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Imani Winds January 25, 2017
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tuesday musical presents
St. Petersburg Philharmonic with pianist Nikolai Lugansky
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ussia’s oldest symphony orchestra—and one of the world’s greatest—will fill Akron’s EJ Thomas Hall with its soulstirring signature sound.
Experience this legendary orchestra, joined by pianist Nikolai Lugansky in Tuesday Musical’s always popular Margaret Baxtresser Piano Concert.
Nikolai Lugansky Margaret Baxtresser Pianist for 2017
Wednesday, March 1, at 7:30 p.m. EJ Thomas Hall Pre-concert talk at 6:30 p.m.
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tuesday musical
tuesday musical concert series 2016 | 2017
concert series
The University of Akron EJ Thomas Performing Arts Hall Wednesday, January 25, 2017, 7:30 pm
Imani Winds Valerie Coleman, flute/composer • Toyin Spellman-Diaz, oboe • Mark Dover, clarinet Jeff Scott, French horn/composer • Monica Ellis, bassoon
Considered Modern Jeff Scott (b.1967)
Startin’ Sumthin’
Elliott Carter Quintet for Winds (1908-2012) Allegretto Allegro giocoso Paquito D’Rivera Kites (b.1948) Kites Over Havana Wind Chimes INTERMISSION Ruth Crawford Seeger Suite for Wind Quintet (1901-1953) Allegretto Lento rubato Allegro possibile Valerie Coleman Rubispheres No.1 (for wind trio) (b.1971) DROM Serenade Revival Simon Shaheen Dance Mediterranea (b.1955) arr. Jeff Scott This evening’s pre-concert talk featured members of Imani Winds and Mike Telin, executive editor of clevelandclassical.com Imani Winds appears by arrangement with Arts Management Group, Inc
Among Our Season Supporters:
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OBERLIN COLLEGE & CONSERVATORY
ARTIST RECITAL SERIES MARILYN HORNE MASTER CLASSES 8 PM FRIDAY, FEBRUARY 17 & 2 PM SUNDAY, FEBRUARY 19, 2017
TAFELMUSIK Performing Bach’s The Circle of Creation 8 PM TUESDAY, FEBRUARY 28, 2017
RICHARD GOODE, PIANO Performing Beethoven sonatas spanning the composer’s three style periods 4 PM SUNDAY, APRIL 9, 2017
THE CLEVELAND ORCHESTRA With music by Delius, Vaughan Williams, and Strauss 8 PM FRIDAY, APRIL 21, 2017 Artists and dates are subject to change. For ticket information, call 800-317-0178 or visit oberlin.edu/artsguide.
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The Artists
Imani Winds Pushing classical music across borders
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xtolled by the Washington Post as “exuding a sultry sophistication during performances,” Imani Winds has established itself as one of the most successful chamber music ensembles in the United States. Since 1997, the Grammy-nominated quintet has taken a unique path, carving out a distinct presence in the classical music world with its dynamic playing, culturally poignant programming, adventurous collaborations, and inspirational outreach programs. With two member composers and a deep commitment to commissioning new work, the group is enriching the traditional wind quintet repertoire while meaningfully bridging European, American, African and Latin American traditions. Imani Winds’ touring schedule has taken them across the globe. At home, the group has performed in the nation’s major concert venues including Carnegie Hall, Lincoln Center, Kennedy Center, Disney Hall, and Kimmel Center. The group is frequently engaged by the premier chamber music series in Boston, San Francisco, Portland, Philadelphia and New York, and have also played virtually every major university performing arts series including those in Amherst, Ann Arbor, Austin, Seattle, Stanford, Urbana and countless others. Festivals include Presenting the Finest
tuesday musical concert series 2016 | 2017
