Tuesday Musical April 18 Concert

Celebrate our 130th Anniversary 2017-18 Season

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Brentano Quartet with Marina Piccinini, flute Wednesday, April 18, 2018

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Bringing the world’s best music to Akron and NE Ohio

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ave you noticed Tuesday Musical’s new logo?

A globe patterned with music notes, the new logo illustrates our focus on bringing the world’s best classical musicians to Akron and Northeast Ohio.

This ambitious focus has made Tuesday Musical a core arts organization in Akron and one of the oldest and most-respected organizations of our kind in the United States.

Global greats on our series over the past 130 years include Vladimir Horowitz, Imani Winds, Orpheus Chamber Orchestra, Itzhak Perlman, Marilyn Horne, James Galway, Jascha Heifetz, Renée Fleming, Augustine Hadelich, So Percussion, Vienna Boys Choir, Wynton Marsalis, Academy of St. Martin in the Fields, and so many more.

Just as important, our vibrant Education and Community Engagement Programs have expanded access to these world-class musicians for students and adults throughout the region—thus inspiring current and future generations of music lovers. This season alone, these programs have reached nearly 5,000 people of all ages.

Next season, expect more great music and musicians: Quebec’s Les Violons du Roy, Lawrence Brownlee and Eric Owens, Israel’s Inon Barnatan, the Calidore String Quartet, and the Canadian Brass, to name a few.

For the full list, take a look at the opposite page.

For now, I hope you enjoy this finale concert of our 130th anniversary season.

Jarrod Hartzler Executive and Artistic Director

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Whet your musical appetite!

Here’s a quiz about Tuesday Musical’s 2018-19 season: 1. A die-hard Pittsburgh Steelers and Ohio State football fan, ___________________________ has sung the National Anthem at numerous NFL games. He is also a champion of autism awareness through the organization Autism Speaks.

2. Next season’s musicians come from around the globe. For example, pianist Joyce Yang is from ___________________________ and pianist Inon Barnatan is from ___________________________.

3. Founder Thomas Lauderdale says of ___________________________, the 12-member multinational ensemble known for its joyful mix of classical, jazz and vintage pop: “If the United Nations had a house band in 1962, hopefully we’d be that band.”

4. A mix of “California” and “doré” (French for “golden”), the name ___________________________ celebrates the diverse cultures of this string quartet’s home in the “golden state.”

5. The outreach endeavors of cellist ___________________________ have taken him to Uganda with his violin-playing siblings, where they played chamber music in schools, HIV/AIDS centers and displacement camps to communicate a message of hope through music.

6. Taking its name from the renowned string orchestras of the French kings, ___________________________is at the heart of the music scenes in Montreal and Quebec City.

7. True or False: A countertenor is a male singer with the highest male adult singing voice.

8. ___________________________ has an annual residency at London’s prestigious Wigmore Hall.

The ensemble’s return to Akron continues an on-going partnership with Tuesday Musical that brings the musicians to our concert stage and throughout NE Ohio to share their talents and inspirations.

9. ___________________________ is hailed by many as the world’s most famous brass group.

10. Tuesday Musical is the lead commissioner of a new quartet by composer Andrew Norman. ___________________________ will give the piece its world premiere during the 2018-19 season’s finale concert.

Answers (with concert dates): 1. Lawrence Brownlee (February 12); 2. South Korea (September 11) and Israel (January 22); 3. Pink Martini (April 18); 4. Calidore (January 22); 5. Joshua Roman (November 3); 6. Les Violons du Roy (October 16); 7. True (October 16); 8. Chamber Music Society of Lincoln Center (March 12); 9. Canadian Brass (December 4); 10. Escher String Quartet (March 28).

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2017-18 Concert Season Samuel Gordon, Artistic Director

Hear the chamber choir everyone raves about!

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

Be outstanding.

Singerscompanye.org for information

School of Music

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

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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EJ Thomas Performing Arts Hall—The University of Akron Wednesday, April 18, 2018 7:30 p.m.

