Tuesday Musical April 26 Concert

tuesday musical Presenting the finest 2016-2017 Season

Escher String Quartet April 26, 2017

September 16 — Save the date!

Prelude!

Tuesday Musical’s 130th anniversary concert & party

Join a fun and fabulous evening as we celebrate this community milestone, showcase our programs and collaborations and look forward to the next 130 years!

Details revealed soon!

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Tuesday Musical’s next season: 130th anniversary Prelude!

O

ur 2017-18 Main Stage season will feature the energy and excellence of world-acclaimed artists — some you know and others you’ll be delighted to discover.

We’ll begin September 16 with our Prelude concert and party to celebrate Tuesday Musical’s 130th anniversary. Showcasing our exciting programs and partners — and previewing the next 130 years — Prelude will feature the Escher String Quartet (our inaugural Quartet-in-Residence), a Brahms Allegro student, 2016 Cleveland International Piano Competition winner Nikita Mndoyants, a Tuesday Musical Scholarship Competition winner, the world premiere of a piece written by University of Akron composer James Wilding, and more. A fast-paced and fun evening!

We’ll end April 18 with the spellbinding Brentano String Quartet, which has collaborated with soprano Jessye Norman, mezzo-soprano Joyce DiDonato, pianist Richard Goode, and pianists Mitsuko Uchida and Jonathan Biss. In Akron, they’ll be joined by flutist Marina Piccinini, who delighted our audience when she performed with her husband, pianist Andreas Haefligher, in a February 2016 “love duet” on our stage.

In between there’s the Academy of St. Martin in the Fields Chamber Ensemble (October 19), Chamber Music Society of Lincoln Center (January 23), pianist Andreas Haefliger (March 8), and the conductor-less Orpheus Chamber Orchestra with Grammy-winning violinist Augustin Hadelich (March 28).

Plus, our FUZE! series will feature more big-name stars, including the Jazz at Lincoln Center Orchestra with Wynton Marsalis in collaboration with The University of Akron Jazz Program and Bittle Jazz Residency (September 28), the Vienna Boys Choir in a special holiday concert (November 29), and a tribute to jazz legend Sarah Vaughan with the Chicago Jazz Orchestra, conducted by Jeff Lindberg, and vocalists Ann Hampton Calaway, Dee Alexander and René Marie (March 17).

Join us for a season-long celebration of all that Tuesday Musical has become in 130 years — and a Prelude to so much more ahead!

Jarrod Hartzler Executive and Artistic Director

Orpheus Chamber Orchestra

Tuesday Musical’s first quartet-in-residence

T

he popularity of the Escher String Quartet with audiences and their talents as music educators led Tuesday Musical to name them last year as its first quartet-in-residence.

During this multi-year residency, Tuesday Musical is taking Escher throughout Northeast Ohio for performances as well as education and community engagement programs. For example:

 In the days leading up to tonight’s concert, Escher worked with young students at Grill Elementary School in New Franklin and Lake Center Christian School in Hartville and with string students at UA, plus traveled to Marietta to present a program in collaboration with Marietta College and the Ohio Arts Council.

 In August, the Escher musicians performed piano quintets with the finalists of the Cleveland International Piano Competition.

The winner of the competition will join Escher for Tuesday Musical’s Prelude concert on September 16.  Throughout this season, all four members of the Escher String Quartet have worked closely with all string students at The University of Akron School of Music. They’ve coaching the various student string quartets, conducted group master classes for each string instrument (violin, viola, and cello), and taught one-on-one lessons. This partnership will continue throughout next season, too.

How are violin strings made? Why do the bow hairs only come from male horses? Those and many other questions were answered when Escher performed for youngsters at the Boys and Girls Club of the Western Reserve on Crosier Street in Akron.

Choir students in Grafton’s Midview Schools collaborated with Escher this winter for an exciting concert.

Miller South School for the Visual and Performing Arts was the setting for a performance and coaching

by Escher in September 2016.