Chamber Music Northwest, Santa Fe Chamber Music Festival, La Jolla Music Society, Virginia Arts Festival, Bravo! Colorado, and Ravinia Festival. In recent seasons, the group has traveled extensively internationally, with tours in China, Singapore, Brazil, and throughout Europe. Recent season highlights include debuts at La Folle Journee in Nantes, France, and in London’s Wigmore Hall. In 2015 they also debuted at Paris Jazz Festival and were featured at the Huntington Estate Festival in Australia. The group continues its Legacy Commissioning Project, in which the ensemble is commissioning, premiering and touring new works for woodwind quintet written by established and emerging composers of diverse musical backgrounds. The Legacy Project kicked off in 2008 with world premieres by Alvin Singleton and Roberto Sierra. Since then, projects have included works by Jason Moran, Stefon Harris, Danilo Perez, Simon Shaheen, and Mohammed Fairouz. The group’s fifth album on E1 Music—titled Terra Incognita after Wayne Shorter’s piece written for the group—is a celebration of the Legacy project with new works written for Imani Winds by Mr. Shorter, Jason Moran, and Paquito D’Rivera. In 2015 they premiered a new work by Frederic Rzewski at Duke University’s Duke Performances. The wide range of programs offered by Imani Winds demonstrates their mission to expand the repertoire and diversify new music sources. From Mendelssohn, Jean Françaix, György Ligeti, and 11
The Artists Luciano Berio, to Astor Piazzolla, Elliott Carter and John Harbison; and to the unexpected ranks of Paquito D’Rivera and Simone Shaheen, Imani Winds actively seeks to engage new music and new voices into the modern classical idiom. Imani members Valerie Coleman and Jeff Scott both regularly contribute compositions and arrangements to the ensemble’s expanding repertoire, bringing new sounds and textures to the traditional instrumentation. This past year they premiered a concert-length new work by Mr. Scott written for Imani Winds, jazz trio and string quartet titled The Passion, which musically explores the idea of a fictitious meeting between JS Bach and John Coltrane. Through commissions and performance the quintet regularly collaborates with artists ranging from Yo-Yo Ma to Wayne Shorter. Shorter’s Terra Incognita—his first-ever composition for another ensemble—was premiered by Imani Winds. The group went on to perform extensively with Shorter at major European festivals such as the the North Sea Jazz Festival, and in North America at venues such as Carnegie and Disney halls. On Shorter’s acclaimed 2013 release on Blue Note, Without a Net, Imani Winds was featured
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prominently. The group’s Chamber Music Society of Lincoln Center residency culminated in a recital in New York’s Alice Tully Hall with renowned clarinetist/saxophonist/composer Paquito D’Rivera. The ensemble has also worked with luminaries such as bandoneonist Daniel Binelli, the Brubeck brothers, the Fisk Jubilee Singers, clarinetist David Shifrin, and pianists Gilbert Kalish and Shai Wosner. Their ambitious project “Josephine Baker: A Life of Le Jazz Hot!” brought chanteuse René Marie with them to New York, San Francisco, Los Angeles, and St. Louis. Imani Winds enjoys frequent national exposure in all forms of media, including features on NPR’s All Things Considered, appearances on APM’s Saint Paul Sunday and Performance Today, BBC/ PRI’s The World, as well as frequent coverage in major music magazines and newspapers including the New York Times and Wall Street Journal. The group maintains a relationship with Sirius-XM and has been featured multiple times and on various channels. Their excellence and influences have been recognized with numerous awards including the 2007 ASCAP Award, 2002 CMA/ASCAP Award for Adventurous Programming, as well as the
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CMA/WQXR Award for their debut and selfreleased recording Umoja. At the 2001 Concert Artists Guild International Competition, Imani Winds was selected as the first-ever Educational Residency Ensemble, in recognition of their tremendous musical abilities and innovative programming. Imani Winds’ commitment to education runs deep. The group participates in residencies throughout the U.S., giving master classes to thousands of students a year. In the summer of 2010, the ensemble launched its annual Chamber Music Festival. The program, now in its 6th year, brings together young instrumentalists from across North America and beyond for an intense week of music exploration. The participants have gone on to sundry successes across the world, ranging from winning positions in orchestras around the country to founding their own music educational programs. Imani Winds has five releases on E1 Music, including their 2006 Grammy Award nominated recording titled The Classical Underground. They have also recorded for Naxos and Blue Note. The group’s The Rite of Spring on Warner Classics was on iTunes Best of 2013 list.
