Tuesday Musical March 8 Concert

Celebrate our 130th Anniversary 2017-18 Season

tuesday musical expect great music Andreas Haefliger, piano Margaret Baxtresser Annual Piano Concert Thursday, March 8, 2018

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Our own March Madness

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arch. From start to finish, it embodies Tuesday Musical’s reach and relevance.

For example, tonight’s Mainstage concert features Andreas Haefliger tackling one of the most demanding solo works in the classical piano repertoire. Plus, leading up to this concert, young pianists with musical aspirations of their own have learned from Andreas during master classes and lessons at area schools.

Also this month: ■ Students in grades K-12 in our Brahms Allegro Junior Music Club gather March 10 at Steinway Piano Gallery to perform for their peers and hone their skills as they prepare to compete in the Ohio Federation of Music Clubs Festival on March 24 at Kent State University.

■ Jazz takes the spotlight on March 17 when our FUZE series presents A Tribute to Sarah Vaughan here at EJ Thomas Hall. The Chicago Jazz Orchestra, musicians from Northeast Ohio, and vocalists René Marie, Dee Alexander and Ann Hampton Callaway are celebrating the jazz legend in this much-anticipated performance. A Tribute to Sarah Vaughan sold out when it premiered in Chicago, and tickets are going fast for our Akron performance. Get yours soon!

■ Our members, a great group of more than 130 music lovers, meet March 20 for their monthly program — this one at the Sheraton Suites in Cuyahoga Falls featuring University of Akron Music Professor Galen Karriker and The Mardi Gras Ramblers.

■ The best of its kind in Ohio, Tuesday Musical’s Annual Scholarship Competition is March 24.

Begun in 1955 and supported by generous donors and hard-working volunteers, the competition has awarded more than 520 scholarships ranging from $500 to $2,000 to talented college students embarking on careers as music educators and performers.

■ After starting with a world-renowned solo pianist, we’re finishing March by filling the EJ stage with a world-renowned large ensemble and soloist: Orpheus Chamber Orchestra and violinist Augustin Hadelich.

This month and every month, Expect Great Music!

Jarrod Hartzler Executive and Artistic Director

Celebrate

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More in March!

Saturday, March 17, 2018 7:30 p.m. at EJ Thomas Hall

A Tribute to Sarah Vaughan Chicago Jazz Orchestra Jeff Lindberg, conductor with vocalists Dee Alexander, Ann Hampton Callaway, René Marie She was the jazz legend known as “Sassy” and “The Divine One.” With an awe-inspiring range, Sarah Vaughan had one of the most phenomenal voices of our time. Tickets: tuesdaymusical.org or 330-761-3460.

Tuesday, March 20, 2018 2 p.m. at Sheraton Suites in Cuyahoga Falls

March Members Program Join us for this Mardi Gras themed program featuring The University of Akron Mardi Gras Ramblers, led by Professor Galen Karriker, and New Orleans desserts. Free for anyone thinking about becoming a Tuesday Musical member! Reserve by March 16: info@tuesdaymusical.org or 330-761-3460.

Wednesday, March 28, 2018 7:30 p.m. at EJ Thomas Hall

Orpheus Chamber Orchestra Augustin Hadelich, violin Conductor-less, Orpheus has revolutionized how audiences think about classical music and orchestral leadership. Tickets: tuesdaymusical.org or 330-761-3460.

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Margaret Baxtresser A passion for music and life Tonight is Tuesday Musical’s 2018 Margaret Baxtresser Annual Piano Concert.

We are pleased that members of Margaret’s family are in the audience.

As you can read in this Akron Beacon Journal editorial from June 12, 2005, Margaret was immensely deserving of our annual tribute to her.

We are grateful for Margaret’s advocacy of the arts in our community, and for her support of Tuesday Musical. And, we believe she would have loved tonight’s performance.

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The Margaret Baxtresser Annual Piano Concert Endowment Fund

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uesday 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 all to remember.

