious Avery Fischer Career Grant in 2023. They’ll be joined by Jeremy Denk — heralded by The New York Times as “a pianist you want to hear no matter what he performs.”
At Concordia, our network of care is thoughtfully designed to help you or a loved one age in place, with retirement living villas/apartments, assisted living, short-term rehabilitation and long-term nursing care. Call us today at 330-664-1289 to learn more or schedule a private tour.
Tuesday Musical Association appreciates your continued support of The Margaret Baxtresser Annual Piano Concert Endowment Fund. This fund gives a lasting voice to Margaret’s objective of presenting the world’s greatest pianists in Akron. It also helps maintain the legacy that this extraordinary woman left for us to remember. Listed here are donors to the fund since its inception after Margaret’s passing in 2005.
Barbara Ainsworth-Porter
Ronald & Ann Allan
Moshe Amitay & Judy Levin
Tom & Nancy Anderson
Anonymous
Marion Goetz Aron
Eleanor & Richard Aron
Mark Auburn
Sue & Christopher Bancroft
Lee and Floy Barthel
Earl & Judy Baxtresser
Jeanne Baxtresser & David Carroll
Robert Baxtresser
Suzanne Baxtresser & Steven Wangh
George Bellassai
Jeanette & John Bertsch
Jan Bird
Ginny Black
Sue & Pete Birgeles
Mary & Dave Brown
Lisle M. Buckingham Endowment/ Akron Community Foundation
Alan & Sara Burky
Elizabeth Butler
Alfred S. Cavaretta
Sarah Church
Joyce Clark
Cynthia Maglione Coleman
Lydia Colopy
Mr. & Mrs. Nicolas Constantinidis
Carole Cordray-Syracuse
George Curley
Rita Czarnecki
Jane Davenport
Mary Davenport
Jerry Davidson
David & Katharine DeBolt
David & Judith DeShon
Mary Di Donato
Marjorie Donahue & Robert Roach
Dave & Susan Dudas
Dennis & Karen Dunn
Carolyn & Jerry Durway
Hope Everhart
David & Roberta Ewbank
Denis & Barbara Feld
Lois & Harvey Flanders
Richard & Eleanor Freeman
Thomas Friedman
Marlene Mancini Frost
Laura Lee Garfinkel
Candace Gatewood
Diana F. Gayer
Stephen T. & Mary Ann Griebling
Mary Lynne Grove
Elaine Guregian
Toshie Haga
Bruce & Joy Hagelin
Bart & Jeannie Hamilton
Mr. & Mrs. Robert S. Hancock
DuWayne & Dorothy Hansen
Karin Harvey
Jean Hauser
Dan T. Hayes
Marcianne Herr
Harriet & Herb Herskowitz
Patti Hester
Linda Hohenfeld
Monica (Niki) Houghton
Kathryn E. Hug
Kathryn M. Hunter
Margaret W. & David M. Hunter
Mary Ann Jackson
Constance C. Jenkins
Jerry & Helen Jenkins
Scott & Linda Johnston
Phyllis R. Kaplan
Mr. & Mrs. Gilbert Katz
Ardith & Bill Keck
David W. Kellogg
Jon & Martha Kelly
Cynthia Knight
Dr. & Mrs. Edward L. Koosed
Mr. Louis Lane
Laurie Lashbrook
Diane Lazzerini
Lehner Family Foundation
Peter & Dorothy Lepp
Larry & Shirley Levey
Michelle and Richard V. Levin
Marian Lott
Martha Klein Lottman
Richard & Leslie Lund
Barbara MacGregor
Orlene Makinson
Eugene Mancini
Roberta & Stan Marks
Charitable Foundation
Sanford & Eleonora Marovitz
Gloria Massa
Diane Mather
Claire McJunkin
Virginia Mead
Dodi S. & Claude Meade
David & Anita Meeker
Eileen L. Meeker & Chris Houghton
Mr. & Mrs. Robert Mercer
Lynn & Ed Metzger
Emmett & Alice Monroe
Charles & Elizabeth Nelson
Dianne & Herbert Newman
Wm. Max Nonnamaker
Louwana S. Oliva
OMNOVA Solutions Foundation
Bob & Marge Palmieri
Ruth Papini
Reinhard & Mary Petrich
Alice H. Phillips
George S. Pope
Madeleine Pringle
John H. & Carol E. Ramey
Susan Ramsdell
E. G. Sue Reitz
Sally & David Riede
Nan & John Riemenschneider
Corrinne & Donald Rohrbacher
Phyllis Ronald
Beverly M. Rose
Lola M. Rothmann
Bernadette Blount Salley
Anne M. Schellin
Mary Schiller
Brent & Nathalina Schloneger
Theresa Dye Schoettler
Arthur & Jean Schooley
Grace Reginald Scott
Walt & Donna Scott
Geraldine & Nadine Shank
Dr. C.M. & Barbara Shearer
Betty Sloan
Sandra & Richey Smith
Margo Snider & Rick Butler
Mrs. Jimmy Rogers Snoga
Louise & Al Spaulding
R. Thomas & Meg Harris Stanton
Mary Jo Stasell
Kenneth F. Swanson, M.D.
James Switzer & Gretchen Laatsch
Mr. & Mrs. Russell Tinkham
Dr. & Mrs. LeRoy Tunnell
Lewis H. & Charlotte E. Walker
Paul & Gwyn Wallace
Lee Wallach
Ann Waters
Walter & Barbara Watson
Virginia B. Wojno-Forney
Jerry Wong
Janet Wright
Mary Alice & David Wyatt
Zeta Omicron Chapter of Delta Omicron
Mayumi & Christopher Ziegler
John & Kathleen Zizka
at EJ Thomas Hall
EJ Thomas Performing Arts Hall—The University of Akron Tuesday, November 19, 2024, at 7:30 p.m.
Michael Zhang, piano
Member of Tuesday Musical’s Brahms Allegro Junior Music Club.
Troubled Water from Spiritual Suite Margaret Bonds
Simone Dinnerstein, piano
Tuesday Musical’s 2024-25 Margaret Baxtresser Pianist.