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save the date April 7, 2017 Greystone Hall, Akron
choral • ography \ˈkᴐɾʌlˈᴐɡɾʌfi\ (n) An interactive evening of choral music and dance.
syn. A benefit evening for Summit Choral Society. Ilene Shapiro, County Executive County of Summit, Ohio Honorary Chair
: :
www.summitchoralsociety.org 330.434.SING [7464]
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Program Notes Jeff Scott Startin’ Sumthin’
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tartin’ Sumthin’ is a modern take on the genre of Ragtime music. With an emphasis on ragged! The defining characteristic of Ragtime music is a specific type of syncopation in which melodic accents occur between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat. The ultimate (and intended) effect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music. Scott Joplin, the composer/pianist known as the “King of Ragtime,” called the effect “weird and intoxicating.”— Jeff Scott
Elliott Carter Quintet for Winds
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he late 1940s were a period of crucial change for Elliott Carter. Although his early career had been dominated by choral compositions, Carter abandoned the genre
completely after the completion of Emblems in 1947. The Sonata for Violoncello and Piano from 1948 demonstrated Carter’s striking new ideas about rhythmic flow, textural organization, and idiomatic color, and pointed in a direction quite different from the cagey neoclassicism that had characterized earlier works. Standing in stark contrast to these developments, however, is the Woodwind Quintet, the careful formulation and expressive sheen of which seem to suggest a nostalgia based on embellished memories -recollections of an “earlier style” in which Carter never actually composed. The piece is meticulously tooled and contrapuntally sound; its contours are carefully shaped into graceful designs and configurations. The sense of consensus that permeates the instrumental layers of the work stands in opposition to the concept of absolute textural autonomy that stratifies the individual layers of pieces like the Cello Sonata. Which isn’t to say that the Woodwind Quintet is somehow insincere; its dedication to Nadia Boulanger, the venerated matron of twentieth-century music and Carter’s former mentor, bears no trace of ill will. In fact, the work seems to be the highest form
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of homage: Carter surrenders his own stylistic tastes and aesthetic agendas, in order to take on the voice of another. The composer himself admitted that he tried to compose the quintet in such a fashion that it would emerge as the kind of music that Boulanger would have wanted him to compose. Any irony of expression, then, is not born of satirical self-denial, but of self-conscious consecration. The first of the Quintet’s two movements is a colorful allegretto with a lively textural landscape. Though the gestures taken up by the different members of the ensemble are all coordinated, their actual materials offer a wide range of contrasts. Above an initial drone in the bassoon and horn, the flute engages in repeated syncopations, while the clarinet comments with florid scalar figures and the oboe plugs away with steady staccatos. As the movement progresses, these various shapes wind their way through the ensemble. This presages techniques found in later works as well—although when it occurs, for example, in the Brass Quintet of 1974, this “textural counterpoint” does not emphasize thematic cohesion, but rather takes its place altogether. Occasionally, Carter is unable to hide
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Program Notes his own voice (or we are unable to distinguish it from Boulanger’s): the close imitative material, and the occasional moments of figurational obsession, appear as topoi for the Eight Etudes of 1949 (compare for example, the imitative half-step gestures near the beginning of the Woodwind Quintet to the cleverly incessant semitones of Etude IV). The second movement, marked Allegro giocoso, is infused with jazz motives and syncopated energy. It is built upon a series of convergences and divergences, with emphatic moments of unison, heterophony, or homophony separated by episodes of solo lines and imitative handoffs. Some figures stick out in a calculatedly awkward way -- a sudden and ridiculously solemn horn proclamation that momentarily commands the silent attention of the rest of the ensemble, or the oboe solo that is pulled out of the texture by a schmaltzy shift to triplets. The lighthearted intent of this movement is sealed in the last measures, as all the winds release their final note except for a sheepishly straggling clarinet. — Jeremy Grimshaw
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Paquito D’Rivera Kites