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 Earl & Judy Baxtresser Jeanne Baxtresser & David Carroll Robert Baxtresser Suzanne Baxtresser & Steven Wangh 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 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 & Dale Dong

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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 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

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All at 7:30 p.m. EJ Thomas Hall $45 / $40 / $25 / free for students

MAINSTAGE Thursday, Oct. 19 Academy of St Martin in the Fields Chamber Ensemble

Wednesday, March 28 Orpheus Chamber Orchestra with violinist Augustin Hadelich

Tuesday, Jan. 23, 2018 Chamber Music Society of Lincoln Center

Wednesday, April 18 Brentano String Quartet with flutist Marina Piccinini

FUZE Wednesday, Nov. 29 Vienna Boys Choir — Christmas in Vienna Thursday, March 8 Pianist Andreas Haefliger Saturday, March 17 Chicago Jazz Orchestra — A Tribute to Sarah Vaughan conductor Jeff Lindberg & vocalists René Marie, Dee Alexander, Ann Hampton Callaway

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EJ Thomas Performing Arts Hall—The University of Akron Thursday, March 8, 2018 7:30 p.m.

Andreas Haefliger, piano Tuesday Musical’s Margaret Baxtresser Annual Piano Concert

Wolfgang Amadeus Mozart 1756-1791

Fantasia in C minor, K. 475

Ludwig van Beethoven 1770-1827

Piano Sonata No. 28 in A major, Op. 101

INTERMISSION

Mozart

Adagio in B minor, K. 540

Beethoven

Piano Sonata No. 29, Op. 106

Mr. Haefliger and Coltan Foster, a bassoonist with the Akron Symphony and a second-year master’s student at The University of Akron School of Music, presented the pre-concert talk. Nearly all Tuesday Musical Mainstage concerts include engaging talks for our audiences.

Mr. Haefliger performs this evening on Tuesday Musical’s Three Graces Steinway D Piano.

The impressive roster of world-acclaimed musicians for past Margaret Baxtresser Annual Piano Concerts: Richard Goode (2006-07) • Garrick Ohlsson (2007-08) Arnaldo Cohen (2008-09) • Jonathan Biss (2009-10) Marc-André Hamelin (2010-11) • Yuja Wang (2011-12) Emanuel Ax (2012-13) • Jeremy Denk (2013-14) Jonathan Biss (2014-15) • Conrad Tao (2015-16) Nikolai Lukansky (2016-17)

Support for this performance and the related education and community engagement activities comes from the Kenneth L. Calhoun Charitable Trust and other generous donors.

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The Artist Andreas Haefliger, piano

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ianist Andreas Haefliger is “consummately lyrical. Exhibitionism and pretense are antithetical to his musical personality;” he has “a vision of musical architecture second to none and a tender, profoundly cultivated sensibility, from which music flows unimpeded” (International Record Review).

He has won many plaudits for his Beethoven Perspectives recitals on disc and at major halls and festivals, and is also much sought-after as a chamber musician.

Haefliger was born into a distinguished Swiss musical family and grew up in Germany, going on to study at the Juilliard School in New York. He was quickly recognized as a pianist of the first rank, and engagements with major U.S. orchestras followed swiftly: the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Boston Symphony, Pittsburgh, Chicago and the San Francisco Symphony Orchestras among them.

In his native Europe, too, Haefliger has appeared with the great orchestras and festivals, including the Royal Concertgebouw, Rotterdam Philharmonic, Munich Philharmonic, Budapest

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Festival Orchestra, Deutsche SymphonieOrchester Berlin, Orchestre de Paris, London Symphony Orchestra and Vienna Symphony.

He is well recognized as a superb recitalist, making his New York debut in 1988, and has ongoing regular relationships with the Lucerne and Edinburgh festivals and the Vienna Konzerthaus, as well as at major halls across North America and Asia.

Haefliger is a regular visitor to London’s Wigmore Hall with his Perspectives series, in which he performs the complete piano works of

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Beethoven alongside works by other composers from Mozart to Ligeti. This series has formed the focus of Haefliger’s solo recital appearances and CD recordings in recent years. His latest chamber music project gathers friends Benjamin Schmid and Karen Gomyo (violins), Lise Berthaud (viola) and Christian Poltera (cello) for intensive rehearsal periods and concerts every year at the Louisiana Museum in Copenhagen, which the group will then take farther afield. In spring 2017, Haefliger also began collaborating with Italian baritone Andrè Schuen.