Gavotte et six doubles, RCT 5/7 ..................................
Jean-Philippe Rameau ...........................................................................1683-1764
Twelve Variations on Chorale
by J.S. Bach
Philip Lasser b. 1963
Variation I – Sempre espressivo e molto legato
Variation II – Più vivo
Variation III – Più vivo - Sempre leggero e poco staccato
Variation IV – Evenly, maintaining a strange, disembodied expressivity
Variation V – Largo
Variation VI – Allegro vivace
Variation VII – Robusto
Variation VIII – Maestoso
Variation IX – Largo
Variation X – Presto, quasi una Toccata
Variation XI – Variation of Variations - Allegro Amabile
Variation XII – Andante con moto
15 Sinfonias, BWV 787-801
No. 1 in C Major No. 2 in C Minor No. 3 in D Major No. 4 in D Minor No. 5 in E-Flat Major No. 6 in E Major No. 7 in E Minor No. 8 in F Major No. 9 in F Minor No. 10 in G Major No. 11 in G Minor No. 12 in A Major No. 13 in A Minor No. 14 in B-Flat Major No. 15 in B Minor
Encore from Tokyo
Johann Sebastian Bach 1685-1750
Keith Jarrett transcribed by Uwe Karcher b. 1945
Earlier today, Simone Dinnerstein worked with Professor Donna Lee’s piano students in a masterclass at Kent State University.
On stage this evening is Tuesday Musical’s Three Graces Steinway D Piano. Simone Dinnerstein appears by arrangement with IMG Artists. simonedinnerstein.com
Among Tuesday Musical’s generous season supporters:
Lisle M. Buckingham Endowment Fund of Akron Community Foundation, Kenneth L. Calhoun Charitable Trust, Betty V. and John M. Jacobson Foundation, KeyBank Trustee, Mary and Dr. George L. Demetros Charitable Trust, Gertrude F. Orr Trust Advised Fund of Akron Community Foundation, Charles E. and Mabel M. Ritchie Memorial Foundation, Helen S. Robertson Fund of Akron Community Foundation, Sisler McFawn Foundation, Lloyd L. and Louise K. Smith Foundation, Welty Family Foundation
Simone Dinnerstein is an American pianist with a distinctive musical voice. The Washington Post has called her “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”
Since that recording, she has had a busy performing career. She has played with
orchestras ranging from the New York Philharmonic and the Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, the Seoul Arts Center and the Sydney Opera House.
Simone has made 13 albums, all of which topped the Billboard classical charts, with repertoire ranging from Couperin to Glass. From 2020 to 2022, she released a trilogy of albums recorded at her home in Brooklyn
during the pandemic. A Character of Quiet (Orange Mountain Music, 2020), featuring the music of Philip Glass and Schubert, was described by NPR as, “music that speaks to a sense of the world slowing down,” and by The New Yorker as “a reminder that quiet can contain multitudes.” Richard Danielpour’s An American Mosaic (Supertrain Records, 2021), surpassed two million streams on Apple Music and was nominated for a 2021 GRAMMY Award in the category of Best Classical Instrumental Solo. The final installment in the trilogy, Undersong, was released in January 2022 on Orange Mountain Music.
In recent years, Simone has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording, Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall and the Kennedy Center. In New York, she regularly curates and performs on an innovative Bach series at the Miller Theatre, and this season she is an Artist-in-Residence at the Kaufman Music Center, where she will mentor student musicians and perform Philip Glass’s The Hours and Tirol piano concerto with the Brooklyn Orchestra. She has also created her own ensemble, Baroklyn, which she directs from the keyboard.
Amember of Tuesday Musical’s Brahms Allegro Junior Music Club, Michael Zhang is age 15 and a rising sophomore at the University School.
He started playing the piano at age 4 under Olga Radosavljevich. He has been studying under Cicilia Yudha of Hudson, Ohio, and has been competing in piano competitions and events for the past two years. Some of his accomplishments include winning the 2024 Buckeye District Competition in the Senior High Division and earning Honorable Mention (third place) at the Buckeye State Competition. He participated in the 100 Pianists with Lang Lang event, obtained 1-Superior ratings from the Ohio Music Education Association and the National Federation of Music Clubs Festival, and won a Steinway Rising Star Award in 2023. He is also the 2024-25 Cleveland Orchestra Youth Orchestra’s keyboard alternate.
Michael is passionate about piano and hopes to play it for the rest of his life.
Simone is committed to giving concerts in non-traditional venues and to audiences who don’t often hear classical music. For the last three decades, she has played concerts throughout the United States for the Piatigorsky Foundation, an organization dedicated to the widespread dissemination of classical music. It was for the Piatigorsky Foundation that she gave the first piano recital in the Louisiana state prison system at the Avoyelles Correctional Center. She has also performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra. In 2009, Simone founded Neighborhood Classics, a concert series open to the public and hosted by New York City Public Schools to raise funds for their music education programs. She also created a program called Bachpacking during which she brought a digital keyboard to elementary
The Washington Post
school classrooms, helping young children get close to the music she loves. She is a committed supporter and proud alumna of Philadelphia’s Astral Artists, which supports young performers. Simone is on the piano faculty of the Mannes School of Music and is a guest host/producer of WQXR’s Young Artists Showcase.
Simone counts herself fortunate to have studied with three unique artists: Solomon Mikowsky, Maria Curcio, and Peter Serkin, very different musicians who shared the belief that playing the piano is a means to something greater. The Washington Post comments that “ultimately, it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.
Margaret Bonds arranged 50+ spirituals for various instruments, one of which is the five-minute piano work Troubled Water. The spiritual is associated with work songs used by slaves in the 19th century to share coded information for escape along the Underground Railroad.
Troubled Water is likely Bonds’ only published work for solo piano. The last movement of a threemovement suite, Troubled Water is based on the spiritual Wade in the Water and the title is probably inspired by its lyrics: “God’s gonna trouble the water.”
Essentially a theme and variation, the contrapuntal technique and the overlapping “call and response” pattern of Troubled Water represent Bonds’ blending of the classical western tradition and AfricanAmerican musical idioms, respectively. Idioms such as syncopation and jazz harmonies are found throughout. The piece is full of excitement and drama with a triumphant ending.
