Tuesday Musical March 17 & 28 Concerts

Celebrate our 130th Anniversary 2017-18 Season

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A Tribute to Sarah Vaughan Saturday, March 17, 2018

Orpheus Chamber Orchestra with Augustin Hadelich, violin Wednesday, March 28, 2018

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April Members Program

Up Next!

Tuesday, April 10, at 1 p.m. Steinway Piano Gallery in Boston Heights Join us for a wonderful program featuring the husband-and-wife duo of James Wilding and Caroline Oltmanns. Delicious desserts follow the program. Free for anyone thinking about becoming a Tuesday Musical member! Reserve by April 6: info@tuesdaymusical.org or 330-761-3460.

Brentano String Quartet with Marina Piccinini, flute Wednesday, April 18, at 7:30 p.m. EJ Thomas Hall Named for Antonie Brentano, considered by many scholars to be Beethoven’s “Immortal Beloved,” this quartet has performed in many of the world’s most prestigious venues. Now they are coming to Akron with flutist Marina Piccinini, who delighted our audience when she performed here in 2016 with her husband and pianist Andreas Haefliger. Learn about the program during Concert Conversation at 6:30 p.m. with pianist Caroline Oltmanns. Tickets: tuesdaymusical.org or 330-761-3460

2018 Scholarship Winners Concert Sunday, May 20, at 2:30 p.m. Faith Lutheran Church, 2726 W. Market St. in Akron Hear tomorrow’s stars! This concert features talented winners of Tuesday Musical’s 2018 Scholarship Competition, followed by the awarding of two additional scholarships and a reception. Free and open to the public.

Tuesday Musical’s annual scholarship competition is widely recognized as the best of its kind in Ohio.

Since starting the competition in 1955 with support from generous donors and volunteers, Tuesday Musical has awarded nearly 550 scholarships ranging from $500 to $2,000 to talented university students embarking on careers as music educators and performers.

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tuesday musical 2017 | 2018

Great Views. Great Look. Great Food.

Congratulations Performance Choir!

Free dessert with one entree purchase.

Valid till June 30, 2018, not valid on holidays.

National Youth Choir Festival

Carnegie Hall, NYC April 7, 2018 8:00PM

Now Auditioning!

2018 - 2019 Season SummitChoralSociety.org | 330.434.SING[7464]

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Wednesday, April 18 7:30 p.m., EJ Thomas Hall

Brentano String Quartet with flutist

Marina Piccinini $45, $40, $25, free for students

tuesdaymusical.org 330.761.3460

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.

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.

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EJ Thomas Performing Arts Hall—The University of Akron Saturday, March 17, 2018 7:30 p.m.

A Tribute to Sarah Vaughan Chicago Jazz Orchestra Jeffrey Lindberg, artistic director and conductor Ann Hampton Callaway, vocalist Dee Alexander, vocalist René Marie, vocalist Overture (Orchestra) Arr. Lindberg/Paich

Medley: Misty/Key Largo/Fascinating Rhythm

Garner/Carter & Suessdorf/Gershwin I’m Gonna Live Till I Die

Kent/Curtis, arr. Benny Carter Recorded 1963 on Roulette

Misty

Garner/Burke, arr. Quincy Jones Recorded 1958 on Mercury

Lullaby of Birdland

Ann Hampton Callaway

Shearing/Weiss, arr. Ernie Wilkins Recorded 1954 on EmArcy

Soon

Gershwin & Gershwin, arr. Ernie Wilkins Recorded 1956 on Mercury

It’s Magic

Styne/Cahn, arr. Hugh Peretti Recorded 1954 on Mercury

Black Coffee

Dee Alexander

Burke/Webster, arr. Joe Lippman Recorded 1949 on Columbia

Poor Butterfly

Hubbell/Golden, arr. Hal Mooney Recorded 1956 on Mercury

It’s Crazy

Fields/Rodgers, arr. Ernie Wilkins Recorded 1954 on EmArcy

Whatever Lola Wants

René Marie

Adler/Ross, arr. Hugh Peretti Recorded 1955 on Mercury

Snowbound

Faith/Kehner, arr. Don Costa Recorded 1963 on Roulette

Sometimes I’m Happy

Dee Alexander

Youmans/Caesar, arr. Ernie Wilkins Recorded 1956 on Mercury

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Tenderly

Gross/Lawrence, arr. Hugh Peretti Recorded 1956 on Mercury

Just Friends

Ann Hampton Callaway

Klenner/Lewis, arr. Sammy Nestico Recorded 1981 on Pablo

The Summer Knows

Legrand/Bergman & Bergman Recorded 1973 on Mainstream

I Ain’t Got Nothin’ But the Blues

René Marie

Ellington/George, arr. Billy Strayhorn

Key Largo

Carter & Suessdorf/Worth, arr. Charley Harrison

Day In, Day Out

Dee Alexander

Bloom/Mercer Transcribed by Steve Million

My Funny Valentine

Rodgers/Hart, arr. Richard Hayman Recorded 1954 on Mercury

Until I Met You

René Marie

Green/Wolf, arr. Thad Jones Recorded 1961 on Roulette

How High the Moon

Lewis/Hamilton, arr. Ernie Wilkins Recorded 1956 on Mercury

Send In the Clowns

Ann Hampton Callaway

Sondheim, arr. Sammy Nestico Recorded 1981 on Pablo

Fascinating Rhythm

Ann Hampton Callaway

Dee Alexander

René Marie

Gershwin & Gershwin, arr. Marty Paich Recorded 1982 on Columbia

There will be no intermission. Program subject to change. All selections transcribed from original Sarah Vaughan recordings by Jeffrey Lindberg, except “Day In, Day Out,” “Key Largo,” and “I Ain’t Got Nothin’ But The Blues” (Ella Fitzgerald’s version).