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omposer, clarinetist, and saxophonist Paquito d’Rivera, one of the most celebrated jazz and Latin musicians of his generation, has also built a reputation as a classical performer and composer since appearing as soloist with the National Symphony Orchestra in the premier of Roger Kellaway’s David Street Blues in 1988. His original compositions blend the influences of Cuban, African, American, jazz, popular, and classical idioms. D’Rivera has been artist-in-residence at the New Jersey Performing Arts Center and artistic director for jazz programming of the New Jersey Chamber Music Society, and serves on the boards of Chamber Music International, Chamber Music America, and the New York Virtuosi Orchestra. He is also artistic director of the Festival Internacional de Jazz en el Tambo in Punta del Este, Uruguay. D’Rivera has authored an autobiography (My Sax Life) and a novel (En Tus Brazos Morenos). Imani Winds has provided the following information about d’Rivera’s Kites Over Havana:
Kites over Havana was inspired by the following anonymous poem, which is spoken throughout the piece: I would like to be a kite, and soar up over the trees. I would like to try to reach the sky with butterflies and bees. I would like to be a kite, and with my tail of red and white I’d love to fly so high, the things below would disappear from sight. When once you have tested flight, you wil forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return. The poem is analogous to the concept of freedom. When truly free, one can soar like a kite and once that feeling is experienced, there is no turning back. However, even in freedom there are precincts, and although the kite has the freedom of flight, the string keeps in bound to the earth. Mr. d’Rivera was motivated to write Kites for Imani Winds because he felt the ensemble exemplifies this notion of freedom that is manifested through music and culture. — Dr. Richard E. Rodda and Monica Ellis
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Ruth Crawford Seeger Suite for Wind Quintet
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rom 1935, composer Ruth Crawford Seeger concerned herself primarily with folk song collecting, developing new methods of primary music education, and raising her large family. The demands of these multilevel responsibilities took their toll on Crawford Seeger’s inventiveness, and a mostly unbroken void creeps into her worklist from its peak in 1934 to a single, final concert work written nearly 20 years later. In 1951, at the urging of her friend Esther Williamson Ballou, Crawford Seeger joined the Washington, D.C., chapter of the National Association for American Composers and Conductors. Shortly afterward, the NAACC announced a competition for a new chamber work. Crawford Seeger set aside a large number of assignments in order to allow herself six weeks to produce a new work by the deadline. The result was Suite for Wind Quintet, which won the
competition. “I believe I’m going to work again— more” Crawford Seeger wrote to friends Carl and Charlotte Ruggles. “If I live to be 99 as my grandfather did, I will have 48 more years.” Suite for Wind Quintet is scored for flute, oboe, clarinet, horn, and bassoon, and is cast in three short movements totaling about ten minutes. This suite is lively, buoyant, conversational music with plenty of busy, yet idiomatic, writing for the winds. The work starts off in Crawford Seeger’s familiar, ostinato-based mode and winds up in a playful, very loose application of twelve-tone techniques. It ends quite abruptly, as if a pleasant conversation with an interesting person were terminated suddenly. Suite for Wind Quintet sounds throughout like a fine singer who is regaining her voice after a long period of disuse, not the valedictory statement of one who is to sing no more. However, the latter was the case with Ruth Crawford Seeger; diagnosed with cancer in 1953, she died within the year.— Uncle Dave Lewis
2016 2016–– 2017 2017 concert concert SeaSon SeaSon October October 16, 2016 2016 Winner Winner2016 2016International International Piano PianoCompetition Competition NIKITA NIKITA MNDOYANTS MNDOYANTS November November 6, 6, 2016 2016 Featured Featured Young Young Artist Artist The TheheIMAT heIMAT STrINg STrINg QuArTeT QuArTeT Patrick PatrickShaughnessy, Shaughnessy, violin; Aubrey AubreyHolms, Holms,violin; violin; Chung ChungHan HanHsiao, Hsiao, viola; Aaron AaronFried, Fried,cello cello February February 12, 12, 2017 2017 The TheClevelAND ClevelAND BluegrASS BluegrASS OrCheSTrA OrCheSTrA Mark MarkDumm, Dumm,banjo; banjo; Henry Henry Peyrebrune, Peyrebrune,guitar; guitar; Trina TrinaStruble, Struble, fiddle; fiddle; Derek Derek Zadinsky, Zadinsky,bass; bass; Jeff JeffZehngut, Zehngut, mandolin, mandolin,sax sax March March 12, 2017 2017 BlACK BlACK SQuIrrel SQuIrrel WINDS WINDS Danna DannaSundet, Sundet, oboe; oboe; Diane Diane McCloskey, McCloskey,flute; flute; Amitai AmitaiVardi, Vardi,clarinet; clarinet; Mark Mark DeMio, DeMio,bassoon; bassoon; Kent Kent Larmee, Larmee, horn horn April April 9, 2017 2017 OMNI OMNI STrINg STrINg QuArTeT QuArTeT Yung-Min Yung-MinAmy Amy Lee, Lee, violin; violin; Alicia AliciaKoelz, Koelz,violin; violin; Tanya TanyaEll, Ell,cello; cello; Joanna Joanna Zakany, Zakany,viola viola
For For TickeTs TickeTsand andinFormaTion: inFormaTion: visiT visiT MFTWR.oRg MFTWR.oRgor orcall call330-840-8429 330-840-8429
AllAllconcerts concertsbegin beginat at5:00 5:00 p.m. at at Christ ChristChurch ChurchEpiscopal. Episcopal.