Margaret Bonds started her musical journey in her hometown Chicago, learning piano from her mother who was a charter member of the National Association of Negro Musicians. She developed meaningful relationships with many African American artists including Florence Price, from whom she took lessons. She deeply admired the works of Langston Hughes, which
eventually led to their lifelong friendship and collaboration. One of her numerous achievements includes being the first African-American woman to solo with a major American orchestra. Despite facing ongoing racism in her career and her studies, she dedicated her life to civil rights activism and raising awareness for AfricanAmerican art.
When Bonds died in 1972, many of her letters, music, and manuscripts were discovered in a dumpster by her house. While some of them are collected and stored in library archives, most of her work remains unpublished and unheard. The scope of her work and influence is yet to be fully known.
Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin
Jean-Philippe Rameau
Jean-Philippe Rameau was a composer, organist, and music theorist whose first opera, Hippolyte et Aricie in 1733, prompted a fierce debate over French opera aesthetics. Rameau’s critics, known as the “Lullistes” — a name indicative of the faction’s allegiance to Jean-Baptiste Lully’s music — took a vehement, conservative stance against Hippolyte et Aricie’s complexity and Italianate influences, believing that the opera would forever alienate the traditional French repertoire.
While accusations calling Rameau’s music “perpetual witchery” and “devilish” eventually died down, the opera remains a touchstone of opera in the later Baroque period and an inextricable part of the composer’s legacy.
Chad A Immel
Advisor
Before Rameau’s turn to opera, he largely composed for keyboard and continued to do so after. His multiple keyboard collections include Nouvelles suites de pieces de clavecin, whose publication preceded Hippolyte et Aricie by a few years. The collection contains two suites — the primary form of keyboard music in the Baroque. The second Suite culminates in the gavotte, a medium-paced dance in duple
meter that was a popular choice among Baroque composers. This gavotte includes an initial section followed by six doubles, or variations, on the movement’s initial material.
That initial material has a lament-like quality, thanks in part to its frequent sighing descents. It is cast in binary form, with an opening and second passage, both of which are repeated. And each of the doubles follows this same binary format. Across the doubles, Rameau exchanges activity between the keyboard’s higher and lower registers, experimenting with more elaborate textures as the piece develops, especially in the final three variations. The energetic first double features fast figures and descending scales in the right hand; in the second double, ascending scalar runs in the left hand underpin a stately assertion of the main melody, and scalar motion is less prominent in the otherwise energetic third double. The last three doubles are more adventurous; quickly repeated notes lend the fourth double a bubbling, sparkling quality, and large leaps at high speeds convey drama and vibrancy in the fifth and sixth.
Rameau’s Gavotte may have taken George Frideric Handel’s 1720 piece, Air with five doubles from his Third Suite, as a starting point. Musicologist Graham Sadler notes structural and textural similarities between the two and suggests that Rameau’s “intention seems to be to emulate and, in the amazing display of virtuosity in the last three variations, to surpass his model.” — © Matthew Mugmon
by J.S. Bach
Philip Lasser
To paraphrase a famous line regarding Plato, there are times when it seems Western music is but a footnote to Johann Sebastian Bach. However neglected Bach’s compositions were during his own lifetime, they have served as inspiration for an astonishing variety of composers and performers across genres in the centuries since.
Keith Jarrett, for example, whose Encore from Tokyo Simone Dinnerstein has chosen to conclude her recital, weaves impulses from Bach into his ingenious improvisations and has added his own interpretation to the legacy of Goldberg Variations recordings.
“When I play Bach, I do not hear the music, I hear almost the process of thought,” Jarrett once said with regard to his account of The Well-Tempered Clavier
The potential for interaction with Bach’s legacy seems inexhaustible. 12 Variations on a Chorale by J.S. Bach by the American composer, pianist, and music theorist Philip Lasser is a case in point. In this composition, Lasser approaches Bach through the vehicle of the variation format, highlighting the wealth of possibilities encoded within something as seemingly straightforward as a chorale.
Lasser, who was born in New York City in 1963 and is a longtime faculty member of The Juilliard School, brings an unusual perspective to the logic of German
counterpoint thanks to his French education. In his teenage years he studied at the Ecole d’Arts Americaines in Fontainebleau, France, which was established by the legendary Nadia Boulanger. After receiving his degree from Harvard University, he spent several years in Paris studying with Boulanger’s close disciple Narcís Bonet, as well as the pianist Gaby Casadesus (who was married to the pianist and composer Robert Casadesus).
Lasser’s music combines influences from this combination of American and French aesthetic roots, lavishing attention on both line and color. “My music travels at the speed of our lives today,” Lasser has remarked. “Its modernity resides not so much in musical style as in the speed at which its materials move and develop.”
12 Variations on a Chorale by J.S. Bach was given its premiere in 2002 by the pianist J.Y. Song at La Schola Cantorum in Paris. Simone Dinnerstein included her interpretation of the work on her 2008 album The Berlin Concert,
released on the Telarc label. For his theme, Lasser chose the chorale “Nimm von uns, Herr, du treuer Gott” (Take away from us, O Lord, faithful God), which appears in Bach’s Cantata BWV 101, written in his first cycle of Leipzig cantatas for the tenth Sunday after Trinity (August 13, 1724). Bach adapted an old tune compiled by Martin Luther that had originally been used to sing the Lord’s Prayer (“Vater unser im Himmelreich,” in German). The chorale text from the late 16th century, meanwhile, was written in response to an outbreak of plague.
What struck Lasser was the emotional complexity of Bach’s harmonization and voice leading of the chorale’s dark melody in D minor. He points out that while Bach’s chorales tend to be used abstractly as academic object lessons in harmony, this is a prime example of how Bach “focuses on a particular feature of the chorale melody and composes a miniature work of art, bringing
to all its voices the motivic potential residing in the original tune.”