Tuesday Musical’s Three Graces Steinway D Piano is on stage this evening.

Generously supported by Frances Yates Bittle and other generous donors, this Tuesday Musical Fuze concert is also part of The University of Akron Jazz Studies Program’s JazzFest 2018 and Kulas Concert Series.

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The Artists

tuesday musical 2017 | 2018

Chicago Jazz Orchestra WOODWINDS Howie Smith,*Lead Alto Saxophone & Clarinet Bill Overton, A lto Saxophone, Flute, Alto Flute & Clarinet John Wojciechowski, T enor Saxophone, Flute, Alto Flute & Clarinet Eric Schneider, Tenor Saxophone & Clarinet Jerry DiMuzio, B aritone Saxophone, Bass Clarinet & Flute Daniel Velasco,*Flute, Alto Flute & Piccolo Devin Hinzo,* Oboe & English Horn TRUMPETS & FLUEGELHORNS Joey Tartell, Principal Doug Scharf Victor Garcia Art Davis

VIOLINS 1* Ariel Clayton Isabelle Durrenberger Aaron Chan Zion Lee Shiqi Yang Hsuan Chen VIOLINS 2* Andrew Paa Yu-Ming Ma Xinyuan Wang Devin Cowan Yeim Lee VIOLAS* Matt Ross Ermal Nikolla Moneeb Iqbal

TROMBONES Steve Duncan, Principal Tom Garling Joel Adams Michael Young, Bass

CELLOS* Miles Richardson Rebecca Shasberger Henry Stubbs

PIANO Jeremy Kahn BASS Dennis Carroll

HORNS* Ying-Ho Connor Monday Nathan Peebles

DRUMS George Fludas

HARP* Nancy Paterson

GUITAR Stuart Flack

PERCUSSION* Matt Dudack *These Northeast Ohio musicians have joined the Chicago Jazz Orchestra for tonight’s performance.

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The Artists Chicago Jazz Orchestra

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he Chicago Jazz Orchestra (CJO) celebrates and perpetuates jazz orchestra music—an original American art form— for all audiences through unique performance, collaboration, and education.

The CJO strives to develop and promote an appreciation for and understanding of music for the American jazz orchestra as it was originally conceived, performed, and recorded by jazz master composers and soloists. Through collaborative efforts and partnerships, the CJO seeks to provide listening and educational opportunities in a variety of settings and formats.

The CJO is Chicago’s oldest professional jazz orchestra in continuous operation and one of the oldest jazz repertory orchestras in the country.

When Jeff Lindberg and the late Steve Jensen first came up with their big band concept in 1978 (founded as the Jazz Members Big Band), they could not have predicted the remarkable metamorphosis that turned a group of firstcall musicians into what is now known as the Chicago Jazz Orchestra, a 17-piece premiere jazz ensemble that has garnered both national and international recognition.

Conductor and Artistic Director Jeff Lindberg is one of the foremost transcribers in jazz. As a result, the Orchestra’s repertoire draws upon his vast library, which includes the works of Duke Ellington, Count Basie, Dizzy Gillespie, Lionel Hampton, Benny Carter, Oliver Nelson, Ray Charles, and many others. The CJO also performs compositions and arrangements by members of the CJO, including Associate Artistic Director Charles Harrison.

For more than 35 years, the CJO has been at the forefront of presenting performances of classic American jazz orchestra repertoire to diverse audiences through reasonably priced programs held at a variety of venues. Always looking for new challenges—both in repertoire and stylistic choices—Jeff Lindberg has infused the Orchestra with a spirit of versatility that has made the group a favorite performer not only in jazz venues, but also for concert settings, receptions, and dances – just about anywhere that exceptional big band music can be presented. Audiences have the opportunity to hear unique musical arrangements transcribed by the CJO, and because the Orchestra has its own transcriptions of the original recordings, much of

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2017-2018 PERFORMING ARTS SERIES

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Saturday, April 14 | 7:30 p.m.

2/21/18 12:13 PM

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the music presented in these concerts cannot be heard anywhere else.

The Orchestra appears at a variety of venues and institutions across the Chicago metropolitan area, including the Spertus Institute (Venue SIX10), University of Chicago, Symphony Center, Jay Pritzker Pavilion, Midway Plaisance, Andy’s Jazz Club, Francis W. Parker School, Evanston’s Pick-Staiger Concert Hall, and Naperville’s Wentz Concert Hall and North Central College. Merit School of Music is the Orchestra’s leading organizational partner for educational programming, including day-long clinics that culminate with students performing alongside members of the CJO, master classes led by renowned guest artists of the Orchestra, and open rehearsals. The CJO also provides complimentary concert tickets to underserved public school students and their families.

The CJO has served as the resident orchestra for the Kennedy Center Honors Supper Dance for more than 25 years. In 2006, the Orchestra performed before a sold-out audience at the Spoleto Festival USA in Charleston, South Carolina. The CJO has toured Europe twice, including performances in Italy, Spain, Denmark,

and Sweden. The Orchestra has performed with such artists as Dizzy Gillespie, Nancy Wilson, Louis Bellson, Herbie Hancock, Jon Faddis, Kurt Elling, Jack McDuff, Kenny Burrell, and many more.