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Valerie Coleman
Rubispheres
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ubispheres is a series of chamber trios depicting urban life and landscapes in the world. The first three Rubispheres of the series features wind trio (flute, clarinet and bassoon) in a set of exciting hip, rhythmic and virtuosic outer movements dedicated to the Lower East Side of Manhattan, and soulful song for Washington Heights at night. In concert, the entire set is about 15 minutes duration. —Valerie Coleman
Simon Shaheen arr. Jeff Scott Dance Mediterranea
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ance Mediterranea is one of Shaheen’s classic compositions. The essence of traditional Middle Eastern sounds met with virtuosic compositional technique is more than apparent in this multi-dimensional, multi-metered piece. It mixes improvisation with block ensemble writing concluding with a fiery finish. This arrangement stems from the collaboration Imani Winds has established with master oud player Simon Shaheen.—Imani Winds
2016-17 Concert Season Sunday, November 13 4 PM Always Something Sings … with Akron Chamber Strings Saturday, December 17 4 PM The Skies Rejoice: Carols for the Season Born … with the Paragon Brass Quintet
Samuel Gordon, Artistic Director Sunday, February 19 4 PM All Vivaldi program featuring the magnificent Gloria … with Akron Baroque Sunday, April 23 4 PM My Song In the Night Concerts at Faith Lutheran Church 2726 W. Market St., Akron, OH
All concerts are free and open to the public. Hear the chamber choir everyone raves about!
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2016-2017 Support: Individuals
T
uesday Musical gratefully acknowledges all donors this season. Because ticket sales cover only a small portion of what is needed to sustain the excellence of Tuesday Musical, every gift plays a significant role in the ongoing success of our Main Stage and Fuze concert series and Education and Community Engagement Programs. This list reflects gifts received through December 23, 2016. Director $5,000+ Stephen T. and Mary Ann Griebling Cynthia Knight “Three Graces Piano”— Anonymous Linda and Jim Venner Benefactor $1,500 to $4,999 Anne Alexander Family of Jeanette Bertsch Diana and John Gayer Dr. DuWayne and Dorothy Hansen David and Margaret Hunter Peter and Dorothy Lepp Natalie, Paul and Stephen Miahky George Pope Donald and Corrinne Rohrbacher Lola Rothmann Dr. Pamela Rupert Dr. Kenneth E. Shafer Tim and Jenny Smucker Tom and Meg Stanton Sustainer $700 to $1,499 Eleanor and Richard Aron Ann and David Brennan Denis and Barbara Feld Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Howard Greene Jarrod Hartzler Bruce and Joy Hagelin Dr. Tom and Mary Ann Jackson Paul and Linda Liesem Charles and Elizabeth Nelson Dianne and Herb Newman
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Dr. Pat Sargent Richard Shirey Dr. Larry and Cyndee Snider John P. Vander Kooi Lucinda Weiss Janet Wright Patron $400 to $699 Drs. Mark and Sandra Auburn Lee and Floy Barthel Rebecca D. and William H. Considine John and Betty Dalton Nichole Depew Paul Filon Lois and Harvey Flanders Patricia Hartzler Lawrence B. Levey Mary Jo Lockshin Thomas and Cheryl Lyon Paul and JoAnn Marcinkoski Anita Meeker Russ and Marianne Miller Earla Patterson Ed and Maureen Russell Peter and Nan Ryerson Rachel R. Schneider Jean Schooley Sandra and Richey Smith Annaliese Soros Drs. Frederick and Elizabeth Specht Jennifer Stenroos Elizabeth and Michael Taipale Donor $200 to $399 Anonymous Jack and Bonnie Barber Anna Maria Barnum Cheryl Boigegrain Dr. Guy and Debra Bordo Frances Buchholzer
Alan and Sara Burky Dr. Herb and Jill Croft Jane Delcamp William and Barbara Eaton Jon A. Fiume Eleanor Freeman Paul and Michele Friday Jean F. Gadd Sharon Gandee Ted and Teresa Good Stephen and Mary Ann Griebling Louise and James Harvey Michael T. Hayes John and Suzanne Hetrick Loren Hoch John and Sheila Hutzler Mark and Karla Jenkins Susan and Allen Kallor Kathleen Lambacher Magdalena McClure John and Kristine Mogen Nathan J. and Karen L. Mortimer Bob Neidert Al and Judy Nicely Paula Rabinowitz and Greer Kabb-Langkamp E. G. Sue Reitz Ben and Sandra Rexroad Drs. Betty L. Rider and W. Mike Sherman Gloria J. Rodgers Donald E. Schmid and Rosemary Reymann Betty and Joel Siegfried Margo Snider Mike and Sandy Soful Charlotte Staiger Ann Tainer Bob and Colleen Tigelman Dina and Brooks Toliver Susan D. Van Vorst Jorene F. Whitney Christopher Wilkins