Brentano Quartet with Marina Piccinini, flute Mark Steinberg, violin • Serena Canin, violin Misha Amory, viola • Nina Lee, cello

Wolfgang Amadeus Mozart Flute Quartet No. 3 in C major, K. 285b 1756-1791 Allegro

Theme & Variations. Andantino

Marina Piccinini, flute Mozart Quartet in C major, KV 465 “Dissonance” Adagio-Allegro

Andante cantabile

Menuetto (Allegretto)

Molto allegro INTERMISSION Aaron Jay Kernis Air for Flute and String Quartet b. 1960 Marina Piccinini, flute Dmitri Shostakovich String Quartet No. 12 in D-flat major, Op. 133 1906-1975 Moderato-Allegretto Allegretto-Adagio-Moderato-Allegretto Brentano Quartet appears by arrangement with David Rowe Artists. www.brentanoquartet.com

Tonight’s concert is the finale of Tuesday Musical’s 2017-18 MainStage season.

Generous support for this performance and the wide array of related education and community engagement activities comes from the Gertrude F. Orr Trust Advised Fund of Akron Community Foundation.

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The Artists Brentano Quartet Mark Steinberg, violin Serena Canin, violin Misha Amory, viola Nina Lee, cello

S

ince its inception in 1992, The Brentano String Quartet has appeared throughout the world to popular and critical acclaim.

“Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.”

Since 2014, the Brentano Quartet has served as Artists in Residence at Yale University.

The Quartet also serves as the collaborative ensemble for the Van Cliburn International Piano Competition. Formerly, they were Artists in Residence at Princeton University for many years.

The Quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House.

The Quartet had its first European tour in 1997,

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and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut.

In addition to an interest in performing very old music, the Brentano Quartet frequently collaborates with contemporary composers.

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Recent commissions include a piano quintet

by Vijay Iyer, a work by Eric Moe (with Christine Brandes, soprano), and a viola quintet by Felipe Lara (performed with violist Hsin-Yun Huang).

In 2012, the Quartet provided the central music (Beethoven Opus 131) for the critically acclaimed independent film A Late Quartet.

The Brentano Quartet has worked closely with other important composers of our time, among them Elliott Carter, Charles Wuorinen, Chou Wenchung, Bruce Adolphe, and György Kurtág. The Quartet has also been privileged to collaborate with such artists as soprano Jessye Norman and pianists Richard Goode, Jonathan Biss, and Mitsuko Uchida.

The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved,” the intended recipient of his famous love confession.

Marina Piccinini, flute

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daring artist with diverse musical interests, virtuoso flutist Marina Piccinini is in demand worldwide as a soloist, chamber musician and recording artist. Internationally acclaimed for her interpretive skills, rich, expansive colors, technical command and elegant, compelling stage presence, Ms. Piccinini has been hailed by Gramophone as “the Heifetz of the flute.”

Of recent note are premiere performances of Pulitzer Prize-winner Aaron Jay Kernis’ Flute Concerto, written for her, with the London Philharmonic Orchestra under principal guest conductor Andrés Orozco-Estrada, the Detroit Symphony Orchestra under Music Director Leonard Slatkin, the Rochester Philharmonic Orchestra under Music Director Ward Stare, and with the Chautauqua Symphony Orchestra under conductor JoAnn Falletta. The recording of the concerto was released by Naxos last fall.

Other recent highlights include North American recitals, including with pianist Andreas Haefliger at the Kennedy Center, with guitarist Meng Su in expect great music

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The Artists San Francisco’s Herbst Theatre, and with harpist Anneleen Lenaerts at the Aspen Music Festival.

She also gave the world premiere of Kernis’ Air in the version for flute and orchestra with the Korean Chamber Orchestra at Korea’s Seoul Arts Center.

This season finds Ms. Piccinini returning to the London Philharmonic for a recording of Miguel Kertsman’s Flute Concerto under Dennis Russel Davies, tours with Musicians from Marlboro including concerts at Carnegie Hall’s Weill Hall, Philadelphia’s Kimmel Hall, The Smithsonian Institution in Washington, D.C. and Boston’s Gardner Museum; Other collaborations in addition to the U.S. tour with the Brentano String Quartet include Mozart’s Flute and Harp Concerto with Anneleen Lenaerts and Bruno Weill at the Stiftkonzert and with the Beijing Guitar Duo at the Newport festival. In addition she will perform with her Trio Tre Voci in Mexico City, Philadelphia, Boston, and at London’s Wigmore Hall in recitals that will feature the world premiere of a new piece written for them by Toshio Hosokawa.