After the significant success of his first recording of Mozart piano sonatas for Sony Classical, Haefliger made three additional recordings for Sony of Schumann’s Davidsbündlertanze and Fantasiestücke, Schubert Impromptus, and a disc of music by Sofia Gubaidulina. Later, Haefliger recorded for Decca with the Takács Quartet and Matthias Goerne, winning the Preis Der Deutschen Schallplattenkritik for his Schubert disc of Goethe’s songs with Goerne. His latest Perspectives disc will be released in April by BIS Records.

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Program Notes Wolfgang Amadeus Mozart (1756-1791) Fantasia in C minor, K. 475

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ozart’s Fantasias are masterpieces in the genre of fantasia, a form that, throughout its use, has often been thought of as simply an improvisation. The 18th century German fantasias are distinguished especially by their contrasting moods and bold modulations.

Mozart’s work reflects the continuation of a form with its roots in the baroque, in particular, in works of Bach. Mozart entered the Fantasia in C minor, K. 475 into his “List of All My Works” on May 20, 1785 and published it in Vienna together with the Piano Sonata in C minor, K.457, then under the collective designation Op. 11. In that version, the Fantasia serves as an introduction to the sonata, its improvisatory character highlighting and emphasizing the structural nature of the sonata itself.

This dramatic and unusual Fantasia is among the very few works Mozart composed in C minor during these years in Vienna; F. E. Kirby in his

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Music for Piano, A Short History comments that here Mozart “fully exploits the pathétique affect associated with the key of C minor.” Because of the formal freedom traditionally associated with fantasias, Mozart was able to write an especially expressive work, drawing upon his intuition and sensitivity as both composer and pianist.

The opening theme makes it clear that this is not the beginning of a movement in sonata form. Although the melodic material is symmetrical, the unusual harmony does not establish the tonic firmly at all, and although he returns to the initial material at the end, Mozart uses his reprise for unity and symmetry rather than simply as resolution. The work has large sections; several of them are sharply contrasting episodes and include four different tempi: Adagio, Allegro, Andantino, and Più Allegro, in each of which Mozart introduces new material. The fantasy progresses through a large variety of turbulent but expressive moods. Mozart begins with stark sounding octaves and continues with motivic chromaticism in which the music descends in half-steps; he

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Annual Benefit

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Program Notes also goes on to use silence effectively. Robert Levin has said that there is “scarcely another solo work by Mozart that gazes so unflinchingly into the abyss as does the opening section of the fantasia . . . the languages of Schubert and Wagner are suddenly at hand.”

Mozart Adagio in B minor, K. 540

T A Tribute to Sarah Vaughan Saturday, March 17 7:30 p.m.

EJ Thomas Hall, Akron Chicago Jazz Orchestra Jeff Lindberg conductor with vocalists

René Marie

Dee Alexander

Ann Hampton Callaway $45, $40, $25 / free for all students

tuesdaymusical.org 330-761-3460 14

he relatively little known short work, Adagio in B minor, K. 540, written in Mozart’s maturity, is miniature but nevertheless formidable in its conception and mastery. On March 19, 1788, Mozart made note of its completion; he sent a copy to his sister in August. It has the tragic feel that Mozart had very much in mind as he prepared Don Giovanni for its Viennese premiere.

There is not much historical documentation of this work. It is perhaps one of those rare indulgences for an 18th century composer, who wrote the composition for no other purpose than to please himself. The music is full of profound melancholy and solemn sighing, but at the end, it brightens up with a major-key coda.

Ludwig van Beethoven (1770-1827) Piano Sonata No. 28 in A major, Op. 101

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etween 1816 and 1826, a decade of originality, idiosyncrasy, invention and expressivity unparalleled in the career of any other composer, Beethoven wrote a series of unsurpassed masterpieces: five piano sonatas, five string quartets, the Missa Solemnis and the Ninth Symphony. During the period just before these compositions began to appear, his output had been slim, for the works of his middle years had exhausted the possibilities of the forms he had inherited from Haydn and Mozart. The word had gone around in Vienna that Beethoven had written himself out, that like Haydn in his old age, he was reduced to making folk song arrangements because he was incapable of doing anything else. When he heard these rumors from a disciple, Beethoven said, “Wait a while. They’ll soon learn differently.” Withdrawn and separated from much of the rest of the musical world by his increasing deafness, Beethoven conceived and wrote a body of musical literature almost seemingly without roots in history and tradition, a new music of his own invention.