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2016-2017 Support: Memorials & Tributes Memorial and tribute gifts to Tuesday Musical are meaningful ways to honor special people. This list reflects gifts received through September 9, 2016. In Memory of Natalie Altieri
In Memory of Craig Hagelin
Paul and JoAnn Marcinkoski Thomas and Sue Tuxill
Denis and Barbara Feld William and Barbara Eaton
In Memory of Alfred Anderson
In Memory of Elizabeth Hagelin
Denis and Barbara Feld Dr. DuWayne and Dorothy Hansen Zenon and Natalie Miahky
William and Barbara Eaton
In Memory of Jeanette Bertsch
Barbara Feld
Brian and Judith Allen Judith Bertsch and Family Linda Carr Denis and Barbara Feld Robert and Beverley Fischer Eleanor Freeman Tom and Mikki Green Bruce and Joy Hagelin Jarrod Hartzler DuWayne and Dorothy Hansen Jon and Martha Kelly Dorothy and Peter Lepp Anita Meeker
In Memory of Eileen “Tootie” Hawk
In Memory of Wanda Brechbuhler Kittie Clarke In Honor of Mary Ann and Stephen Griebling’s 60th Anniversary Bob and Beverley Fischer Bruce and Joy Hagelin
In Honor of Joy Hagelin, Barbara Eaton and Anita Meeker
Barbara Feld In Memory of Eugene Mancini Toshie Haga In Memory of David Meeker Drs. Mark and Sandra Auburn Susan Bailey Floy and Lee Barthel Patricia Basile William P. Blair III Maryanne Buchanan Elizabeth Butler Betty Dalton William and Barbara Eaton Roger and Ann Edwards Denis and Barbara Feld Chuck and Judy Gerdes Carol Goodall Joy and Bruce Hagelin Larue Hall
Jarrod Hartzler Dr. Tom and Mary Ann Jackson Jon and Martha Kelly Francis and Earline Lenkowski Peter and Dorothy Lepp Barbara MacGregor Natalie Miahky Elizabeth Sandwick Virginia Scott Ken and Pat Suchan Mary Yeager In Memory of Zenon Miahky Betty Dalton Denis and Barbara Feld Robert and Beverley Fischer Laura Lee Garfinkel Bruce and Joy Hagelin DuWayne and Dottie Hansen Jarrod Hartzler Dorothy and Peter Lepp Anita Meeker Natalie, Paul and Stephen Miahky Walter Pechenuk In Memory of Callie Ann Reid William and Barbara Eaton In Memory of Frank Reid William and Barbara Eaton In Memory of Jean Swinehart Joan Beach
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2016-2017 Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+
$5,000 to $9,999
$200 to $999
GAR Foundation
Mary S. and David C. Corbin Foundation
Welty Family Foundation
KeyBank Foundation Community Leadership Fund Maynard Family Foundation W. Paul Mills and Thora J. Mills Memorial Foundation Laura R. and Lucian Q. Moffitt Foundation Richard and Alita Rogers Family Foundation
$1,000 to $4,999
Corporate Partners
Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee Lehner Family Foundation
Akron Tool & Die Co. Nelson Development
John S. and James L. Knight Foundation
Mary and Dr. George L. Demetros Charitable Trust
Margaret Clark Morgan Foundation
Charles E. & Mabel M. Ritchie Memorial Foundation
Louis S. & Mary Myers Foundation
Lloyd L. & Louise K. Smith Foundation
Ohio Arts Council $10,000 to $24,999 Community Fund – Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation John A. McAlonan Fund of Akron Community Foundation
Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation Sisler McFawn Foundation
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tuesday musical 2016-2017 Executive Board of Directors
Executive Committee
President Laurie Gilles Vice President/President Elect Paul Filon
Treasurer Cheryl Lyon
Secretary Magdalena McClure
Governance Committee Chair Bob Fischer
Committee Chairs
Brahms Allegro Chair Cheryl Boigegrain
Development Chair Charles Nelson
Education/Student Voucher Chair Natalie Miahky
Finance Chair Cheryl Lyon
Hospitality Co-Chairs Barbara Eaton & Joy Hagelin
Membership Chair Anita Meeker
Member Program Chair Mary Ann Griebling
Scholarship Chair George Pope
At-large Members Linda Liesem, Teresa Good,
& Mary Jo Lockshin Staff
Executive & Artistic Director Jarrod Hartzler
Director of Development & Communications Cyndee Snider
Artistic Administrator Karla Jenkins
Finance Administrator Gail Wild
Arts Administration Intern Moneeb Iqbal Program art direction by Live Publishing Co.