The orchestras with which Ms. Piccinini has appeared include those in Boston, London, Vienna, Rotterdam, St. Louis, Tokyo, St. Paul,

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Montreal, National Symphony, Hannover, Toronto and Ravenna, among others. She is a regular partner of pianists Andreas Haefliger and Mitsuko Uchida. A popular figure at international music festivals, she is a long-time Resident Artist at the Marlboro Festival, and has performed (at the personal invitation of Seiji Ozawa) at the Saito Kinen Festival. Ms. Piccinini has also appeared as Guest Principal Flute with both the Boston Symphony and the New York Philharmonic.

While equally at home with contemporary and traditional works, Ms. Piccinini is deeply committed to music of the present, and expanding the repertoire for her instrument. She has given first performances of works by some of today’s foremost composers, including Michael Colgrass, Paquito D’Rivera, Matthew Hindson, Miguel Kertsman, Lukas Foss, Michael Torke, John Harbison, David Ludwig and Roberto Sierra.

The first flutist to win the prestigious Avery Fisher Career Grant, Marina Piccinini’s career was launched when she won First Prize in the CBC Young Performers Competition in Canada, and a year later, First Prize in New York’s Concert Artists Guild International Competition.

Ms. Piccinini is the recipient of numerous

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awards and grants, including Musical America’s Young Artist to Watch, the McMeen-Smith Award, the NEA’s Solo Recitalist Grant (twice), the BP Artist Career Award, as well as various grants from the Canada Council, among others.

Marina Piccinini began her flute studies in Toronto with Akron’s own Jeanne Baxtresser and later received her Bachelor of Music and Master of Music degrees from The Juilliard School, where she studied with the legendary flutist Julius Baker. She also worked with renowned musicians flutist Aurèle Nicolet, and tenor Ernst Haefliger in Switzerland.

Ms. Piccinini regularly gives master classes worldwide around her performance schedule.

She is on the faculty of the Peabody Institute of the Johns Hopkins University in Baltimore, and was formerly Professor at the Hochschule für Musik, Theater und Medien in Hannover, Germany. A 36th-generation Shaolin Fighting Monk, Ms. Piccinini lives with her family in Vienna and New York City.

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Program Notes Wolfgang Amadeus Mozart (1756-1791) Flute Quartet in C major, K. 285b

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ozart famously complained to his father that he detested the flute, a sour declaration that probably drew added venom from his unhappiness with having to ply his trade in provincial Salzburg in the employ of his formidable foe, Archbishop Hieronymus Colloredo. He also griped about the paltry recompense offered for the task of composing several pieces commissioned by a wealthy amateur flutist named De Jean.

Yet for all his protestations about the instrument, Mozart certainly wrote with fluency and imagination for the flute. In addition to two concertos for that woodwind and another for the unusual combination of flute and harp, he managed to write four—all of them light in mood and flavored with winning melodic material.

Despite the endearing lyricism and light spirit of all of the flute quartets it is probably true, as Mozart scholar Alfred Einstein pointed out more than half-a-century ago, that these were parodies of the clichés of the period. The flute quartets are

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tongue-and-cheek essays with humor veiled by the composer’s ability to somehow make a joke still sound like first-rate music—as in his subtly riotous late Musikalische Spass (“A Musical Joke”), K. 522.

In the opening Allegro the flute launches an endearingly sweet theme over the accompanying strings, soon repeated by the violin. Sprightly and untroubled, it seems perfectly suited to the flute’s patented optimistic sound.

A brief minor key episode darkens the mood somewhat before returning to the effervescent major-key main theme.

In the concluding Andantino, an unassuming and altogether lovely theme initiates a set of six variations. As befits the commissioning musician, the first variation belongs to the flutist. For both added color and fairness to the other players, variations two and three are led respectively by the violin and cello. Mozart then moves into the darker C Minor for the fourth variation. Having enriched the harmonic color there, he shifts into a slower Adagio for No. 5, perhaps the loveliest in the set. The concluding variation returns to C major in a spirited dance.

— Steven Lowe

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Program Notes Mozart Quartet in C major, KV 465 “Dissonance”

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o enter into the opening of Mozart’s Quartet in C major, K 465 is to come upon a Beckett landscape, barren and austere, alone with the pulsating background radiation of the cosmos. Lonely voice upon lonely voice happen upon the scene, foreign visitors, and they clash, yearn toward resolution and are thwarted.