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Escher spent three days in Holmes County last spring, working with more than 1,300 elementary and high school students in communities where string programs are largely non-existent and band and choral opportunities rarely start before middle school. The finale was a free concert for more than 200 students and adults at a community center in Millersburg. Following the residency, a string program has been started at the Holmes County Arts Center and now has 50 students enrolled. tuesdaymusical.org n 330.761.3460

tuesday musical

tuesday musical concert series 2016 | 2017

concert series

The University of Akron EJ Thomas Performing Arts Hall Wednesday, April 26, 2017, 7:30 pm

Escher String Quartet Adam Barnett-Hartt, violin • Aaron Boyd, violin Pierre Lapointe, viola • Brook Speltz, cello Felix Mendelssohn String Quartet No. 6 in F minor, Op. 80 (1809-1847) Allegro vivace assai

Allegro assai Adagio

Finale: Allegro molto Dmitri Shostakovich String Quartet No. 9 in E-flat major, Op. 117 (1906-1975) Moderato con moto Adagio Allegretto Adagio Allegro INTERMISSION Claude Debussy String Quartet in G minor, Op. 10 (1862-1918) Animé et très décidé

Assez vif et bien rythmé

Andantino, doucement expressif

Très modéré This evening’s pre-concert talk features members of Escher and Eric Kisch of “Musical Passions” on WCLV-FM Classical 104.9.

Escher String Quartet appears by arrangement with Arts Management Group, Inc. With thanks to these generous supporters: Charles E. and Mabel M. Ritchie Memorial Foundation for helping to sponsor this evening’s performance; John A. McAlonan Fund of Akron Community Foundation and the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Ohio Arts Council, the Crane Group and General Mills Foundation, for supporting multiple Education and Community Engagement activities this week; and Beatrice K. McDowell Family Fund of Akron Community Foundation and Mary Schiller Myers Lecture Series for enabling the Escher musicians to work closely with string students in The University of Akron’s School of Music throughout this season.

Among our season supporters: Lisle M. Buckingham Endowment Fund of Akron Community Foundation Lehner Family Foundation Laura R. and Lucian Q. Moffitt Foundation

Presenting the Finest

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The Artists

Escher String Quartet Tuesday Musical’s inaugural Quartet-in-Residence

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he Escher String Quartet has received acclaim for its profound musical insight and rare tonal beauty. A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall.

In its home town of New York, the ensemble serves as Season Artists of The Chamber Music Society of Lincoln Center, where it presented the complete Zemlinsky Quartets Cycle in a concert streamed live from the Rose Studio and also was one of five quartets chosen to collaborate in a complete presentation of Beethoven’s string quartets. Recently, the quartet toured with the Chamber Music Society to China.

Within months of its inception in 2005, the ensemble came to the attention of key musical figures worldwide. Championed by the Emerson Quartet, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet-in-Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre and the Perlman Chamber Music Programme on Shelter Island, NY. The quartet has since collaborated with artists including David Finckel, Leon Fleisher, Wu Han, Lynn Harrell, Cho-Liang Lin, Joshua Bell, Paul Watkins, and David Shifrin, and In 2013, the quartet became one of the very few chamber ensembles to be awarded the prestigious Avery Fisher Career Grant.

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Known for wide stylistic interests, the Escher Quartet has collaborated with jazz saxophonist Joshua Redman, vocalist Kurt Elling, legendary Latin artist Paquito D’Rivera, and tours regularly with Grammy award winning guitarist Jason Vieaux.

The Escher Quartet has made a distinctive impression throughout Europe, with recent debuts including the Amsterdam Concertgebouw, Berlin Konzerthaus, London’s Kings Place, Slovenian Philharmonic Hall, and Auditorium du Louvre.

It also has appeared at the Heidelberg Spring Festival, Dublin’s Great Music in Irish Houses, Risør Chamber Music Festival in Norway, Hong Kong International Chamber Music Festival and Perth International Arts Festival in Australia.

Recent seasons have seen a return to the Tel Aviv Museum of Art and a subsequent tour of Israel, a return to Les Grands Interprètes series in Geneva, and three United Kingdom tours that included Wigmore Hall.