Lasser’s subsequent variations spin outward from the chorale, gradually veering from its recognizable outlines as they unearth particular aspects of the original voices. Alternately inward or brashly extroverted, meditative, or fleeting with a quicksilver grace that manifests Lasser’s Gallic affinities, the piece shifts direction in the eleventh variation. Here, in an epic “variation on variations,” Lasser takes stock of the episodes that have preceded. Taking the individual aspects that have previously appeared as single epiphanies, he reintegrates them into a larger whole. To conclude the set, Lasser returns to the original chorale in the twelfth variation, which is now decorated with expressively undulating patterns and, in the composer’s words, “cast onto a higher spiritual plane.” — © Thomas May
Johann Sebastian Bach
Though by the time of his death J.S. Bach was renowned more as a master of the organ than as an up-to-date composer (indeed, he was composing in an anachronistic style and was looked on as something of a fuddy-duddy in the mid-18th century), his fame was never lost for good.
Many composers of the highest renown learned from his work — though only specific parts of it. His voluminous series of church cantatas rested on the shelves of the Thomaskirche in Leipzig or were divided up as an inheritance among his musical sons (not all of whom took good care of them); the portion of his output that remained generally familiar was his extensive series of keyboard works. A few composers like Mozart actually visited Leipzig and expressed astonishment at the choral motets that they saw there, but others, like Beethoven, found extraordinary resources in just the
keyboard music, which Bach wrote both as showpieces for himself and his pupils and as compositional models for students.
When Bach applied for the position at the Church of St. Thomas, he knew that he would have to prove his ability as a teacher. He had never gone to university, nor had he run an academic program, as he would be required to do in Leipzig. He had already, however, been a very successful teacher of private pupils (including his own children), and he had produced valuable teaching materials for them. He evidently decided to assemble some of these materials into published collections about this time as a way of strengthening his application.
Thus in 1722 he produced The WellTempered Clavier (which we now identify as Volume I, because of the appearance of the second set), and the collection of twopart Inventions and three-part Sinfonias (sometimes also referred to as “threepart inventions”). These were prepared for publication under the title Aufrichtige
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Anleitung (Straightforward Introduction) in 1723. Since virtually all keyboard students for two centuries have played many of these works, we might assume that their principal purpose was digital exercise — teaching young keyboardists to play two (and later three) lines with an independence and flair that would bring the music to life.
But Bach’s preface to the entire series indicates that his goal begins with technique but moves on to provide models for composition. He aims for “lovers of the clavier” not only “(1) to learn to play clearly in two voices” but later “(2) to deal correctly and well with three obbligato parts” and to learn how to invent and develop useful thematic ideas. There is more: he wants his pupils “to arrive at a singing style in playing and at the same time to acquire a strong foretaste of composition.” That is quite a challenge to be put on the shoulders of these 30 short pieces (15 each in two parts and three parts), but they seem to have served that purpose well.
The works in three parts, which Bach called “symphonies” (sinfonie) instead of inventions, usually offer one line that is clearly a supporting bass part, with two obbligato melodic lines that are often imitative.
To mention some possibilities: the D-major Sinfonia starts with a bass line that is independent of the upper voices, though later it takes on the same musical material, in a gesture towards fugal exposition. The F-minor Sinfonia is among the most often studied because of Bach’s expressive use of thorough chromaticism beginning in the descending bass line and carried into the upper parts. The lively F-major Sinfonia is brighter, with strettos that also suggest fugal statements in all three parts.
Beethoven himself treasured these miniature gems. Punning on Bach’s name (the German word for stream), he declared, “His name should not be Stream, but Ocean.”
— © Steven Ledbetter
Keith Jarrett arrived on the jazz scene in the 1960s at a time when it was rapidly changing. On the one hand, Ornette Coleman’s 1960 album Free Jazz had given a name to a new improvisational approach; on the other, Miles Davis, Herbie Hancock, and their colleagues were incorporating the sounds and techniques of rock and funk into their creations. Jarrett was at the forefront of many of these developments; but, alongside his work in these groups, he developed his own practice of improvised piano performances. Some of these have become legendary, such as the 1975 performance in Cologne which, as The Köln Concert, became the bestselling solo piano album ever released.
Encore from Tokyo is a transcription of an improvisation given as an encore to a concert in Tokyo on November 14, 1976. It was first released as part of Sun Bear Concerts, a 10-LP collection of solo recordings from his tour in Japan, whose title refers to an
animal Jarrett saw in a Japanese zoo, whose adorable demeanor belies its strength; Jarrett said that he “just liked that whole idea of an animal that looked like it would be nice to get close to, but if you did, it would shock your very conception of life.” The bear works as a metaphor for Jarrett’s music, with an easy-going exterior covering deeply powerful technique.
Most of the piece is based around a short repeating bass line, with Jarrett improvising a changing collection of melodies and harmonies around it. The technique is centuries old; some of the most famous works of Bach, Purcell, and Monteverdi follow the same principle. Jarrett demonstrates the breadth of his musicality by moving through different kinds of harmonies; some of them could almost come from Bach’s pen; some seem closer to the focused patterning of Philip Glass. But then, Jarrett’s jazz background breaks through, as the closely wrought lines break into strands of free-flowing soulful melody.
— © Joel Rust
EJ Thomas Performing Arts Hall—The University of Akron Tuesday, December 3, 2024, at 7:30 p.m.
Joyce DiDonato • Kings Return • Craig Terry
Do You Hear What I Hear? ...............................................................
Gloria Shayne;Lyrics: Noel Regney; Arrangement: Paul Langford
Ding Dong Merrily on High ...................................................
Thoinot Arbeau; Lyrics: G.R. Woodward; Arrangement: Charles Wood
Candlelight Carol ................................................................................................................................. John Rutter
O Holy Night Adolphe Adam
Ave Maria Franz Schubert; Arrangement: Rob Dietz
Carol of the Bells Mykola Leontovych
Until I Found the Lord Walter Hawkins; Arrangement: Kings Return Sweet Little Jesus Boy Robert MacGimsey Ave Maria Pietro Mascagni
Walking in the Air..........................