This is the famous opening that earns the piece the nickname “Dissonance.”

Mozart dedicated the set of six quartets from which this hails to Haydn, whose brilliant and groundbreaking Op. 33 quartets Mozart had just studied. Haydn was deeply impressed by the composer 24 years his junior, making his famous declaration to Mozart’s father: “Before God, and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste, and, what is more, the most profound knowledge of composition.” Yet Haydn remained a bit flummoxed by this opening, saying only “if Mozart wrote it he must have meant it.” This from the composer who, later on, would

make a musical depiction of Chaos resolved into blinding C Major light in The Creation.

Mozart’s upper lines here individually outline a turn, the most innocent ornamental figure of the time, but slowed down so as to be unrecognizable as such, the familiar stretched in the fun house mirror. Not only is the harmony unstable, but the organization of the pulse as well, time that floats rather than flows. The first violin reaches upward and at the moment of arrival the foundation drops away and the alienated searching begins anew. The upward reaches, unfulfilled all, continue through the introduction.

And then, in the face of existential crisis, Mozart chooses to look to the horizon rather than at his own navel. At appearance of the Allegro main part of the movement the ominous pulsation of the opening levitates, liberated from the cello that tolled forth the prophecy of darkness. The melodic line again reaches upward and this time overleaps its landing point in order to sigh down into it, discovering its destiny only when shedding the necessity of climbing directly to it. Henceforth only the memory of shadows dares to shade the proceedings.

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The Andante begins as a song spun from warmth and contentment. Once the singing has found temporary completion, the first violin and cello begin an exchange of tenderly questioning glances, privately musing, a wordless expression of wonder. Underlying this is a pulsation reminiscent of those in the first movement, now a marker of time that flows easily, never wanting to be anywhere but where it is. This ushers in a passage where single notes vibrate and pulsate weightlessly, holding time as one instinctively holds breath, to savor the perfection of the present moment, tenderly tremulous, intimate and still. As paradisiacal as this moment is, its comfort proves illusory; toward the end of the movement, the currents that only hinted at flow now crash upon the shore, through painful dissonances and the darkest caverns one might fear to find inside. And yet, as Mozart and only Mozart knows how to do, all this is let go, allowed to drift away into the most magical occurrence of the piece. As the wonder-filled glances return, a new melody appears atop them, a discovery of a completion that had never been understood as a lack. Again, as in the first movement, Mozart does not wrestle with despair but, noting it, steps

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aside into a garden previously unnoticed that yet has been awaiting him. John Tarrant writes, in a book about Zen koans, “since joy might be hiding anywhere, you would be willing to look with curiosity at sadness or fear, just in case.” Mozart is thus willing, a teacher for all of us.

In the Minuet, the repeated note idea returns, this time within the role of the coy, suggestive partner in a flirtatious exchange, a sort of provocative posturing, answered by an assertive, stubborn response. The figures dance around each other, masculine and feminine, the energy of the game paramount. In the contrasting trio section the repeated notes reappear as an undertow, and the back and forth takes on a mock ominous cast, all bluster and swirling storms on stage, one of Prospero’s storms that we know will lead, eventually and inevitably, to a double wedding.

By the time we arrive at the Allegro molto last movement, the repeated notes have taken on a launching role, ready for vaulting, leaping motion except when they don a serious countenance in good fun to play at interrupting the good cheer of the proceedings. At two points the music gets stuck in a furiously repeating pattern, from which

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Program Notes Mozart escapes simply by lifting up above a stalled note as one lifts above cloud cover to see the perennially blue skies. Just as in the opening of the piece, he escapes trouble by levitating above it. Just as the piece readies itself to say goodbye, Mozart reintroduces the chromatically yearning idea from the introduction, but now it simply teases and is tossed aside.

With the recurring character of the repeated note binding the piece together Mozart evinces psychological acumen in his ability to see darkness and tame it.

The piece takes and transforms dream images, making them both recognizable and new. It models a sort of lucid dreaming, where a wall becomes a gate because we choose to see it so.