Alongside its growing European profile, the Escher Quartet continues to flourish in its home country, performing at Alice Tully Hall in New York, Kennedy Center in Washington, DC, and the Ravinia and Caramoor festivals. In 2014 the quartet gave a highly praised debut at Chamber Music San Francisco and in 2015 presented a Schubert quartets focus at Music@Menlo in California.

In 2016, Tuesday Musical named Escher as its inaugural String Quartet-in-Residence.

Through this multi-year residency, Tuesday Musical is taking Escher throughout Northeast Ohio for performances as well as education and tuesdaymusical.org n 330.761.3460

tuesday musical concert series 2016 | 2017

community engagement programs. Escher is also in residence at Southern Methodist University in Dallas, Texas, and has given master classes at the Royal Academy of Music in London and Campos do Jordão Music Festival in Brazil, among others.

The quartet’s Volumes I and II of the complete Mendelssohn Quartets, released on the BIS label in 2015, were received with the highest critical acclaim, with comments such as “…eloquent, full-blooded playing... The four players offer a beautiful blend of individuality and accord” (BBC Music Magazine). The Mendelssohn series concluded in 2016 with the release of Volume III. Escher has also recorded the complete Zemlinsky String Quartets in two volumes, released on the Naxos label in 2013 and 2014, respectively, to accolades including five stars in The Guardian with “Classical CD of the Year”, a recommendation in The Strad, “Recording of the Month” on MusicWeb International, and a nomination for a BBC Music Magazine Award.

The quartet takes its name from Dutch artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.

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Program Notes Felix Mendelssohn (1809-1847) String Quartet No. 6 in F minor, Op. 80

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endelssohn’s last complete string quartet is a dark tour de force celebrated for that blistering intensity that music writer James Keller calls “combustible.”

Throughout Mendelssohn’s work one finds passionate drama and that signature nervous drive, high strung, anxious and ready to explode. But in the F minor quartet of 1847, the mood is unrelentingly sustained across three of the four movements ending with a virtuosic firestorm, a conflagration of musical angst.

Connections with his personal life seem compelling.

At this point in his life, Mendelssohn was immensely famous and successful, but overworked, exhausted and in desperate need of rest and recuperation. Word arrived that, Fanny, his cherished sister and intellectual soul mate, had unexpectedly died of a stroke. Devastated, Mendelssohn took a vacation

with friends in Switzerland and composed his final quartet, dedicated to her memory. Two months later, Felix would follow the fate of his sister, father and grandfather, dying of a stroke himself at the age of 38. Whether one dares to connect this biographical setting to the abstract music of his string quartet, one cannot deny the musical effect: surging agony enfolding a loving elegy within.

Surrounding the slow movement song are three bristling movements.

The first is a suspenseful sonata with all the nervous splendor of Mendelssohn’s finest music dating back to his childhood masterpieces.

Here, as in many places throughout the quartet, one hears the influence of Bach and Beethoven in contrapuntal textures that deftly weave throughout, occasionally jutting out in bare, exposed edges.

The unrelenting forward momentum crashes through the end of the sonata form like an unstoppable, accelerating train. The “scherzo” brings no relief. Unlike his trademark scherzi of lightweight tensile agility, this one lurches and

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stomps recalling something of his more spicy tarantellas. The trio is hushed and cryptic, low rumblings suddenly overcome by the raging storm in the foreground.

The slow movement brings a welcome repose with a final example of Mendelssohn’s sweet songs without words, a tender outpouring of love with such lyrical grace. But it is not without its own sorrow in the “wilting” opening line, the climatic surge of passionate plea, and the almost stark scoring for long solo lines that whisper over sustained pedal points.

The finale restores the pervasive panic of the quartet as a whole. Restless, dissonant, stabbing and surging, sharp waves of music crest above a few small islands of lyrical repose quickly submerged by a muscular sea pierced by the cry of a soaring violin frantic with mad figurations. We are lost at sea, destined to drown in raging waters.

Is this quartet a reflection of Mendelssohn’s personal life, a tale of despair regarding his sister’s death, a journal of dread dashed off while his life deteriorated? Or, as some have conjectured, might this have signified the beginning of a new style in Mendelssohn’s music, perhaps something more professional than personal, a craft rather than a confession.