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Program Notes

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To be sure, his Op. 108 was a collection of 25 Scottish songs, arranged in 1815 and 1816 for a British music publisher, but his last piano sonatas are some of his greatest works. He composed them between 1816 and 1822, while he was also working on the Missa Solemnis. The manuscript of this sonata dates from November 1816; in early 1817, Beethoven had it published with a dedication to a young pianist, Baroness Dorothea von Ertmann, his pupil and friend.

In this sonata, which can be seen to foreshadow future musical styles, Beethoven alters the classic four-movement form almost beyond recognition. The first movement, Etwas lebhaft, und mit der innigsten Empfindung (“Rather lively, and with deepest feeling”), Allegretto ma non troppo, is very lyrical and seems to be abbreviated, beginning in the middle of a musical discourse already in progress. It is characterized by a long, continuous melodic line rather than by discrete themes. Syncopated rhythm dominates much of the development section. According to Schindler, Beethoven described the first movement as one containing “impressions and reveries.” The second movement, Lebhaft, marschmässig (“Lively, marchlike”) Vivace alla Marcia, is a Schumannlike march characterized by its dotted rhythms. It has a canonic trio and is followed by a conventional repetition of the march. Its mood is generally positive although there is a sense of tension to be found in it, too. Next comes a brief slow passage played with the unacorda “soft” pedal, Langsam und sehnsuchtsvoll (“Slow and ardently”) Adagio ma non troppo, con affetto, a cadenza and a recall of the first movement. Charles Rosen sees this section not as independent but rather as an introduction to the finale, a result of Beethoven’s study of Bach, but nevertheless, Handelian in style. Robert Cummings commented that the main theme “is solemn and mournful but remains serene and untroubled throughout the movement.

The music seems a meditation on some past disappointment or loss, but never utters a cry, always sounding at peace, even if there is a suggestion of yearning.”

A long trill leads into the vigorous finale, Geschwind, doch nicht zu sehr und mit Entschlossenheit (“Quick, but not very rushed, and with resolution”) Allegro, in which Beethoven gives us an elaborate and finely constructed sonata movement that is classical but for the fugue that makes up its development. This fugue tuesdaymusical.org ■ 330.761.3460

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Program Notes grows out of the sprightly main theme, which is one of many themes introduced in the exposition.

A coda closes this lesser-known Beethoven masterpiece.

Beethoven Piano Sonata No. 29 in BFlat, Op. 106 (Hammerklavier Sonata)

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ne of Beethoven’s many new ideas around this time was to use the German language in his publications, instead of the French and Italian that convention required. He did not apply this principle consistently in the case of the late piano sonatas, perhaps because he was distracted by the problem of what to call the instrument itself.

In Germany, at the time, usage was vague and varied.

Beethoven labeled this and two other sonatas as works for the Hammerklavier, (literally “hammerkeyboard” because the sound is produced by little hammers that strike the strings), which was not some new instrument but simply the familiar pianoforte, in German, Beethoven’s own language, rather than in Italian.

When he decided on the title Hammerklavier, he used it in the titles of three sonatas, but it has

adhered only to this one, which is now known as the Hammerklavier Sonata although in the generally more subdued Op. 101 (see page 14), he went so far as to give even the tempo indications for the movements in German (although marks of expression and other instructions to the performers are for the most part in Italian.)

Beethoven began to write this sonata in the autumn of 1817, while he was also occupied with his Missa Solemnis and with preliminary ideas for a ninth and possibly even a tenth symphony.

He intended the Missa Solemnis to celebrate the elevation of his gifted pupil and generous patron, Archbishop Rudolf, an Austrian Emperor’s younger son, to the post of Cardinal of Olmütz (now Olomouc in the Czech Republic) on June 4, 1819. It seems to have become obvious to Beethoven quite early that the Mass could not be finished in time. In fact, it turned out to be four years late. Beethoven had to cast around for

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Other performances around Northeast Ohio March 16 & 18

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FRIDAY, MARCH 23 8 P.M.

Planet Earth

with projected images and video

Mendelssohn The Hebrides Rautavaarah Cantus arcticus Respighi The Pines of Rome Vaughan Williams Sinfonia antartica

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Program Notes something with which to honor or flatter Rudolf.