Presenting the Finest
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T HE
CLEVEL AND ORC HE STR A
A T
T H E
M O V I E S
Experience this classic film on the big screen with the original score performed live!
FEB 14 — TUESDAY at 7:30 p.m. VALENTINE’S DAY at Severance Hall The Cleveland Orchestra Justin Freer, conductor Cleveland Orchestra Youth Chorus Just in time for an unforgettable Valentine’s Day! Fall in love again with Blake Edwards’s 1961 romantic comedy and Henry Mancini’s legendary score (including the song “Moon River”) performed live with the film projected above Severance Hall’s elegant stage. Paul Varjak (George Peppard) is a struggling writer who becomes enchanted with his neighbor Holly Golightly (Audrey Hepburn), a very stylish, deliciously eccentric New York City playgirl with a penchant for high fashion and wild parties. But, soon he uncovers the vulnerability she has at heart. Sponsor: PNC Bank
216-231-1111 clevelandorchestra.com Severance Hall 2016-17
TICKETS
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THE OPERA EVENT OF THE SEASON THE OPERA EVENT OF THE SEASON
OPE R A IN FIVE AC TS OY PE B CRL A A UI N D EF IDVEEB A UC ST SS Y BY C L AU D E D E B U S SY
The Cleveland Orchestra conducted by Franz Welser-Möst The Cleveland Orchestra conducted by Franz Welser-Möst stage direction by Yuval Sharon set design by Mimi Lien Sharon stage direction by Yuval lighting and set design byprojection Mimi Liendesign by Jason Thompson costume design Ann Closs-Farley lighting and projection design by Jason Thompson choreography Danielle Agami costume designbyAnn Closs-Farley choreography by Danielle Agami featuring Elliot Madore, baritone (Pelléas) featuring Martina Janková, soprano (Mélisande) Elliot Madore, baritone (Pelléas) Hanno Müller-Brachmann, Martina Janková, soprano bass-baritone (Mélisande) (Golaud) Peter bass (Arkel) HannoRose, Müller-Brachmann, bass-baritone (Golaud) Nancy Maultsby, mezzo-soprano (Geneviève) Peter Rose, bass (Arkel) Julie Mathevet, (Yniold) (Geneviève) Nancy Maultsby,soprano mezzo-soprano David Castillo, baritone Julie Mathevet, soprano(Doctor/Shepherd) (Yniold) and the David Castillo, baritone (Doctor/Shepherd) Cleveland and the Orchestra Chamber Chorus Cleveland Orchestra (Sung in French with English Chamber supertitles) Chorus (Sung in French with English supertitles)
SEVERANCE HALL SEVERANCE HALL MAY 2 — TUESDAY at 7:30 p.m. MAY 4 2— atat 7:30 p.m. MAY — TUESDAY THURSDAY 7:30 p.m. at 7:30 7:30 p.m. p.m. 4 — SATURDAY THURSDAY at MAY 6 MAY 6 — SATURDAY at 7:30 p.m.