Regardless, the quartet is unique and would become his final completed composition. In a lifelong album of music so supremely colorful, this page is etched and spare, a black and white photo that manages to be that much more clear.

Dmitri Shostakovich (1906-1975) String Quartet No. 9 in E-flat major, Op. 117

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ince the latter part of the 20th century following his death in 1975, the string quartet cycle of Dmitri Shostakovich has come to be regarded as extraordinarily significant.

While his 15 symphonies command attention and demonstrate his creative and prodigious career, they were large spectacles staged for grand public expression subject to broad scrutiny by a totalitarian regime, subject, as well, to the changing complex public image Shostakovich chose, or was forced, to display.

The string quartets are different. They are private, personal, intimate and true. They embody music Shostakovich wrote for colleagues, friends, Presenting the Finest

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Program Notes family and himself. And it is particularly this dichotomous context that makes the 15 string quartets so compelling. Within the music, one finds startling and original music of profound, visceral affect, ample creative genius, but also something of the actual life of Shostakovich: a personal diary of poignant reactions, reflections and dark visions.

As the (incomplete) cycle spans some 36 years of his life, from the age of 32 to less than a year before his death, one can follow the quartets and thereby follow Shostakovich, an immensely creative and sensitive Soviet citizen weathering the myriad personal and global devastations of the 20th century. Across the cycle, the music changes, starting with a fresh exuberance, growing brilliant and fierce, apocalyptic, sardonic, agonized and cryptic, then sparse, alienated and ghostly. Finally, well before he could complete his proposed cycle of twenty-four quartets, one in each key, Shostakovich died and the music abruptly stops, the silence itself a lasting presence.

The String Quartet No. 9 in E-flat major, Op. 117 comes just a bit after the middle of the cycle marked by his most celebrated quartet, the String Quartet No. 8 of 1960. It may have been a difficult act to follow. Shostakovich started to compose his next quartet in 1961, a work he once confided was based on “themes from childhood,” but reached an impasse and, in what he described as a rare act of self-criticism, burned it in the stove. Nearly three years would pass before he tried again and in about three weeks during May of 1964, Shostakovich completed his ninth quartet.

The quartet seems especially connected to the previous two, what some have called the “personal” quartets. No. 7 was dedicated to his first wife Nina (who died in 1954), No. 8, confidentially, to himself (in what has been called a suicide note), and No. 9 to his third wife Irina (whom he married in 1962).

These three sequential quartets also share a common design feature: within each quartet, the movements are played together without a break,

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2017-2018 Main Stage Season September 16, 2017

Prelude!

Tuesday Tuesday Musical’s Musical’s 130 130th th anniversary anniversary concert concert & & party party

March 8, 2018

Pianist Andreas Haefliger

• Escher Escher String String Quartet Quartet & & Brahms Brahms Allegro Allegro • Nikita Nikita Mndoyants, Mndoyants, 2016 2016 Cleveland Cleveland International International Piano Piano Competition Competition winner winner

• 2017 2017 scholarship scholarship winner winner & & much much more! more!

October 19, 2017

Academy of St. Martin in the Fields Chamber Ensemble

March 28, 2018

Orpheus Chamber Orchestra with with violinist violinist Augustin Augustin Hadelich Hadelich

April 18, 2018 January 23, 2018

Chamber Music Society of Lincoln Center

Brentano String Quartet with with flutist flutist Marina Marina Piccinini Piccinini

7:30 7:30 p.m. p.m. at at EJ EJ Thomas Thomas Hall, Hall, Akron.

Akron. $25-$45. $25-$45. Free Free tickets tickets for for all all students. students.

Pre-concert Pre-concert talks talks one one hour hour before before every every performance. performance.

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attacca, in a seamless narrative of continuous sound. And yet, No. 9 is also considered to foreshadow his late, final quartets. Despite a continuous flow of nonstop movements, Shostakovich begins a sort of disintegration of quartet texture into something more sparse and disruptive: individual parts drop out, solo cadenzas protrude in strong relief, huge pizzicato chords nearly defy the genre and momentum is stalled with new, gaping silences. In this respect, No. 9 represents a transition while standing on its own as a singular quartet of great originality.