Howard Blake (From The Snowman); Arrangement: Ben Bram I Wonder as I Wander John Jacob Niles; Arrangement: TBD Go Tell it on the Mountain .................................... John Wesley Work Jr.; Arrangement: James Ros
Rejoice/Hallelujah
George Frideric Handel; Arrangement: Jalen Scott & Craig Terry
Nutcracker Suite............................................. Pyotr Ilych Tchaikovsky; Arrangement: Erin Bentlage I’ll be Home for Christmas Walter Kent; Lyrics: Kim Gannon; Arrangement: Kings Return Motown Medley ...............................................................................................Arrangement: Jared Jenkins
Chestnuts Roasting on an Open Fire
Christmas Waltz ........................................
Mel Tormé; Lyrics: Robert Wells
Sammy Cahn and Jule Styne; Arrangement: Craig Terry
Angels Edward Shippen Barnes; Lyrics: James Chadwick
Happy Holidays ................................................................................................................................Irving Berlin
Sleigh Ride Leroy Anderson; Lyrics: Mitchel Parish; ......................................................................................................... Arrangement: Jalen Scott & Craig Terry
Our thanks to the Firestone Madrigal Singers, directed by Megan Meyer, for sharing their musical talents with us in the lobbies before tonight’s concert.
On stage this evening is Tuesday Musical’s Three Graces Steinway D Piano.
The artists and merchandise will be in the Robertson Lobby following this evening’s performance.
Among Tuesday Musical’s generous season supporters:
Lisle M. Buckingham Endowment Fund of Akron Community Foundation, Kenneth L. Calhoun Charitable Trust, Betty V. and John M. Jacobson Foundation, KeyBank Trustee, Mary and Dr. George L. Demetros Charitable Trust, Gertrude F. Orr Trust Advised Fund of Akron Community Foundation, Charles E. and Mabel M. Ritchie Memorial Foundation, Helen S. Robertson Fund of Akron Community Foundation, Sisler McFawn Foundation, Lloyd L. and Louise K. Smith Foundation, Welty Family Foundation
Joyce DiDonato
Mezzo Soprano
Multi-GRAMMY Award winner and 2018 Olivier Award winner for Outstanding Achievement in Opera, Kansasborn Joyce DiDonato entrances audiences across the globe, and has been proclaimed “perhaps the most potent female singer of her generation” by The New Yorker. With a voice “nothing less than 24-carat gold” according to The Times, Joyce has towered to the top of the industry as a performer, a producer, and a fierce advocate for the arts. With a repertoire spanning over four centuries, a varied and highly acclaimed discography, and industry-leading projects, her artistry has defined what it is to be a singer in the 21st century.
Joyce’s distinctively varied 2024-25 season includes a return to Teatro Real Madrid for Handel’s Theodora and a European recital
tour with Craig Terry featuring performances at Teatro alla Scala, Deutsche Staatsoper Berlin, Athens Megaron, and Palau de la Musica de Valencia.
In concert, Joyce continues her celebrated musical partnership with Yannick NezetSeguin and the Philadelphia Orchestra and makes her debut with The Norwegian National Opera Orchestra and London Philharmonic Orchestra. In December 2024, Joyce joins forces with Dallas-based a capella group Kings Return for a festive tour around the U.S. An intensive residency with the Dortmund Konzerthaus in the spring features the world premiere of a new song cycle by Rachel Portman, as well as her concert debut in Handel’s Jephtha.
To end the season, Joyce premieres a highly anticipated new work by Kevin Puts for the Bregenz Festival. Written for Joyce and the GRAMMY Award-winning string trio, Time
For Three, it features the poetry of Emily Dickinson.
In September 2024, Joyce was honored to have been awarded the 14th-ever Concertgebouw Prize for her exceptional contribution to the artistic profile of the Concertgebouw.
Recent highlights include opening The Metropolitan Opera’s 2023 season performing her signature role of Sister Helen in Jake Heggie’s Dead Man Walking, returning later in the season to revive her acclaimed Virginia Woolf in Kevin Puts’ The Hours. The 23-24 season also saw Joyce touring and recording Dido & Aeneas with II Pomo d’Oro and her GRAMMY Award winning solo album Songplay.
She concluded her season by wrapping up her ground-breaking three-year project, EDEN, touring it to Asia, South America and Europe. Seen by more than 15 million people, EDEN traveled to 50 cities, won numerous awards, and included more than 3,500 children in its ground-breaking educational activities. Streamed in Beijing, filmed in
Ancient Olympia, it will also be broadcast on Medici TV and Mezzo this season.
On the operatic stage, Joyce’s recent roles include Agrippina at the Metropolitan Opera and in a new production at the Royal Opera House, Didon in Les Troyens at the Wiener Staatsoper; Sesto in Cendrillon and Adalgisa in Norma at the Metropolitan Opera; Agrippina in concert with II Pomo d’Oro under Maxim Emelyanchev; Sister Helen in Dead Man Walking at the Teatro Real Madrid and London’s Barbican Centre; Semiramide at the Bavarian State Opera and Royal Opera House, and Charlotte in Werther at the Royal Opera House.
Much in demand on the concert and recital circuit, Joyce has held residencies at Carnegie Hall and at London’s Barbican Centre, toured extensively in the United States, South America, Europe and Asia and appeared as guest soloist at the BBC’s Last Night of the Proms. Other concert highlights include the Berlin Philharmonic under Sir Simon Rattle, Orchestre Revolutionnaire et Romantique under Sir John Eliot Gardiner,
the Philadelphia Orchestra under Yannick NezetSeguin, and the Accademia Santa Cecilia Orchestra and the National Youth Orchestra USA under Sir Antonio Pappano. An exclusive recording artist with Warner Classics/Erato, Joyce’s expansive discography includes the highly celebrated Les Troyens (winning Gramophone’s coveted Recording of the Year) and Handel’s Agrippina (Gramophone’s Opera Recording of the Year). Joyce’s other albums include her singular EDEN, the acclaimed Winterreise with Yannick NezetSeguin, GRAMMY Award winning Songplay, and more. Other honors include the Gramophone Artist and Recital of the Year awards as well as being an inaugural inductee into the Gramophone Hall of Fame.