The CJO’s recording Clark Terry and Jeff Lindberg’s Chicago Jazz Orchestra: George Gershwin’s Porgy and Bess (Americana Music, 2004) received widespread critical acclaim, including a nomination as “Jazz Album of The Year” by the Jazz Journalist’s Association, and a rare “Five Star” rating by DownBeat magazine, which also named it one of the top recordings of the previous decade. In addition, it also made the annual “top CD’s” lists of Jazz at Lincoln Center, Jazz Times, and Jazz Education Journal.

To celebrate its 35th anniversary in 2013, the CJO released Burstin’ Out, which features emerging vocalist Cyrille Aimée and the Orchestra on classic and original jazz arrangements.

Howard Reich of the Chicago Tribune has described the CJO as “sublimely controlled.”

In 2006, he reported a “trouncing” of the Count Basie Orchestra by the CJO in a “Battle of the Bands” as part of the “Made in Chicago” series presented in Millennium Park. In 2015, Mr. Reich

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The Artists cited the CJO as “one of the best big bands in the country.” Kevin Whitehead of the Chicago Sun-Times believes that a CJO performance is “what repertory jazz should be: not a tepid re-creation of work, but a chance to hear how skillfully blended instrumental voices can set a room humming.”

Ann Hampton Callaway

O

ne of the leading champions of the great American Songbook, Ann Hampton Callaway has made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host and producer.

Voted recently by Broadwayworld.com as “Performer of the Year,” Ms. Callaway is a born entertainer. Her unique singing style, which blends jazz and traditional pop, makes her a mainstay in concert halls, theaters and jazz clubs as well as in the recording studio, on television, and on film. She is best known for Tony-nominated performance in the hit Broadway musical Swing! and for writing and singing the theme song to the hit TV series The Nanny.

Ms. Callaway is a Platinum Award-winning writer whose songs are featured on seven of Barbra Streisand’s recent CDs. The only composer to have collaborated with Cole Porter, she has also written songs with Carole King, Rolf Lovland and Barbara Carroll, among others.

Ms. Callaway’s live performances showcase her warmth, spontaneous wit and passionate delivery of standards, jazz classics and originals. She is one of America’s most gifted improvisers, taking words and phrases from her audiences and creating songs on the spot, whether alone at a piano or with a symphony orchestra. She has been a special guest performer with Wynton Marsalis and the Jazz at Lincoln Center Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood, and is featured at many Carnegie Hall tributes.

She has sung with more than 30 of the world’s top orchestras and big bands, and has performed for President Clinton in Washington, D.C., and at President Gorbachev’s Youth Peace Summit in Moscow.

2017-18 Concert Season Samuel Gordon, Artistic Director

Hear the chamber choir everyone raves about!

Echoes of Ireland October 14, 7:30 PM, Hudson

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Shout the Glad Tidings! Christmas with Singers Companye December 10, 4pm, Fairlawn • December 13, 7:30 PM, St. Sebastian Church, Akron • December 16, 7:30 PM, Hudson Broadway Cabaret December 30, 8pm, BLU Jazz+ Ohio premiere of Samuel Gordon’s Voice of My Song March 18, 4 PM, St. Sebastian Church, Akron Unclouded Day! World and American premieres!

April 20, 7:30 PM, Canton • April 21, 7:30 PM, Hudson April 22, 4 PM, Faith Lutheran Church, Akron

Singerscompanye.org for information Venues: AKRON: Faith Lutheran Church / 2726 W Market St AKRON: St. Sebastian Church / 475 Mull Ave AKRON: BLU Jazz+ / 47 E Market St CANTON: St. Stephen Martyr Lutheran Church / 4600 Fulton Drive NW FAIRLAWN: Fairlawn Lutheran Church / 3415 W Market St HUDSON: First Congregational Church / 47 Aurora St

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Ms. Callaway performed with her sister, Broadway star Liz Callaway, in their awardwinning show Sibling Revelry at London’s Donmar Warehouse. Their act Boom!, a critically acclaimed celebration of the baby boomer hits of the 60s and 70s, was recorded on PS Classics which debuted in the top 25 on Billboard Jazz.

She premiered her latest show The Streisand Songbook with The Boston Pops and continues to tour with top orchestras across the country.

After performing the show at 54 Below, she garnered two Broadwayworld.com Awards and the 2013 MAC Award for Show of the Year.

Among Ms. Callaway’s latest recordings are the critically acclaimed The Sarah Vaughan Project: Live at Dizzy’s, This Christmas, At Last, Blues in the Night, Slow and Signature.

Her dream of working in film, TV and radio has been realized in several recent projects. She made her feature film debut opposite Angelina Jolie and Matt Damon in the Robert De Niro film The Good Shepherd, performing the standard “Come Rain or Come Shine.” She recorded “Isn’t It Romantic?” and “The Nearness of You” in Last Holiday, starring Queen Latifah.

Ms. Callaway resides in New York. She lives

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by the creed best expressed in the Andre Gide quote: “Art is the collaboration between God and the artist and the less the artist does, the better.”

Dee Alexander

D

ee Alexander is one of Chicago’s most gifted and respected singersongwriters. Her musical interests span virtually every genre, especially those related to the African diaspora, including gospel, R&B, blues, neo-soul, and other global musical forms.

Her true heart and soul, though, are ultimately expressed in their purest form through her explorations in jazz, the one idiom that can encompass all of her interests and influences.

She gravitated toward this musical form at an early age. Artists Sarah Vaughan and Ella Fitzgerald are amongst her many major influences. Chicago saxophonist “Light” Henry Huff also was profoundly influential by encouraging Alexander to take risks and

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The Artists cross boundaries, setting her on a path that has allowed her to emerge as one of the most celebrated vocal improvisers on the scene today.