In Invisible Love, Emmanuel Schmitt writes: “Happiness isn’t about hiding from suffering, but about integrating it into the fabric of our existence.” We could have no better guide to this integration than Mozart.

— Mark Steinberg

Aaron Jay Kernis (born 1960) Air for Flute and String Quartet

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aron Jay Kernis originally composed Air in response to a commission from Joshua Bell and the Houston Society for the Performing Arts, and dedicated it to his wife Evelyne Luest. One year later he arranged the work for flute and string quartet.

Unlike many of his other compositions, it makes no explicit references to other styles of music; this is completely Kernis’s sound world. The work is in one movement, in A-B-C-B-A form, with a brief coda; the repeats of the B and A sections are melodically elaborated, like Baroque da capo arias, and in some places the piano (string quartet) harmony shifts or disappears.

The work is essentially sweetly lyrical and tonal, with two soaring, passionate melodies on the flute which are developed throughout the piece. The intimate mood is interrupted only by the stormy C section, which features pounding chords by the strings and frenzied ascending

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scales in the flute. After the repeated B and A sections, the coda gently closes the piece.

Winner of the 2002 Grawemeyer Award for Music Composition, 1998 Pulitzer Prize, and 2011 Nemmers Award, Kernis is one of America’s most honored composers. His music appears prominently on concert programs worldwide, and he has been commissioned by America’s preeminent performing organizations and artists, including the New York Philharmonic, San Francisco, Toronto, and Melbourne symphonies, Los Angeles and Saint Paul chamber orchestras, Walt Disney Company, Chamber Music Society of Lincoln Center, Renée Fleming, Dawn Upshaw, Joshua Bell, Nadja SalernoSonnenberg, and Sharon Isbin.

Recent and upcoming commissions include his 4th Symphony for the New England Conservatory (for its 150th anniversary) and Nashville Symphony; concerti for violinist James Ehnes, cellist Joshua Roman, violist Paul Neubauer, and tonight’s flutist Marina Piccinini; a horn concerto for the Royal Liverpool Philharmonic and Grant Park Music Festival; a work for the Borromeo String Quartet; and a piece for the San Francisco Girls and Brooklyn Youth Choruses with The Knights for the New York Philharmonic Biennial.

He is the Workshop Director of the Nashville Symphony Composer Lab and, for 11 years, served as New Music Adviser to the Minnesota Orchestra, with which he co-founded and directed its Composer Institute for 15 years.

Kernis teaches composition at Yale School of Music, and was inducted into the American Academy of Arts and Letters and the Classical Music Hall of Fame.

Dmitri Shostakovich (1906-1975) String Quartet No. 12 in D-flat major, Op. 133

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mitri Shostakovich had a favorite chamber group: the Beethoven Quartet, whom he considered dear friends, and who premiered nearly all 15 of his string quartets.

When the second violinist, Vasily Shirinsky, passed away in 1965, Shostakovich composed his Eleventh Quartet in Vasily’s memory.

It was almost inevitable that he would follow that with three more quartets, one in honor of each of the other three members. The Twelfth Quartet, written in 1968, is dedicated to the first violinist, Dmitri Tsyganov, who was noted for his vigorous style of playing.

The Twelfth Quartet is a work of physical extremes, demanding of its performers the most rapid brilliance as well as the most patient, long bows, the most monumental fortes and the most hushed pianissimi, the greatest intensity in some passages and a nearly lifeless resignation in others.

These oppositions are not unusual in Shostakovich’s music, but there is one other which is: in this quartet the composer explored for the first time the atonal system of 12-tone harmony, invented by Arnold Schoenberg, and opposed it to the tonal center of D-flat major, the home key of the work. The underlying principle of the 12-tone system is that the 12 chromatic pitches of Western music should be placed in a strict order—a “row” of pitches—and the composer must use them in that order, that is, the first note may not be repeated until all 11 other notes have been played. Part of the aim of this

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Program Notes system was to liberate music from the tyranny of any one pitch, or key, and thereby usher in a new, freer mode of harmonic expression.

As might be expected, a composer as famous as Shostakovich, who had never used this system in his writing before, came in for plenty of interrogation when it appeared in this quartet.

Was he “going over” to the other side? Had he been converted in some sense?