Dallas-based Kings Return was first conceived in 2016 when bass Gabe Kunda asked some friends to perform with him for a college recital. The a cappella performance captivated the crowd and soon led to local gigs where the group cut their teeth before finalizing the lineup in 2020.
Featuring tenor Vaughn Faison, bass Gabe Kunda, tenor JE McKissic, and baritone Jamall Williams, the quartet has captured the hearts of millions of fans in-person and online — especially with their bare-bones stairwell performances that went viral in the early days of COVID.
They earned their first taste of fame in summer 2020, when they arranged, performed, and posted a video of their soul-stirring, a cappella rendition of God Bless America. The next year, they posted a more classical a cappella performance of Ubi
Caritas, which amassed more than 10 million views.
They dropped their debut EP in December 2021 — a warm, jazz-leaning holiday album titled Merry Little Christmas — followed by the June 2022 release of their stunning Bee Gees cover How Deep is Your Love off debut LP ROVE, which earned a GRAMMY nomination for “best arrangement instrumental or a cappella.” Epic, expansive, and polished, ROVE was released in September 2022, showcasing a nuanced attention to detail and a remarkable fusion of four distinctive, classically trained voices into one elegant and intricate whole. Their first full-length holiday LP, aptly titled We 4 Kings, was released in November 2023.
“We don’t use any instruments, and it can feel very vulnerable to perform on stage alone, especially as Black men — with all the stigma that entails,” says founder Gabe Kunda. “When we come together to do this vulnerable thing called a cappella, it strengthens our bonds. It makes us tighter as a unit and as human beings. We want to be examples for other men like us.”
GRAMMY Award-winning pianist and arranger Craig Terry enjoys an international career regularly performing with the world’s leading singers and instrumentalists. Currently Craig serves as music director of
The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago after having served for 11 seasons at Lyric as assistant conductor. Previously, he served as assistant conductor at the Metropolitan Opera after joining its Lindemann Young Artist Development Program.
Craig has performed with such esteemed vocalists as Jamie Barton, Stephanie Blythe, Christine Brewer, Janai Brugger, Lawrence Brownlee, Nicole Cabell, Sasha Cooke, Eric Cutler, Danielle de Niese, Joyce DiDonato, Giuseppe Filianoti, Renée Fleming, Christine Goerke, Susan Graham, Denyce Graves, Bryan Hymel, Brian Jagde, Joseph Kaiser, Quinn Kelsey, Kate Lindsey, Amanda Majeski, Ana María Martínez, Eric Owens, Ailyn Perez, Nicholas Phan, Susanna Phillips, Luca Pisaroni, Patricia Racette, Hugh Russell, Bo Skovhus, Garrett Sorenson, Heidi Stober, Christian Van Horn, Amber Wagner, Laura Wilde, and Catherine Wyn-Rogers. He has collaborated as a chamber musician with members of the Metropolitan Opera Orchestra, the Lyric Opera of Chicago Orchestra, the Gewandhaus Orchester, and the Pro Arte String Quartet.
Craig’s upcoming and recent highlights include more than 40 concerts in North America, Europe, and Asia with artists including Katherine Beck, Ben Bliss, Christine Brewer, J’Nai Bridges, Lawrence Brownlee, Andriana Chuchman, Joyce DiDonato, Christine Goerke, Will Liverman, Ana María Martínez, Whitney Morrison, Richard Ollarsaba, Susanna Phillips, David Portillo, Patricia Racette, Hugh Russell, and Laura Wilde.
He is artistic director of “Beyond the Aria,” a highly acclaimed recital series now in its ninth sold-out season, presented by the Harris Theater in collaboration with the Ryan Opera Center and Lyric Opera of Chicago.
Craig’s discography includes five recently released recordings: Diva on Detour with Patricia Racette, As Long As There Are Songs with Stephanie Blythe, Chanson d’Avril with Nicole Cabell, and French Horn Recital from 24 Preludes, Op. 11 - Alexander
Scriabin with Lyric Opera principal horn Jonathan Boen. His latest recording project with Joyce DiDonato, Songplay, released by Warner Classics, received the 2020 GRAMMY award for Best Classical Solo Vocal Album.
Craig hails from Tullahoma, Tennessee, received a bachelor of music degree in music education from Tennessee Technological University, continued his studies at Florida State University, and received a master of music degree in collaborative piano performance from the Manhattan School of Music, where he was a student of renowned pianist Warren Jones.
www.ashlandsymphony.org 419-289-5115
Donations enable Tuesday Musical to share the world’s best music and musicians throughout our community.
Are you — and perhaps a few of your friends — interested in funding a specific budget item? Perhaps in honor of a friend or family member? (Unrestricted gifts for our general operating fund are always welcome, too!)
Wish List:
● Fuel for performers (concert meals and snacks): starting at $55 per concert, depending on numbers and needs of musicians.
● Street banners in downtown Akron: $125 each.
● Paper stock for concert tickets: $225 for a case.
● Facebook advertising: $350 per concert.
● Underwrite the cost of one bus for a school group to attend a concert: $300.
● Concert promo postcard, printing and mailing: $500 per concert.
● Concert Conversation in EJ’s Flying Balcony: $400 per concert.
● Sponsor a post-concert reception with the guest artist(s): $1,500.
● Sponsor a concert: starting at $10,000.
● Endow and name a scholarship: starting at $20,000.
Generous Wish Granters (thank you!):
● Linda Bunyan: Fuel for performers (concert meals and snacks).
● Judith Dimengo: Underwriting the cost of buses for 10 school groups to attend concerts.
● Barbara and Mark MacGregor: Sponsorship of piano concert at EJ Thomas Hall.
● Cecilia and Nathan Speelman: Fuel for performers (concert meals and snacks).
● Fred and Elizabeth Specht: Underwriting performance fees and supporting scholarships for young musicians.
● Bob and Beverley Fischer: Funds to purchase a letter-folding machine, given in honor of Karla Jenkins’ service to Tuesday Musical.
● Michael Kaplan: Underwriting the cost of six buses for school groups to attend concerts.