From a sultry traditional ballad to a contemporary jazz-funk groove, or from high-flying swing to a scat-filled romp, Ms. Alexander delivers each style with a passion and love of music evident in each and every note, and with a style and grace truly her own.

Recent career highlights include appearances at the: 2016 INNtöne Jazzfestival in Diersbach, Austria; 2016 Sons d’Hiver with Michael Zerang and Hamid Drake in Paris; 2015 Joy of Jazz Festival in Johannesburg, South Africa; 2014 International Jazz Festival in Liebnitz, Austria; 2014 Kennedy Center Honors with Jeff Lindberg and the Chicago Jazz Orchestra; 2013 Newport Jazz Festival; 2013 Mississippi Valley Blues Festival; 2011 Umbria Jazz Festival; 2007 Sirens of Song Tribute to Nina Simone and Dinah Washington (commissioned by the Jazz Institute of Chicago); 2014 Made in Chicago/Funkin’ with Acoustic Soul: Tribute to Jimi Hendrix/James Brown at the Pritzker Pavilion in Millennium Park Chicago; and the 2010 Tribute to Abraham Lincoln: Proclamation

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of Hope with Ramsey Lewis at The Kennedy Center in Washington, D.C. In addition to being a seasoned headliner in her own right, Ms. Alexander also has shared stages with Ahmad Jamal, David Sanborn, Earl Klugh, Gerald Albright, Roy Ayers, Joshua Redman, Oliver Lake and The O’Jays, among others. Not one to monopolize the spotlight, she has lent her considerable talents as a back-up vocalist to the live performance of other well-known artists such as Michael Bolton, Phil Perry, Willie Clayton and Muntu Dance Theatre of Chicago. She has been featured in many commercials, including for such brands as Alpo, McDonald’s, Pert Plus, Illinois State Lottery, Diet 7-Up, Pillsbury, Buick LeSabre, Commonwealth Edison, Dove and Amoco. Her television performances include Proclamation of Hope: Tribute to Abraham Lincoln with Ramsey Lewis on WTTW, Portraits in Color on WBBM, Going Home Gospel with Sue Conway and the Victory Singers featuring Patti LaBelle on WTTW, and Bernie Mac’s special Midnight Mac on HBO. She leads a quartet under her own name, and also has established the Evolution Ensemble, an acoustic group consisting of string and

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percussion instruments, with a strong emphasis on the performance of original compositions.

The Chicago group Women Driving Excellence honored her as one of 2016’s Trailblazing Women.

In 2011, the NAACP honored her for outstanding achievements in the arts. She was honored in 2009 by Muntu Dance Theatre of Chicago with the Alyo Award for Outstanding Service to the Arts. Chicago magazine named her Best Chicago Vocalist in its July 2009 issue. She received the 2007 Chicagoan of the Year in Jazz Award, and from 2008 to 2010 she was named Jazz Entertainer of the Year at the Chicago Music Awards.

In 2009, Ms. Alexander’s Wild Is The Wind was released on the BluJazz label and received a five-star rating from DownBeat magazine, which named it among the top 10 recordings of the new millennium. Her latest release on BluJazz, Songs My Mother Loves, continues to receive rave reviews.

René Marie

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O

ver two decades, 11 recordings, and countless stage performances, vocalist René Marie has cemented her reputation as not only a singer but also as a composer, arranger, theatrical performer, and teacher.

Guided and tempered by powerful life lessons and rooted in jazz traditions laid down by Ella Fitzgerald, Dinah Washington, and other leading ladies of past generations, she borrows various elements of folk, R&B, and even classical and country to create a captivating hybrid style. Her body of work is more than just music; it is an exploration of the bright and dark corners of the human experience, and an affirmation of the power of the human spirit.

Born into a family of 7 children in Warrenton, Virginia, René Marie recalls that blues, folk, bluegrass, and classical made up the soundtrack to her childhood. After only a year of formal piano training at age 9, then another year of lessons at 13, she sang in a few R&B groups. At fifteen, she composed and sang her first piece with a band.

She then put her musical aspirations aside to shoulder the responsibilities of adulthood. She married a former band mate when she was 18, and by the mid-1990s she was the mother of 2 expect great music

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The Artists and working in a bank. When she was 41 years old, her older son persuaded her to start singing again. Her husband was initially supportive, but he eventually issued an ultimatum: stop singing or leave their home.

Tension over the issue escalated to domestic violence, and she left the house and her marriage behind. “Something happens when you get up on stage and start making music with someone,” she said. “Another part of your personality comes to life. I had kind of pushed that down over the years, but because of the music, I was able to speak up and defend myself and be my own advocate.”

Over the next few years, she steered herself back toward a full-time music career. She left the bank job, divorced her husband of 23 years, produced her first CD, and took the title role in the world premiere production of Ella and Her Fella, Frank, at the Barksdale Theatre in Richmond, Virginia. Her self-produced CD, Renaissance, was released in 1999. She recorded four more over the next 4 years on the Maxjazz label: How Can I Keep from Singing? (2000); Vertigo (2001); Live at Jazz Standard (2003); and Serene Renegade (2004). She recorded and co-produced her sixth disc, Experiment in

Truth, released in 2007. In 2009, she launched a one-woman stage show, Slut Energy Theory: U’Dean, a play about overcoming abuse and incest. The play’s score became the seventh release in her discography.

Part of Ms. Marie’s musical philosophy has been focused on giving back. In 2010, she launched a series of vocal therapy group sessions called SLAM. “I’ve never been to college or received any ‘professional’ training,” she said at the time, “so I feel a bit anxious about my ability to convey my personal approach to singing. However, I know what I know, and I’ve always been up for a good challenge.” And, in a self-deprecating moment, she added: “Although the thought of attempting to share my vocal philosophy often makes me wonder if I have completely lost touch with reality.”