To this he made the excellent reply: “Everything in good measure. If, let’s say, a composer sets himself the obligatory task of writing dodecaphonic music, then he artificially limits his possibilities, his ideas. The use of elements from these complex systems is fully justified if it is dictated by the idea of the composition.” It is hard to imagine a clearer mark of artistic maturity than this affirmation, that the creative idea must be served by the technique and not vice versa.

This begs the question: what idea is served by the juxtaposition of D-flat major tonality with (often 12-tone) atonality in this piece? One might imagine that Shostakovich would use D-flat major as his terra firma, a source of comfort or reassurance, versus atonal writing that depicts chaos, turbulence or menace. However, this

is not really the case, and often the opposite seems to be true: the atonal writing expresses a searching uncertainty at some points and a desperate kind of striving at many others, and the D-flat major presence, while sometimes quite beautiful, often carries with it a feeling of great oppressiveness, inescapable gravitational pull, or brutal finality.

This contrast appears right away at the opening of the first movement. A wandering figure in the cello, which is in fact a 12-tone row, settles on a low D-flat. In response to this tentative question, the first violin sings a D-flat major melody that is crushing in its sorrow, played in the lowest register, expressing pain without consolation. The wandering 12-tone figure appears several times in the movement, each time seeming to search for a way out of this black state of D-flat, but not succeeding.

As a contrast to this mood, the music moves at times into a faster, almost waltz-like tempo; but this waltz has a wooden, lifeless quality, as of a grieving person who is commanded to dance, but is barely able to go through the motions.

The second and final movement of the work is really an amalgamation of movements. First

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Apollo’s Fire on the World’s Stage June 24-26 Caramoor Festival (NY) & Ravinia Festival (Chicago) August 12-19 UK/Ireland Tour Aldeburgh Festival | Ireland Nat’l Concert Hall (Dublin) Wexford Opera House | Belfast and more...

August 23-25 Tuscan Landscapes Festival, Italy tuesdaymusical.org ■3/20/18 330.761.3460 12:13 PM

tuesday musical 2017 | 2018

there is an extended, energetic section—almost a stand-in for a Scherzo—which features a rapid assertion of falling pitches in the cello, punctuated by savage trills from the other voices. Essentially atonal in its harmony, this section moves through several textures, including vehement pizzicato chords, steady tattoos of quieter repeated notes, and headlong passages of whirling slurred figures. The falling motif appears in other guises, one quiet and considered, one intense and enlarged with double-stops.

This energetic section ultimately dissolves into a declaration by the cello alone, which introduces the next section, a “slow movement.” Here the cello explores an intense and heartfelt version of the falling figure, to which the other three voices respond in hushed tones as a single, three-voice chorus, masked celebrants attending a moonlit scene.

This section reaches an agonized climax of its own, with the first violin inheriting the cello’s melody; then it gives way to a bridge where the first violin plays an extended pizzicato solo with figures from the very opening of the piece.

This is the signal that we are coming to the final

section of the work, a patchwork that revisits and reconsiders all three earlier sections.

There is a conflicted alternation of figures and textures from the scherzo and the slow movement, and at one point the lower three instruments play monstrous pizzicato chords that contain all 12 chromatic pitches—the densest sonority imaginable.

Then, finally, in a sorrowful release, the opening music of the first movement reappears, and we imagine for a moment that the quartet will end where it began, coming full circle, a relenting of sorts. But this is not to be: the energetic rhythms and tempo of the scherzo-like opening of the second movement sneak in, first teasingly, then gradually growing to full strength. This time, however, the key of D-flat major asserts a stranglehold on the harmony from which there is no escaping. Exciting, brutal, horrifying after a fashion, these harmonic and rhythmic elements sweep up all of the human concerns that appeared before, and frog-march them uncompromisingly to a stony-faced conclusion.

— Misha Amory

SATURDAY, MAY 5 8 P.M.

Verdi Requiem

Akron Symphony Chorus Summit Choral Society’s Masterworks Chorale EJ THOMAS HALL THE UNIVERSITY OF AKRON TICKETS START AT $25

330.535.8131 or akronsymphony.org Download our Free App ASO_TuesMusical-Verdi-Ad.indd 1

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Christopher Wilkins, Music Director 3/20/18 8:48 AM

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TOMORROW’S STARS!

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 free concert features talented winners of Tuesday Musical’s 2018 Scholarship Competition, followed by the awarding of two additional scholarships and a reception.