For more information, please contact Cynthia Snider at 330-761-3460 or csnider@tuesdaymusical.org or write to Tuesday Musical at 1041 W. Market St., Ste. 200, Akron, OH 44313
Tuesday Musical is a 501(c)(3) non-profit organization. Donations are fully deductible as provided by law.
On stage and throughout the community, Tuesday Musical is enticing and engaging generations of music lovers by making great music accessible and relevant.
● Continuing a longtime tradition, students of any age can attend all Tuesday Musical concerts and education programs for free through our Student Ticket Voucher Program. Tuesday Musical also covers the cost of bus transportation for schools bringing students to any concert or engagement activity. Tuesday Musical is the only organization providing this in Summit County and perhaps in NE Ohio.
● Brahms Allegro, Tuesday Musical’s junior music club, encourages young musicians to develop their skills, perform for their peers, and compete in regional competitions. For more information, contact info@tuesdaymusical.org or 330761-3460
● Begun in 1955, Tuesday Musical’s Annual Scholarship Competition for college and university students majoring in music performance and/or music education is widely recognized as the best in Ohio. The 2025 Competition is March 22 in Akron. Online applications open January 1-February 1 at tuesdaymusical.org/ education.
Nov 26 - Mar 2
2024 | 2025
What draws us to the darkness? Artists have long found their voice in the dark, and have used their creativity to guide them. We explore the surreal, nightlife, mythology, and beyond in a dreamy composition of art and stories shrouded in the mystery, menace, inspiration, and promise of the night.
Avant-garde, bohemian, and outrageous ... with roots in the early 1900s, Cleveland’s Kokoon Klub artists stood for originality, self-expression, and freedom of thought. For 40+ years, the Kokoon Klub was a transformative force in Cleveland’s (and even the nation’s) cultural history and produced many celebrated artists of the Cleveland School. This unmasquing exhibition is in partnership with Cleveland History Center, Kent State University, Cleveland Public Library, and private collections featuring Klub fine art originals, posters, invitations, and more.
Explores the enigmatic realms of life and death and the mysteries that unite and distinguish these existences.
Inspired by a grandfather’s tile setting in Mexico and Texas, an artist’s papermaking and printmaking celebrates his influence.
Images (top to bottom): Nite Station, c. 1985. Romare Bearden (American: 1911-1988). Watercolor on paper, 14 x 19 ½ in. Canton Museum of Art Collection. Number 2007.9. 11th Bal Masque Poster, 1924. Joseph Jicha (American: 1901-1960). Lithograph on paper. On loan from the Daniel Bush and Hilary Gent Collection. Bal Dynamique, 1929. Rolf Stoll (American: 1892-1978). Lithograph on paper. On loan from Private Collection.
We gratefully acknowledge all donors this season. Thank you for helping Tuesday Musical continue to inspire current and future generations of music lovers. This list includes this season’s donors who have given at least $200 as of November 4, 2024.
Director $5,000+
Jerry Davidson bequest
Louis Elsaesser
Donald M. and Mary E. Jenkins Family Trust
Cynthia Knight
Martha Lanning
Linda and Paul Liesem
Kenneth Shafer
Tim and Jenny Smucker
Fred and Elizabeth Specht
Darwin Steele
James and Linda Venner
Benefactor $1,500 to $4,999
John and Kathleen Arther
Lee and Floy Barthel
Earl and Judy Baxtresser
Sally Childs
Judith Dimengo
Barbara Eaton
Bob and Beverley Fischer
Sharon and Bob Gandee
Elaine Guregian
Bruce Hagelin
Dottie and DuWayne Hansen
David and Margaret Hunter
Michael Kaplan
Beatrice K. McDowell Family Fund
Marianne Miller
Michael and Lori Mucha
Arlene Nettling
Claire and Mark Purdy
Richard and Alita Rogers
Peter and Nanette Ryerson
Bunnie & Jerome Sachs
Family Foundation
Patricia Sargent
Cynthia and Larry Snider
Nathan and Cecilia Speelman
Michael and Elizabeth Taipale
Ken and Martha Taylor
Sustainer $700 to $1,499
Richard and Eleanor Aron
Sandy and Mark Auburn
Ellen Botnick
Robert Carlyon
Mary Lynn and Tom Crowley
Karen Dorn
Kate Fiala
Paul and Jennifer Filon
Michael Frank
Sue Gillman
Lloyd and Grace Goettler
Louise Harvey
Dorothy Lepp
Steve and Celeste Myers
Dianne and Herb Newman
George Pope
Roger and Sally Read
Pamela Rupert
Richard Shirey
Sandra Smith
Jennifer and Jeffrey Stenroos
Carol Vandenberg
John Vander Kooi
Shirley Workman
Patron $400 to $699
Linda Bunyan
Amielie and Phil Cajka
Barbara and Denis Feld
Ted and Teresa Good
Barbara and Mark MacGregor
Anita Meeker
Charles and Elizabeth Nelson
Landon Nyako and Dallas Moore
Roger F. Ream DDS
Jean Schooley
Sandra Smith
Mickey Stefanik
Gail Wild
Bruce Wilson
Carol and Bob Zollars
Donor $200 to $399
Ham and Beth Amer
Anonymous
Guy and Debra Bordo
Alfred Cavaretta
Frank Comunale
Robert and Susan Conrad
Laurie Coyle
Roberta DePompei
Michael Dunn
Roger and Ann Edwards
Rick Elliott
Benjamin Flaker
Nicole and Alan Gaffney
Rosemarie George
Stanislav Golovin
Mark Greer
Ian Haberman
Michael T. Hayes
John and Suzanne Hetrick
Betty Howell and Mike Smith
David Hunt
Mary Ann Jackson
Karla and Mark Jenkins
William Jordan and Laurel Winters
Greer Kabb-Langkamp
Gretchen Laatsch and James Switzer
George Litman
Cheryl and Tom Lyon
Jim and Mary Messerly
Alan and Lori Mirkin
Paul and Alicia Mucha
Judith Nicely
Annette Nicoloff and Kristine Mikolajczk
Pauline Persons
Paula Rabinowitz
Kathy Rose
John Schambach
Anna Marie Schellin
Rachel Schneider
Fred and Karen Schreckengost
Philip Schuchter
Betty and Joel Siegfried
James Simon
Joe Skubiak
Elinore Stormer
Jorene Whitney
Jamie Wilding and Caroline Oltmanns
Terry and Susan Yingling
These generous donors have chosen to honor special people in meaningful ways. List as of November 4, 2024.