Indeed, compared with the intensity of No. 8 and the eventual bleakness of the late quartets, No. 9 is often considered exuberant, positive and outward looking.

The quartet comprises five movements, played without pause, in a general fast-slowfast-slow-fast layout. While the first movement glides with moderate motion, the third movement is an Allegretto lively march and the finale is a frantic, heavily accented Allegro, an overarching acceleration from beginning to end. The artistic interconnectivity and coherence goes deeper.

In its final measures, each movement foreshadows the main theme of the next

disguised in a kind of sleight-of-hand suggestion.

On closer inspection, key motifs and themes are transformations of others in a small but flexible vocabulary.

The finale is more than twice as long as any of the previous four movements, a conspicuous tour-de-force gathering themes from the previous movements in a kaleidoscopic denouement culminating in a central fugue of bristling simultaneity.

The quartet ends with all four players joining in a signature, unison motif initially introduced back in the very first movement. The more one listens (or studies the score), the more one feels this is a single, intricate entity where truths, first whispered, become towering realizations by the end.

Claude Debussy (1862-1918) String Quartet in G minor, Op. 10 It is often said that the era of modern music began with a single work in 1894: Claude Debussy’s Prelude à l’après-midi d’un faune for orchestra.

Before Schoenberg, Stravinsky or Bartók, Debussy was the first major composer to

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Program Notes radically break from the continuous evolution of 19th century Romantic music from Beethoven to Wagner. As if from another world, Debussy appeared, bearing his magical music, novel in nearly every dimension. Reacting against the dominant influence of Germanic music with its logical rigors of form and development, he sought a new music of color, sensation, fleeting mood and relaxed form that would be distinctively French, as well as distinctively his own.

Debussy established a new style known as “Impressionism” (a term he eschewed) and, more than any of his previous countrymen, a new, internationally recognized school of modern French music. His subsequent influence was immense, both on classical and popular music.

In 1893, Debussy composed his first important work, the String Quartet in G minor, Op. 10. It was the only work to which he attached an opus number or a key designation and it was the only work Debussy wrote in a conventional form. Outwardly, the quartet assumes the

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mold of a traditional string quartet comprising four movements: a first movement sonata, a rhythmic scherzo, a slow, lyrical movement and an energetic finale. But within this unremarkable template, the music sounds completely new.

Debussy expanded the sound of the string quartet with a variety of novel textures and tonal effects ranging from delicate subtlety to ravishing grandeur. With exotic scales, unconventional chords, progressions and key changes, the music features melodies and harmonies unique for their time.

Especially striking is the quartet’s rhythmic vitality, spontaneous agility and poetic subtlety. With swiftly changing tempi, a wealth of dazzling figurations, cross-rhythms and the special shimmering or hovering pulsations typical of his music, Debussy captures a nuanced experience of time.

With the benefit of hindsight, it is easy to see many elements of Debussy’s signature style within this early work: the sensuous languor of l’aprèsmidi d’un faune, the kinetic energy of La Mer, the

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Thursday, September 28, 2017

Photo by Frank Stewart

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Wednesday, November 29, 2017 Vienna Boys Choir Christmas in Vienna

Saturday, March 17, 2018

Tribute to Sarah Vaughan

Chicago Jazz Orchestra Jeff Lindberg, conductor & vocalists Ann Hampton Callaway, Dee Alexander, René Marie

Presenting the Finest

Generous support for the September concert is coming from Frances Yates Bittle.

The University of Akron’s Kulas Concert Series is also supporting the September and March concerts. Both concerts are part of a yearlong celebration of the UA Jazz Studies Program’s 40th anniversary and the Bittle Jazz Artistin-Residence series’ 15th anniversary. This season also marks Tuesday Musical’s 130th anniversary.

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Program Notes spice and color of his Iberian Images.