Please join us.

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.

Tuesday Musical’s 2018 Scholarship Competition Winners Music Education — adjudicated by Patricia Boehm

2nd Place, Tuesday Musical Scholarship, $1,000: Li Wang, University of Cincinnati

Gertrude Seiberling Scholarship, $1,400: Robyn King, University of Akron

3rd Place, Clarenz J. Lightfritz Scholarship, $500: Eben Wagenstroom, University of Cincinnati

Winifred Collins Scholarship, $1,400: Rebecca Terschak, Capital University

Strings — adjudicated by Barton Rotberg

Brass — adjudicated by David Brockett

1st Place, Arden J. Yockey Scholarship, $1,500: Wei-An Hung, cello, Cleveland Institute of Music

1st Place, Arden J. Yockey Scholarship $1,500: Caleb Slabaugh, trombone, Baldwin Wallace

2nd Place, Tuesday Musical Scholarship, $1,000: Ju-Eun Lee, violin, Cleveland Institute of Music

2nd Place, Tuesday Musical Scholarship, $1,000: Preston Light, tuba, University of Cincinnati

3rd Place, Barbara Ainsworth Porter Scholarship, $500: David Lee, cello, Oberlin Conservatory

3rd Place, Tuesday Musical Scholarship, $500: Brianna Volkmann, French horn, Baldwin Wallace

Voice — adjudicated by Denise Milner Howell

Classical Guitar — adjudicated by Evan Drummond Margaret Watts Hunter Scholarship, $1,500: Henry Spencer, The University of Akron Marimba/Classical Steel Pan — adjudicated by Kevin Lewis Larry D. Snider Scholarship, $1,500: Peter Loferski, The University of Akron

1st Place, Arden J. Yockey Scholarship, $1,500: Brianna Bragg, University of Cincinnati 2nd Place, Tuesday Musical Scholarship, $1,000: Nadia Marshall, Ohio State University 3rd Place, Tuesday Musical Scholarship, $500: Dawna Rae Warren, Baldwin Wallace Woodwinds — adjudicated by Patricia Grutzmacher

Organ — adjudicated by Daniel Laginya

1st Place, Arden J. Yockey Scholarship, $1,500: Aram Mun, flute, Oberlin Conservatory

Audrey Mollard Scholarship, $1,500: J. Bennett, Oberlin Conservatory

2nd Place, Gleason/Rea Scholarship, $1,000: Colin Roshak, clarinet, Oberlin Conservatory

Piano — adjudicated by Eric Charnofsky

3rd Place, Tuesday Musical Scholarship, $500: Camilla Yoder, oboe, Baldwin Wallace

1st Place, Marguerite Thomas & Gertrude Lancaster Scholarship, $1,500: Yaoyue Huang, University of Cincinnati

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tuesdaymusical.org ■ 330.761.3460

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

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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tuesdaymusical.org ■ 330.761.3460

tuesday musical 2017 | 2018

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

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 April 3, 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 Kenneth E. Shafer

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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 Anita Meeker 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

tuesdaymusical.org ■ 330.761.3460

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 Wanda Fair Kittie Clarke

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 Betty Sibley Watts Wetterau Jarrod Hartzler Pamela Johnson Lynne Margolies Anita Meeker David Watts

In Memory of Eugene Mancini

In Memory of Jean and Gertrude Swinehart

Toshie>> Haga 44

Joan Beach

<<

**OPEN LATE**

Visit our website at briccorestaurants.com for hours and links to our locations in Fairlawn, Kent and the Merriman Valley.

expect great music

1 W. Exchange St. 330-475-1600 JOIN US BEFORE OR AFTER THE SHOW Monday thru Saturday 11 am—11 pm Sun 10 am— Justvisit Blocks FromatEJbriccorestaurants.com Thomas Hall our website for ho 1 W. links Exchange St., Downtown Akron 330-475-1600 to our locations in Fairlawn, Kent and the Merr >> > JOIN US BEFORE OR AFTER THE SHOW > > >

Monday thru Saturday 11 am–11 pm Sun 10 am–11 pm NEWEST LOCATION—Bricco Prime, 4315 Manchester Rd., Akron 44319

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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

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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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.

tuesdaymusical.org ■ 330.761.3460

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