In memory of Melanie Baird
Barbara Herberich
In memory of Margaret Baxtresser
Floy and Lee Barthel
Earl and Judy Baxtresser
Elaine Guregian
Barbara and Mark MacGregor
In memory of John Bertsch
Barbara Eaton
Barbara and Denis Feld
Bruce Hagelin
Dorothy Lepp
In honor of Bobbie Eaton
Austin and Amanda Ferguson
In memory of William Eaton
Doris St. Clair
In memory of Jaymi Blossom Feeney
Robin Blossom
In honor of Denis and Barbara Feld
Jerry and Judi Brenner
Shirley Workman
In honor of Austin and Richard Ferguson
David Hunt
In memory of Mary Ann Griebling
Barbara Eaton
Bruce Hagelin
Dorothy Lepp
Shirley Workman
In memory of Joy Hagelin
The Hagelin and Wolff families
Moneeb Iqbal
Anita Meeker
Marianne Miller
In memory of Betty Howell
Nancy Bagwell
Bill Cervenik
Thomas and Barbara Cook
Sue and Ken Keller
Point Comfort Association
Tuesday Musical Staff
In memory of Kay Jenkins
Bob and Beverley Fischer
In memory of Martha Kelly
Susan and Charlie Akers
Frank Comunale
Mike and Debi Coudriet
Cynthia Knight
Loman and Susan Lindeman
Rosemary Lombardi
Stephen L. Meyer
Becky Michael
Betty and Joel Siegfried
Linda S. Smith
Charlcie and Charlie Towne
In memory of Natalie Miahky
Sally Childs
Frank Comunale
Barbara Eaton
Barbara and Denis Feld
Bruce Hagelin
DuWayne and Dorothy Hansen
Moneeb Iqbal
Mark and Karla Jenkins
Dorothy Lepp
Cynthia Snider
Gail Wild
Shirley Workman
In honor of George Pope
Fred and Elizabeth Specht
In memory of Austin Ferguson’s grandmother, Deloris Quinn
Bob and Beverley Fischer
In memory of Rosemary Reymann
Barbara Eaton
Barbara and Denis Feld
Bruce Hagelin
Cynthia Knight
In memory of Robert Roach
Marjorie Donahue
In memory of Dr. Bruce and Lola Rothmannn
Elizabeth Rusnak
Mickey Stefanik
In memory of their parents
Nathan and Cecilia Speelman
In memory of Cindy Stefanik
Mickey Stefanik
In memory of Dr. Kenneth Swanson
Mickey Stefanik
In memory of Bob Whittum
Barbara and Denis Feld
Bille Whittum
In memory of Virginia Wojno
Bob and Beverley Fischer
Shirley Workman
In honor of Shirley Workman
Anita Meeker
In honor of Tuesday Musical’s staff
Barbara Eaton
Through their vital support, these organizations help to sustain Tuesday Musical and the arts throughout our region. List as of November 4, 2024.
$25,000+
William Bingham Foundation
GAR Foundation
Hillier Family Foundation
John S. and James L. Knight Foundation Ohio Arts Council
$10,000 to $24,999
Akron Community Foundation
Howard Atwood Family Fund of Akron Community Foundation
Mary S. and David C. Corbin Foundation
Mary and Dr. George L. Demetros Charitable Trust Kulas Foundation
Gertrude F. Orr Trust Advised Fund of Akron Community Foundation
Peg’s Foundation
Charles E. and Mabel M. Ritchie Memorial Foundation
Lloyd L. and Louise K. Smith Foundation
$5,000 to $9,999
The Lisle M. Buckingham Endowment Fund of Akron Community Foundation
Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee
Betty V. and John M. Jacobson Foundation
John A. McAlonan Fund of Akron Community Foundation
Polsky Fund of Akron Community Foundation
Helen S. Robertson Fund of Akron Community Foundation
Sisler McFawn Foundation
Welty Family Foundation
$1,000 to $4,999
C. Colmery Gibson Fund of Akron Community Foundation
KeyBank Foundation
Lehner Family Foundation
Beatrice K. McDowell Family Fund
W. Paul Mills and Thora J. Mills Memorial Foundation
Laura R. and Lucian Q. Moffitt Foundation
R. C. Musson and Katharine M. Musson Charitable Foundation
Ohio Federation of Music Clubs
Synthomer Foundation
Business Partners
Tuesday Musical thanks these businesses for their financial support. As our partners, they are investing in the community where their customers, employees, and families live, learn and work.
The Schauer Group and Chad Immel at Edward Jones in Fairlawn are among Tuesday Musical’s Business Partners.
Is your business interested in connecting with well-educated and sophisticated arts supporters and community leaders throughout Greater Akron and Northeast Ohio? To discuss options and opportunities, please contact Cynthia Snider, executive director of Tuesday Musical, at 330-7613460 or csnider@tuesdaymusical.org.
Executive Committee
President Claire Purdy
Vice President/President Elect James Wilding
Treasurer Paul Mucha
Secretary Sally Childs
Governance Committee Chair Linda Liesem
Artistic Planning Cynthia Snider
Brahms Allegro Jennifer Stenroos
Development Louise Harvey
Finance Paul Mucha
Hospitality Bobbie Eaton
Membership Fred Specht
Member Programs Stanislav Golovin
Scholarship Co-Chairs Mark Greer, George Pope
Education Co-Chairs Teresa Good, Michele Monigold At-Large Members Theron Brown, Diane Klein, Bryan Meek, Marianne Miller, Landon Nyako, Marc Weagraff, Shirley Workman
Staff
Executive Director Cynthia Snider
Director of Finance and Audience Services Karla Jenkins
Director of Artistic Operations
and Educational Engagement Austin Ferguson
Marketing Consultants Brett Della Santina, Jim Sector
Social Media Assistant Amie Cajka
Program art direction by Live Publishing Co.