Instead of a Mass, the composer sent Rudolf the two completed movements of this sonata, apologizing for the unfinished state of the whole, and claiming that in his heart he had always intended the sonata for His Imperial Highness.

He then rushed the sonata to completion so that it could be published, and the first edition, issued in September 1819, already bore Rudolf’s new title.

This monumental sonata belongs to the group of Beethoven’s late works that came to define the very idea of “masterpiece,” and in many ways, it is an inexplicable feat of the creative imagination, one that challenges every performer to plumb its depths and to rise to its great heights.

Its influence has been long and profound.

Mendelssohn imitated it in a sonata in the same key, which he wrote at the age of sixteen and withheld from publication; an imprudent friend of Mendelsohn prepared the posthumous edition and assigned it the same opus number, 106, as Beethoven’s. Young Brahms, too, when only twenty years old, showed the weighty influence of the Hammerklavier Sonata in his very first published work.

The first pianist to risk playing this sonata in public (at a time when sonatas were still understood to be intended for domestic musicmaking, not part of the concert repertoire) apparently was Franz Liszt, whose performance of it in Paris in 1836 had a profound effect on Berlioz. Later, musicians tried to convert the sonata into a huge symphony, but even the best of the orchestral versions, the one published in 1926 by the great Beethoven conductor/ composer Felix Weingartner (1863-1942), fails to prove that the content transcends the medium.

In the end, perhaps nothing bears comparison with this sonata except the String Quartet, Op. 130, in the same key, that Beethoven completed several years later, which (in its original version) had a related but different, sequence of movements, ending in a huge fugue. Knowing that the great size of the sonata made it difficult to comprehend, Beethoven said that it would occupy the minds of pianists for fifty years, and in accordance with his suggestion, the publisher of the first English edition broke it up into two pieces.

The Allegro first movement opens directly with its two-part principal subject, the first part,

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Program Notes a chordal figure that can only be described as hammering; the second, which follows immediately, is a flowing melody in a contrapuntal texture. Keys shift; new ideas make their entrances and establish their relative weights, all subject to discussion and development and recall with altered relationships among them until the movement’s forceful conclusion.

Next comes a Scherzo, Assai vivace, which is relatively compact in scale. It has a contrasting central section in the minor mode, and it makes a sudden shift to duple meter and to Presto tempo before the return of the opening. The Scherzo is a relatively brief interlude before the next largescale piece, a huge slow movement, Adagio sostenuto, which, even at its quiet start, must be played “passionately and with great feeling.” Its overall shape resembles that of the first movement, but the ideas here are essentially lyrical rather than heroic, and less percussive certainly. In some places it is almost operatic; in others, it is ecstatic.

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A German Romantic scholar-critic with whom, even in our very different time, it is difficult to disagree, called it “the most sacred spot in the holy temple of Beethoven’s art.”

The transition from the slow movement to the finale is effected by a single page of music that is basically slow, Largo, but is interrupted, falls back, and then speeds up to Allegro risoluto.

Here begins a gigantic fugue in three “voices,” with the fugue subject so altered in its course that it almost takes on the character of a set of variations. At the same time, changes in key and changes of subject reflect the basic, first movement sonata allegro structure. Just before the end, the music slows briefly, refers again to the music of the opening fugue subject, and then closes with rhythmically displaced references to its trills and even to the first movement’s chords. © Susan Halpern, 2018

tuesdaymusical.org ■ 330.761.3460

tuesday musical 2017 | 2018

tm ENGAGING our community

Our programs create music lovers – in their immediate and relevant environments.

Annual Scholarship Competition Hailed as the best of its kind in Ohio, the competition awards $25,000 each year to help college and university students prepare for careers as music educators and performers.

Decompression Chamber As an antidote to workplace stress, our new Decompression Chamber brings free concerts to hospitals, factories, government offices, social service agencies, and other high-pressure sites throughout Akron.

We appreciate support from the John S. and James L. Knight Foundation through its Knight Arts Challenge.

“We experience excellent live music within the concert hall, and now we are sharing it throughout our community.”

- Jarrod Hartzler Tuesday Musical Executive and Artistic Director

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ENGAGING our community

Tuesday Musical expands access to world-class musicians throughout Northeast Ohio

tm

Innovative partnerships bring great music into our daily lives.