Debussy’s quartet is equally fascinating for its cyclic design. César Franck based several of his compositions on a cyclic principle where a signature musical theme recurs in every movement. Earlier, Hector Berlioz featured his idée fixe, a signal leitmotif in every movement of the Symphonie fantastique. Debussy applied the same concept: the opening theme of his quartet recurs in all four movements. But unlike earlier designs where the theme appears, essentially unchanged, within each movement as an isolated, nearly extraneous element, Debussy uses his theme to generate the majority of the quartet’s intrinsic music. Using ingenious transformations of melody, harmony, texture and rhythm, Debussy creates a diversity of music that clearly derives from the initial theme. The first and second movements together contain at least seven variations. The last movement supplies its own new variations as well as a cyclic reprisal of the previous movements in reverse order, leading the quartet right back to the beginning. That such an apparently rigid thematic unity is unobtrusively

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disguised within a rich variety of music is testament to Debussy’s fertile imagination and his remarkable skill as a composer.

Initial reactions to his quartet ranged from praise to bewilderment and scorn, including such wonderfully revealing sneers as “orgies of modulation” and “rotten with talent.”

Debussy shortly set to work on another quartet, but abandoned the project, turning instead to the orchestra, a more potent vehicle for his visionary music. Debussy wrote very little additional chamber music, returning to the genre only at the end of his life to complete three of six planned sonatas.

It is amazing to consider the many first-rate composers, who labored over numerous string quartets, destroyed early works or cautiously approached the genre for the first time as mature artists, while Debussy, merely 31, wrote a single quartet, a brilliant work of stunning originality, now a masterwork secure in the chamber music repertory. © Kai Christiansen, founder of the chamber music exploratorium at earsense.org

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2016-17 Concert Season

Samuel Gordon, Artistic Director

Sunday, November 13 4 PM Always Something Sings … with Akron Chamber Strings Saturday, December 17 4 PM The Skies Rejoice: Carols for the Season Born … with the Paragon Brass Quintet Sunday, February 19 4 PM All Vivaldi program featuring the magnificent Gloria … with Akron Baroque Sunday, April 23 4 PM My Song In the Night

Pre-Ireland tour concert on June 12 at 7:30 pm at St. Sebastian’s Church.

Works by prize-winning American composers.

Free-will offering.

All concerts are free and open to the public. Hear the chamber choir everyone raves about!

Presenting the Finest

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2016-2017 Support: Individuals

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uesday Musical gratefully acknowledges all donors this season. Because ticket sales cover only a small portion of what is needed to sustain the excellence of Tuesday Musical, every gift plays a significant role in the ongoing success of our Main Stage and Fuze concert series and Education and Community Engagement Programs.

This list reflects gifts received through February 8, 2017.

Director $5,000+ Stephen T. and Mary Ann Griebling Cynthia Knight Dr. Kenneth E. Shafer “Three Graces Piano”— Anonymous Linda and Jim Venner Benefactor $1,500 to $4,999 Anne Alexander Family of Jeanette Bertsch Diana and John Gayer Dr. DuWayne and Dorothy Hansen David and Margaret Hunter Peter and Dorothy Lepp Natalie, Paul and Stephen Miahky George Pope Donald and Corrinne Rohrbacher Lola Rothmann Dr. Pamela Rupert Tim and Jenny Smucker Tom and Meg Stanton Sustainer $700 to $1,499 Ron and Ann Allan Eleanor and Richard Aron Ann and David Brennan Denis and Barbara Feld Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Howard Greene Jarrod Hartzler Bruce and Joy Hagelin Dr. Tom and Mary Ann Jackson James and Maureen Kovach Paul and Linda Liesem Charles and Elizabeth Nelson Dianne and Herb Newman