Ms. Marie joined the Motéma label with the 2011 release of Voice of My Beautiful Country, followed later that same year by Black Lace Freudian Slip. Her 2013 disc, I Wanna Be Evil: With Love To Eartha Kitt, earned a Grammy nomination in the Best Jazz Vocals category.

The newest installment in her ever-expanding body of work is Sound of Red, her first album of

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all-original material, released on Motéma. This 11-song set provides insightful glimpses into the many small but profound turning points in life.

René Marie believes she understands music’s capacity to heal and inspire. Not only has she herself been the beneficiary of this power, but she also has made every effort along the way to extend those same benefits to others.

“I have never forgotten the early lessons learned about the power of music,” she said.

“Today, I try to infuse that feeling of emotion into every song I write and every song I sing—every time. I am very happy to be alive today, doing the things I love to do: singing, composing, writing, teaching and arranging.”

Jeff Lindberg

J

eff Lindberg represents a new breed of American conductors who are equally adept with the literatures of the American jazz orchestra and the European symphony orchestra. As well as holding the position of Artistic Director of the Chicago Jazz Orchestra, Mr. Lindberg is Music Director of the Wooster Symphony Orchestra and a Professor of Music at The College of Wooster.

Co-founder of the Jazz Members Big Band (now Chicago Jazz Orchestra) in 1978, Mr. Lindberg is an active transcriber of original jazz recordings and has received numerous commissions from the Smithsonian Institution for such work. His transcriptions have been performed by such artists as Joe Williams, Clark Terry, Gunther Schuller, Dave Brubeck, and David Baker, and by such orchestras as the Count Basie Orchestra, the Smithsonian Jazz

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Masterworks Orchestra, the Woody Herman Orchestra, and the Carnegie Hall Jazz Band.

He has been commissioned by the estate of Billy Strayhorn to transcribe recordings of the composer’s works, resulting in the publication

by Alfred Music of numerous critically acclaimed editions, including the Ellington/Strayhorn “Jazz Nutcracker” (Tchaikovsky) and Peer Gynt Suite Nos. 1 and 2 (Edvard Grieg). As a symphonic and jazz conductor Lindberg has performed with such artists as Misha Dichter, William Warfield, Nadja Salerno-Sonnenberg, Milton Hinton, Clark Terry, Joe Williams, and many others.

For 26 consecutive years Lindberg conducted the CJO at the dinner dance following the prestigious Kennedy Center Honors awards in Washington, D.C. In addition, Lindberg has conducted the ensemble at the National Symphony Orchestra Ball at The Kennedy Center, as well as The Kennedy Center’s New Year’s Eve Jazz Gala performance with singer Kurt Elling. Lindberg served as music director of the Long Beach Opera and Chicago Opera Theater productions of Duke Ellington’s only opera, Queenie Pie. Lindberg holds Bachelor and Master of Music Education degrees from the University of Illinois at Urbana-Champaign. He received a Paul Harris Fellowship from Rotary International for post-graduate study at the Academy of Music in Vienna and a Conducting Fellowship at the Aspen Music Festival.

Mr. Lindberg has conducted and produced numerous recordings, including George Gershwin’s Porgy and Bess featuring Clark Terry and the Chicago Jazz Orchestra (Americana Music), which received a rare 5-star rating from Down Beat magazine, and the most recent release, Chicago Jazz Orchestra: Live From SPACE.

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WE BELIEVE IN

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EJ Thomas Performing Arts Hallâ&#x20AC;&#x201D;The University of Akron Wednesday, March 28, 2018 7:30 p.m.

Orpheus Chamber Orchestra with Augustin Hadelich, violin

Irving Fine 1914-1962

Serious Song: A Lament for String Orchestra

Franz Joseph Haydn 1732-1809

Concerto No. 1 in C Major, H. VIIa:I

Franz Schubert 1797-1828

Rondo in A Major for Violin and Strings, D.438

INTERMISSION Pyotr Ilyich Tchaikovsky Serenade in C Major for Strings, Op. 48 1840-1893 Pezzo in forma di Sonatina Waltzer Elegie Finale

Tuesday Musical is presenting this concert and related education/community engagement activities with generous support from the Gertrude F. Orr Advised Fund of Akron Community Foundation and other contributors.

This concert is also supported in part by the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; and the New York City Department of Cultural Affairs in partnership with the City Council.

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The Artists Orpheus Chamber Orchestra Violin Ronnie Bauch Karla Donehew Perez Renée Jolles Kobi Malkin Jessie Montgomery Richard Rood Melissa White Eric Wyrick

Viola Christof Huebner Dana Kelley Dov Scheindlin Cello Melissa Meell Jonathan Spitz James Wilson Double Bass Jordan Frazier

O

rpheus Chamber Orchestra creates extraordinary musical experiences that enrich lives and empower individuals through collaboration, innovation, and a passion for artistic excellence.

A standard-bearer of innovation and artistic excellence, Orpheus was founded in 1972 by a group of like-minded young musicians determined to combine the intimacy and warmth of a chamber ensemble with the richness of an orchestra. Orpheus performs without a conductor, rotating musical leadership roles for each work, and striving to perform diverse repertoire through collaboration and open dialogue.

The ensemble has commissioned and premiered over 45 original works.

Orpheus’s recordings include the Grammy Award-winning Shadow Dances: Stravinsky Miniatures for Deutsche Grammophon, and more than 70 other recordings for DG, Sony Classical, EMI Classics, BMG/RCA Red Seal, Decca, and others, including its own label, Orpheus Chamber Orchestra Records.