Education and Community Engagement Every season, TM’s guest artists also teach, perform and inspire during multi-day visits to K-12 schools, universities, libraries, retirement communities, workplace venues, and more.

Quartet-in-Residence The acclaimed Escher String Quartet visits 3-4 times each season to work closely with students, perform, and share the gift of music throughout our region.

Kennedy Center Partners in Education Program Recognizing our commitment to arts education, TM has been chosen to join this prestigious and powerful program. Together with schools and teachers, we work to increase the artistic literacy of young people.

Free Student Tickets and Transportation Thousands of students attend TM concerts every year for free. Plus, schools and organizations receive bus stipends for student groups.

Brahms Allegro TM’s junior music club encourages its young members to develop their skills, perform for their peers, and compete in regional competitions.

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tuesdaymusical.org ■ 330.761.3460

Support: Individuals

tuesday musical 2017 | 2018

W

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s Mainstage and Fuze concert series and Education and Community Engagement Programs. (As of February 16, 2018) 130th Anniversay Donors Acme Fresh Market Akron Community Foundation Lisle M. Buckingham Endowment Fund Rebecca D. and William H. Considine Family Fund Jarrod Hartzler John and Suzanne Hetrick Chad Immel Cynthia Knight Mobility Works—Making the World Accessible Charlie and Elizabeth Nelson Paula Rabinowitz and Greer Kabb-Langkamp John Schambach Astri Seidenfeld Richard Shirey Richey and Sandra Smith Reid and Susan Smucker Wagstaff Director $5,000+ Anne Alexander Frances Yates Bittle David and Margaret Hunter Cynthia Knight Tim and Jenny Smucker “Three Graces Piano” Mr. and Mrs. James Venner Benefactor $1,500 to $4,999 Diana and John Gayer DuWayne and Dorothy Hansen Peter and Dorothy Lepp Christine and Lawrence Levey Rusty and Marianne Miller George Pope Patrick Reilly Corrinne and Donald Rohrbacher Dr. Pat Sargent Kenneth E. Shafer

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Larry and Cyndee Snider R. Thomas and Meg Harris Stanton Lucinda Weiss Sustainer $700 to $1,499 Eleanor and Richard M. Aron Earl and Judy Baxtesser Family John Bertsch Rob and Alyssa Briggs Alfred Cavaretta Kittie Clarke Barbara and Denis Feld Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Joy and Bruce Hagelin Jarrod Hartzler John Vander Kooi Paul and Linda Liesem Elizabeth and Charles Nelson Lola Rothmann Dr. Pamela Rupert Elizabeth and Michael Taipale Tom and Sue Tuxill Patron $400 to $699 William P. Blair III John and Betty Dalton Mr. and Mrs. George W. Daverio, Jr. Paul Filon Lois and Harvey Flanders Patricia Hartzler Mary Jo Lockshin Thomas and Cheryl Lyon Barbara and Mark MacGregor Stan and Roberta Marks Natalie Miahky Earla Patterson Peter and Nanette Ryerson Jean Schooley Sandra and Richey Smith Drs. Fred and Elizabeth Specht

Donor $200 to $399 John and Kathleen Arther Jack and Bonnie Barber Carmen and David Beasley Myrna Berzon Cheryl Boigegrain Guy and Debra Bordo Sarah J. Buck Alan and Sara Burky Margo Snider and Rick Butler Dr. and Mrs. Herbert E. Croft Mary Lynn and Tom Crowley Jane Delcamp Gary E. DeVault Barbara Eaton Carolyn Esman Paul and Michele Friday Deanna Friedman Sharon and Robert Gandee Barbara Gillette Ted and Teresa Good Michael T. Hayes Patti Hester Loren Hoch Mary Ann Jackson Mark and Karla Jenkins Susan and Allen Kallor Cally Gottlieb King Kathleen Lambacher Bill and Sally Manby JoAnn and Paul Marcinkoski Al and Judy Nicely Alan and Marjorie Poorman Sandra and Ben Rexroad Rachel R. Schneider Betty and Joel Siegfried Cecilla and Nathan Speelman Darwin Steele Dina and Brooks Toliver Daniel Velasco Keryl Whetstone Jorene F. Whitney Christopher Wilkins

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Support: Memorials & Tributes These gifts to Tuesday Musical are meaningful ways to honor special people.