Luminous and hypnotic — Pelléas and Mélisande is among the magical and mezmerizing of all Luminous andmost hypnotic — Pelléas and Mélisande opera scores. Composed when is among the most magical and Impressionism mezmerizing ofwas all aopera new scores. and radical force, it when was Claude Debussy’swas Composed Impressionism only tale of twoDebussy’s fallen a newcompleted and radicalopera. force, This it was Claude lovers resonates opera. with mystery and only completed This tale ofmeaning. two fallen Debussy’s beautiful transforms the lovers resonates withdepiction mystery and meaning. unending thattransforms Richard Wagner Debussy’s musical beautifullonging depiction the had pioneered with Tristan that and Isolde into a traunending musical longing Richard Wagner gedy of unique with power. It is and presented at Severance had pioneered Tristan Isolde into a traHall made-for-Cleveland production directed gedyinofa unique power. It is presented at Severance by Sharon (The Cunningproduction Little Vixen)directed filled HallYuval in a made-for-Cleveland with dream-like by Yuval Sharon realism. (The Cunning Little Vixen) filled with dream-like realism.
TICKETS 216-231-1111 TICKETS 216-231-1111 clevelandorchestra.com
clevelandorchestra.com
House Notes Parking Beginning at 5 p.m. for evening concerts and 12:30 p.m. for Sunday concerts, special event parking is available at $5 per vehicle in the EJ Thomas Hall parking deck or in surrounding campus lots. Late Seating Out of consideration for other audience members and the performers, latecomers will be seated at a suitable pause in the program. Emergency Numbers Physicians and others expecting calls are requested to leave their name and seating location with the Head Usher upon arrival. Please leave your seat location with the person(s) who may need to reach you in case of an emergency and ask them to call EJ Thomas Hall at 330.972.6828. Pre-concert Talks Free Pre-concert Talks, designed to enrich the concertgoing experience, are presented one hour before most Tuesday Musical concerts and last 30 minutes. Intermission Intermissions are 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance. Special Accommodations If you have special seating requirements, please inform the Ticket Office when you place your ticket order. EJ Thomas Hall has wheelchair accommodations and other seating services for the physically challenged in both the Orchestra and Grand Tier sections. Handicapped parking is available in the EJ Thomas Hall deck and the North parking deck accessed from both Forge St. and Buchtel Ave.; a valid parking permit must be displayed. A special sound system for the hearing impaired and large print program notes are available, free of charge, with advance notice. Please see the Head Usher for the sound system device and call the Tuesday Musical office to request the program notes. Restrooms Public restrooms are located in the Robertson Lobby of EJ Thomas Hall. The ladies’ room can be accessed from the odd-numbered entry doors and the men’s room access is from the even-numbered entry doors. The center stairs in the Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp. Cameras, Audio Recorders & Video Equipment Cameras, video and audio recording devices of any kind are prohibited at all performances. Our ushers are instructed to retrieve these prohibited items from patrons in the auditorium.
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Paging Devices, Phones & Hearing Aids All electronic and mechanical devices – including pagers, cellular telephones, and wrist-watch alarms – must be turned off while in the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing device and adjust it accordingly. Refreshments Bar service is offered in the center lobby before concerts and at intermission. Soda and light snacks are also available in the lobby. The EJ Café, located in the Herberich Lobby, offers appetizers, desserts, gourmet coffees, espresso and cappuccino. Drinking fountains are in the center lobby. Smoke Free Theatre Smoking is not permitted anywhere inside EJ Thomas Hall, but designated smoking areas are located outside the building. Event Cancellation On very rare occasions, severe weather forces EJ Thomas Hall to cancel or postpone an event. Cancellation information is available by calling the Tuesday Musical office at 330.761.3460. Security Policy Customer safety and security is of the upmost importance. All patrons entering the facility must have a ticket for that day’s event. There is a police presence both inside and outside of the theatre. Program Information For information about any Tuesday Musical concert, please call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org. Ticket Information Single Tickets To purchase single tickets to any Tuesday Musical concert, call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org. Tuesday Musical Association 1041 West Market Street, Suite 200 Akron, OH 44313-7103 Releasing Tickets Tuesday Musical subscribers who are not able to attend a concert are encouraged to release their tickets 24 hours prior to the concert. In exchange for their tickets, subscribers may receive tickets to a different 2016/2017 Tuesday Musical concert (some restrictions may apply) or receive a charitable donation receipt for the value of the tickets. Please remember to call the office 24 hours PRIOR to the concert. Your seats are the best in the house and someone else would love the experience of sitting just where you do.
tuesdaymusical.org n 330.761.3460
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