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Orpheus presents an annual series at Carnegie Hall and tours extensively to major national and international venues. The 2017-18 Orpheus series in Stern Auditorium/Perelman Stage at Carnegie Hall features pianist André Watts, Norwegian cellist Truls Mørk in his first appearance with Orpheus, classical trumpet soloist Tine Thing Helseth in her Stern Auditorium/Perelman Stage debut, and violinist Lisa Batiashvili in her first appearance with Orpheus.

As part of Orpheus’ ongoing American Notes commissioning initiative, two new pieces­—by Indian-American jazz pianist and composer Vijay Iyer and award-winning Chinese composer Shuying Li—are additionally featured in the current season.

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Orpheus has trademarked its signature mode of operation, the Orpheus Process®, an original method that places democracy at the center of artistic execution. It has been the focus of studies at Harvard University and of leadership seminars at IBM, Morgan Stanley, and Memorial SloanKettering Hospital, among others.

Orpheus aims to bring this unique approach to students of all ages through its worldwide education and engagement programs: Access Orpheus-NYC, Orpheus Music Academy, and Orpheus Leadership Institute.

Access Orpheus-NYC shares the orchestra’s collaborative music-making process with K-12 public school students from all five boroughs in New York City. While New York is among the cultural capitals of the world, many schoolchildren are underserved in arts participation. Access Orpheus-NYC helps to bridge this gap with in-class visits, invitations to working rehearsals, instrument discovery days, and free tickets for performances at Carnegie Hall.

The Orpheus Music Academy encompasses Orpheus’ programs for intermediate and advanced music students. Orpheus musicians share their artistry, expertise, and collaborative

approach to music-making through master classes with Orpheus musicians and guest artists, side-by-side workshops, and residencies on tour.

The Orpheus Leadership Institute brings the Orpheus Process® to the private and nonprofit sectors and educational institutions to empower the leaders of tomorrow through collaborative management training. Teams of all kinds participate in customizable programs to gain insight from Orpheus’ democratic process and develop essential skills in communication, collective ownership, and creative problem solving.

Augustin Hadelich

A

ugustin Hadelich has established himself as one of the great violinists of today. He has performed with every major orchestra in the U.S., many on numerous occasions, as well as with an ever-growing number of major orchestras in the UK, Europe, and the Far East. He is consistently cited for his phenomenal technique, poetic sensitivity, and gorgeous tone.

One highlight of Mr. Hadelich’s 2017-18 season was the return in January to the Boston

Monteverdi’s Baroque orchestra jeannette sorrell

The ancient love story of Orpheus comes to life!

FREE 45-MIN. PREVIEW: Highlights from the opera Sunday, April 8, 3:00pm Akron Art Museum Presented on AF’s MusicAlive! series

L’Orfeo orpheus in

the

underworld

Semi-staged opera production with dance

APRIL 13 & 14 – CLEVELAND Institute of Music APRIL 18 – St. Raphael Church, BAY VILLAGE

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The Artists Symphony, playing the Ligeti Concerto with Thomas Adès on the podium. For this performance, he played the U.S. premiere of Adès’s new cadenza for the concerto. Additional highlights this season include performances with the San Francisco Symphony, as well as the symphony orchestras of Atlanta, Detroit, Fort Worth, Houston, Indianapolis, Milwaukee, Nashville, Oregon, Pittsburgh, Seattle, St. Louis and Utah.

Abroad, Mr. Hadelich is playing this season with the Seoul Philharmonic Orchestra, Polish National Radio Orchestra, Lahti Symphony/Finland, Royal Scottish National Orchestra, The Hallé Orchestra in Manchester, and the Orquesta Sinfónica de Castilla y León/Spain.

Summer appearances include his 2016 debut at the BBC Proms, return engagements with the Boston Symphony at Tanglewood and the Cleveland Orchestra at Blossom, in addition to appearances at the music festivals in Aspen, Bravo! Vail, Britt, Chautauqua (where he made his U.S. orchestral debut in 2001), Eastern, Grand

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Teton, Marlboro, Sun Valley, and the Hollywood Bowl. Recent summer engagements in Germany have included the Rheingau Musik Festival and Festspiele Mecklenburg-Vorpommern.

Among recent and upcoming international performances are the BBC Philharmonic/ Manchester, BBC Symphony/ London, Bournemouth Symphony Orchestra (where he was the 2015-16 artist-in-residence), Concertgebouw Orchestra/Amsterdam, Danish National Symphony, Finnish Radio Orchestra, Hamburg Philharmonic, Hong Kong Philharmonic, London Philharmonic, Mozarteum Orchestra/ Salzburg, Munich Philharmonic, Netherlands Philharmonic, Norwegian Radio Orchestra, NHK Symphony/Tokyo, São Paulo Symphony, and the radio orchestras of Cologne, Frankfurt, Saarbrücken, and Stuttgart.

Augustin Hadelich has collaborated with such renowned conductors as Roberto Abbado, Thomas Adès, Marc Albrecht, Marin Alsop, Herbert Blomstedt, James Conlon, Christoph

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tuesday musical 2017 | 2018

von Dohnányi, Thierry Fischer, the late Rafael Frühbeck de Burgos, Alan Gilbert, Hans Graf, Giancarlo Guerrero, Miguel Harth-Bedoya, Manfred Honeck, Jakub Hruša, Carlos Kalmar, Hannu Lintu, Andrew Litton, Cristian Macelaru, Jun Märkl, the late Sir Neville Marriner, Fabio Mechetti, Juanjo Mena, Ludovic Morlot, Andris Nelsons, Sakari Oramo, Andrés OrozcoEstrada, Peter Oundjian, Vasily Petrenko, David Robertson, Donald Runnicles, Jukka-Pekka Saraste, Lahav Shani, John Storgårds, Yan Pascal Tortelier, Krzysztof Urbański, Gilbert Varga, Edo de Waart, and Jaap van Zweden, among others.