In Honor of Esther Sprigg Abbott Mr. and Mrs. James Venner In Honor of JoAnn Marcinkoski Tom and Sue Tuxill In Memory of Ron Allan Robert and Beverley Fischer Jarrod Hartzler Al and Judy Nicely In Memory of William Eaton JoAnn and Barry Collier Elizabeth Dalton Margaret Dietz Barbara Eaton William and Catherine Evans Denis and Barbara Feld Robert and Beverley Fischer Bruce and Joy Hagelin DuWayne and Dorothy Hansen

Jarrod Hartzler Sharon Hershey Patti Hester William and Ruth Hunt Barry and Mary Jones Barry and Maureen Katanic Peter and and Dorothy Lepp Barbara MacGregor Anita Meeker Natalie Miahky Nancy Smyrski Cyndee and Larry Snider Doris St. Clair James St. Clair Carol Vandenberg Jim and Carolyn Van Dyke

In Memory of David Meeker Patti Hester In Memory of Alice Monroe Carolyn Esman Patti Hester In Memory of Cynthia J. Stefanik Patti Hester In Memory of Jean and Gertrude Swinehart Joan Beach

In Memory of Wanda Fair Kittie Clarke In Memory of Eugene Mancini Toshie Haga

Itâ&#x20AC;&#x2122;s time for a new identity.

One that tells the story of creativity in Ohio and illustrates it.

For 130 years, Tuesday Musical has been an anchor arts organization for Akron and NE Ohio.

You can help to continue this tradition of excellence for future generations by including Tuesday Musical in your estate plans and joining our 1887 Legacy Society.

Expression is an essential need.

By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613

As a member of the 1887 Legacy Society, you will be recognized in our concert program books and invited to participate in special programs and events. You will also have the personal satisfaction of knowing that you have played a significant role in the continuing success of this remarkable organization.

For more information, please contact Tuesday Musical at 330-761-3460 or info@tuesdaymusical.org.

OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

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tuesdaymusical.org â&#x2013; 330.761.3460

Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+ GAR Foundation John S. and James L. Knight Foundation Margaret Clark Morgan Foundation Louis S. & Mary Myers 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 Gertrude F. Orr Trust Advised F und of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust

Charles E. & Mabel M. Ritchie Memorial Foundation

Laura R. and Lucian Q. Moffitt Foundation

Lloyd L. & Louise K. Smith Foundation

Richard and Alita Rogers Family Foundation

Welty Family Foundation $1,000 to $4,999 Akron/Summit Convention & Visitors Bureau

Corporate Partners Akron Tool & Die Co. Nelson Development

Arts Midwest Touring Fund

In-kind Services

The Lisle M. Buckingham Endowment Fund of Akron Community Foundation

Acme Fresh Market Akron Beacon Journal

Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee

Cally Graphics

Lehner Family Foundation

Cogneato

Beatrice K. McDowell Family Fund

ideastream®

R. C. Musson and Katharine M. Musson Charitable Foundation

Mustard Seed Market & Café

OMNOVA Solutions Foundation

ClevelandClassical.com

Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls

Sisler McFawn Foundation

Steinway Piano Gallery— Cleveland

$200 to $999

The University of Akron School of Music

KeyBank Foundation Community Leadership Fund W. Paul Mills and Thora J. Mills Memorial Foundation

WKSU FM Wooster Color Point WYSU-FM

w w w. e a t d r i n k c r a v e . c o m 57 E Market Street, Akron OH 44308 | 330.253.1234 | Monday-Thursday 11-10 | Friday 11-11 | Saturday 5-11

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WE BELIEVE IN

“We debate nearly everything. But what we agree on is the importance of supporting public broadcasting. ideastream is more than media to us; it’s our link to the world.”

- Jim Simon & Craig Libman

Find out more at ideastream.org/support

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tuesdaymusical.org ■ 330.761.3460

tuesday musical

2017-2018 Board of Directors

Executive Committee President Laurie Gilles

Vice President/President Elect Paul Filon

Treasurer Cheryl Lyon

Secretary Marianne Miller 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 JoAnn Marcinkoski

Member Program Chair Daniel Velasco

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

Program art direction by Live Publishing Co.

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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 concert-going 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 2017/2018 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.

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