An active recitalist, Mr. Hadelich has appeared at Carnegie Hall, the Concertgebouw/ Amsterdam, The Frick Collection/New York, Kennedy Center/Washington, Kioi Hall/Tokyo, the Louvre, and the Wigmore Hall/London. His chamber music partners have included Inon Barnatan, Jeremy Denk, James Ehnes, Alban Gerhardt, Richard Goode, Gary Hoffman, Kim Kashkashian, Robert Kulek, Cho-Liang Lin, Midori, Charles Owen, Vadim Repin, Mitsuko Uchida, Joyce Yang, and members of the Guarneri and Juilliard quartets. He will appear this

summer in Portugal and in Aspen with colleagues Martin Helmchen, piano, and Marie-Elisabeth Hecker, cello, as the “H3 Trio.”

He is the winner of a 2016 Grammy Award— “Best Classical Instrumental Solo”—for his recording of Dutilleux’s Violin Concerto, L’arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). His newest disc is the complete Paganini Caprices for Warner Classics. Other recent discs include live recordings of the violin concertos by Tchaikovsky and Lalo (Symphonie espagnole) with the London Philharmonic Orchestra on the LPO label (2017), and an album of duo works for violin and piano on AVIE in collaboration with Joyce Yang (2016). Previous recordings on the AVIE label include the Mendelssohn Violin Concerto and Bartók’s Concerto No. 2 with the Norwegian Radio Orchestra under Miguel HarthBedoya (2015), and the violin concertos of Jean Sibelius and Thomas Adès (Concentric Paths) with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra (2014), nominated for a Gramophone Award and listed by NPR on their Top 10 Classical CDs of 2014.

Mr. Hadelich’s career took off when he was

Brian Del Bianco, Bass

JA Z Z MEETS

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Featuring the Cleveland Jazz Orchestra

SATURDAY, APRIL 14 7:30 P.M. EJ THOMAS HALL

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The Artists named Gold Medalist of the 2006 International Violin Competition of Indianapolis. Since then, he has garnered an impressive list of honors, including an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship in the UK (2011); Lincoln Center’s Martin E. Segal Award (2012); the inaugural Warner Music Prize (2015); a Grammy Award (2016); and in December he received an honorary doctorate from the University of Exeter in the UK. Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen.

He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff.

Mr. Hadelich plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

Be outstanding.

School of Music

www.uakron.edu/music 330-972-7590 music@uakron.edu

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Program Notes Irving Fine (1914-1962) Serious Song: A Lament for String Orchestra

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rving Fine studied and taught at Harvard University before he joined the faculty of Brandeis University in 1950, a tenure that lasted until his death from heart disease at age 47. This lifelong Bostonian never enjoyed widespread success, but his champions did include Leonard Bernstein, who praised Fine’s Serious Song as “rich, sensitive, emotional music,” and Aaron Copland, who wrote, “Sureness of musical instinct informed Fine’s every activity.”

Fine composed Serious Song in the summer of 1955 to satisfy a commission from the Louisville Orchestra. The short, elegiac work uses a rich and supple harmonic language that combines late-Romantic tonality with glints of modern technique. Fine considered the work “essentially an extended aria for string orchestra,” and the melodic contours of this instrumental “lament” exhibit a singing, voice-like quality.

Franz Joseph Haydn (1732-1809) Concerto No. 1 in C Major for Violin and Orchestra, H. VIIa:I

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n 1761, the 29-year-old Haydn accepted a job with the Esterházy family, a fantastically wealthy and cultured branch of the Austrian nobility. Over the next 30 years, the music that the inexhaustible Haydn created for his demanding patrons played a defining role in advancing what we now recognize as Classical style.

For his first 5 years with the Esterházy family, Haydn served as Vice-Kapellmeister and one of his duties was to produce twice-weekly concerts with the court’s private orchestra. The ensemble was small in those early years, ranging from 13 to 15 players, but each member was a worldclass virtuoso. Besides composing about 25 seminal symphonies in that period, Haydn wrote numerous concertos for violin, flute, horn and other instruments, most of which have been lost.

The Violin Concerto No. 1 in C Major is the earliest of Haydn’s three surviving concertos for the instrument, logged into his catalog with a date of 1765. It was a time when Italy dominated expect great music

tuesday musical 2017 | 2018

the violin world—producing the best performers, instruments, techniques and compositional trends—so it was no surprise that the Esterházy court hired a young Italian violinist, Luigi Tomasini, to be the orchestra’s concertmaster.

Haydn put Tomasini’s talents to good use, incorporating many double-stops (i.e. two notes played simultaneously) and rapid arpeggios in the fast first movement.

In the central slow movement, pulsing plucks give the accompaniment the quality of a mandolin, like an Italian serenade.

The dance-like finale, with its highly varied solo episodes, honors the best of the Italian concerto tradition exported

by Vivaldi, but the bold contrasts and rhythmic subterfuge are pure Haydn, pointing toward his bright future.

Franz Schubert (1797-1828) Rondo in A Major for Violin and Strings, D. 438

S

chubert enjoyed a childhood rich with music—singing in the court choir, playing string quartets with his family, and participating in the school orchestra—but he only began composing around the age of twelve or thirteen.

Like his father and brothers, he trained as a teacher, and at seventeen he began working as a teaching assistant at an elite Viennese school, while also keeping up twice-weekly composition lessons with the local Kapellmeister, Antonio Salieri.

Schubert’s accomplishments in the next two years must rank as the greatest growth spurt in musical history: He composed some 300 songs, plus four symphonies, three masses, five musical dramas, three string quartets, three violin sonatas and dozens of other works.

This flurry all come before Schubert reached his 20th birthday, while he was working full time, and before the Viennese public had seen or heard a single note of his music.

One genre missing from Schubert’s extensive catalog is the concerto. He was a competent violinist and pianist, and he was known to have a lovely singing voice, but he was never a star performer like Mozart or Beethoven. His most significant work for an instrumental soloist is this Rondo that he composed in 1816 to feature 25

Program Notes violin, possibly for his brother Ferdinand to perform at the orphanage where he taught. The accompaniment is scored for string quartet, but it makes just as much sense musically to use the expanded sections of a string orchestra; Schubert presumably would have done the same had such resources been available to him.

Schubert’s Rondo mines a similar vein as the violin concertos that Mozart wrote for himself in his own late teens. (In fact, the rising arpeggio that begins Schubert’s slow introduction mimics an identical gesture in Mozart’s Fifth Violin Concerto.) The violin’s bright and fluid passagework in the fast body of the Rondo points to Schubert’s underutilized talent for virtuosic showmanship, while lyrical episodes celebrate his irrepressible tunefulness.

Pytor Ilyich Tchaikovsky (1840-1893) Serenade for Strings, Op. 48

“H

ow fickle my plans are,” Tchaikovsky wrote, “whenever I decide to devote a long time to rest!”

Tchaikovsky’s time with his sister in Ukraine turned into a working vacation that summer of 1880, as he confided to his patron and confidante, Nadezdha von Meck.

“I had just begun to spend a series of entirely idle days, when there came over me a vague feeling of discomfort and real sickness; I could not sleep and suffered from fatigue and weakness.

Today I could not resist sitting down to plan my next symphony—and immediately I became well and calm and full of courage.”

Tchaikovsky’s plan for that music wavered between a symphony and a string quartet, until he landed on something in between: a serenade for string orchestra. The title and form of the work paid homage to Mozart, the greatest composer of serenades, whom Tchaikovsky once praised

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as “the culminating point which beauty has reached in the sphere of music.” As he wrote in his diary: “Nobody has made me cry and thrill with joy, sensing my proximity to something that we call the ideal, in the way that he has.”

Tchaikovsky wrote the Serenade in little more than a month, even with some of that time devoted to a concurrent project, the 1812 Overture. Again writing to von Meck, Tchaikovsky explained, “The overture will be very showy and noisy, but it will have no artistic merit because I wrote it without warmth and love.” Drawing a comparison, he continued, “I wrote the Serenade on impulse. I felt it deeply, from start to finish, and therefore I dare to believe it will not be without merit.”

The Serenade for Strings merges a Classical sense of order with Tchaikovsky’s own abundant gift for melodic expression. Despite the modest heading that promises a “Piece in the form of a Sonatina,” the first movement establishes a grand and noble tone with a reverent chorale. Instead of a minuet or scherzo, the second movement offers a flirtatious diversion in the form of a Waltz, the quintessential dance of nineteenth-century Vienna and Paris.

The slow movement, labeled an Elegy, takes a more somber turn. The initial motives echo the falling scale fragments that began the work, establishing the sort of thematic integrity that Tchaikovsky so admired in Beethoven, another of his Classical heroes.

In the finale, the “Russian theme” promised by the subtitle is an amalgamation of folk material that Tchaikovsky harvested from a printed collection. The main tune from the fast body of the movement traces the same descending contour as the Serenade’s initial chorale, a link that serves to prepare the return of that ceremonial slow music. The related fast theme reignites for a final scamper to the finish. © Aaron Grad, 2017

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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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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 March 6, 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 Lucinda Weiss 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

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Kenneth E. Shafer Larry and Cyndee Snider R. Thomas and Meg Harris Stanton 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 Anonymous 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 Eugene Mancini Toshie Haga 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

Our restaurants serve as the perfect preludeâ&#x20AC;Ś

or encore.

MONTROSE: 3885 West Market St. Akron OH 44333

HIGHLAND SQUARE: 867 West Market Akron OH 44303

www.MustardSeedMarket.com photo credit @rubbercity_foodie

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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

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

KeyBank Foundation

Cogneato

Lehner Family Foundation

ideastream®

Beatrice K. McDowell Family Fund

Labels and Letters

Gertrude F. Orr Trust Advised F und of Akron Community Foundation

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

Sheraton Suites Akron/ Cuyahoga Falls

$5,000 to $9,999

Sisler McFawn Foundation

C. Colmery Gibson Polsky Fund of Akron Community Foundation John A. McAlonan Fund of Akron Community Foundation

OMNOVA Solutions Foundation

Mary S. and David C. Corbin Foundation

$200 to $999

Mary and Dr. George L. Demetros Charitable Trust

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

ClevelandClassical.com

Mustard Seed Market & Café

Steinway Piano Gallery— Cleveland The University of Akron School of Music 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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Advertise in the Tuesday Musical Programs Contact Ruth Krise 330.714.2704 for More Information

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Showcasing programs Tuesday Musical’ & collabora s tions

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Because

more coverage MATTERS

WKSU 89.7 has you covered with more engaging NPR programs and in-depth reporting in more of Northeast Ohio (22 counties to be precise).

Celebrating 65 years WKSU, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 16-UR-00310-086

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.

tuesdaymusical.org ■ 330.761.3460

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