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Dr. Pat Sargent Richard Shirey Dr. Larry and Cyndee Snider John P. Vander Kooi Lucinda Weiss Janet Wright Patron $400 to $699 Drs. Mark and Sandra Auburn Lee and Floy Barthel Rebecca D. and William H. Considine John and Betty Dalton Jane Davenport Mary Davenport Nichole Depew Paul Filon Lois and Harvey Flanders Patricia Hartzler Lawrence B. Levey Mary Jo Lockshin Thomas and Cheryl Lyon Paul and JoAnn Marcinkoski Anita Meeker Russ and Marianne Miller Earla Patterson Ed and Maureen Russell Peter and Nan Ryerson Rachel R. Schneider Jean Schooley Sandra and Richey Smith Annaliese Soros Drs. Frederick and Elizabeth Specht Jennifer Stenroos Elizabeth and Michael Taipale Donor $200 to $399 Anonymous Jack and Bonnie Barber Anna Maria Barnum Cheryl Boigegrain Dr. Guy and Debra Bordo

Frances Buchholzer Alan and Sara Burky Dr. Herb and Jill Croft Jane Delcamp William and Barbara Eaton Jon A. Fiume Eleanor Freeman Paul and Michele Friday Jean F. Gadd Sharon Gandee Ted and Teresa Good Louise and James Harvey Michael T. Hayes John and Suzanne Hetrick Loren Hoch John and Sheila Hutzler Mark and Karla Jenkins Susan and Allen Kallor Kathleen Lambacher Magdalena McClure John and Kristine Mogen Nathan J. and Karen L. Mortimer Bob Neidert Al and Judy Nicely Paula Rabinowitz and Greer Kabb-Langkamp E. G. Sue Reitz Ben and Sandra Rexroad Drs. Betty L. Rider and W. Mike Sherman Gloria J. Rodgers Donald E. Schmid and Rosemary Reymann Betty and Joel Siegfried Margo Snider Mike and Sandy Soful Charlotte Staiger Ann Tainer Bob and Colleen Tigelman Dina and Brooks Toliver Susan D. Van Vorst Jorene F. Whitney Christopher Wilkins

tuesdaymusical.org n 330.761.3460

tuesday musical concert series 2016 | 2017

5 a.m. to 9 a.m. on

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Call 1-877-724-8069 for a free quote, or visit us at 111 W. Center St. in Downtown Akron.

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Presenting the Finest

23

“We break down barriers to classical music by providing children and adults with opportunities to experience excellent live music — within the concert hall and throughout our community.”

— Jarrod Hartzler, Executive and Artistic Director

Beyond world-class concerts: engaging the community In tandem with world-class concerts, Tuesday Musical offers exciting Education and Community Engagement Programs. For example:  Each season, thousands of students from K-12 schools, colleges and universities across Northeast Ohio—as well as students who are home-schooled and in an array of community organizations—attend all Tuesday Musical concerts and education programs at no cost to them through the Student Voucher Program.  Schools and organizations receive bus stipends to cover the costs of transporting student groups  Tuesday Musical’s Brahms Allegro Junior Music Club has 80 young members and 30 teachers.  Tuesday Musical’s Annual Scholarship Competition is widely recognized as the best of its kind in Ohio. In March, 19 college and university music students were awarded nearly $21,000 in scholarship, and 12 of the winners have been invited to perform in Tuesday Musical’s 2017 Scholarship Winners Concert on Sunday, May 21, 4 p.m. at Fairlawn West United Church of Christ, 2095 W. Market St. The concert and reception are free and open to the public.

So¯ Percussion performed and answered questions during an all-school assembly at Miller South School for the Visual and Performing Arts in October 2016. So¯’s musicians also rehearsed and performed with The University of Akron Percussion Ensemble, worked with students at Jackson High School, presented an afternoon concert and Q-and-A session at EJ Thomas Hall for high school students, and taught a master class at UA that drew percussionists from the region.

 This spring, Tuesday Musical is launching Decompression Chamber, a new series aimed at easing stress in Akron workplaces through classical music.

Soprano Dina Kuznetsova, a past Tuesday Musical scholarship winner and now an acclaimed professional, taught a master class at The University of Akron in November 2016. She also taught a master class at Malone University.

Imani Winds performed for a standing-room-only audience during a free concert at the Stow-Munroe Falls Library in January 2017.

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Generous individuals, foundations, corporations, and government agencies make all of this—and so much more— possible. They are listed in this program with our heartfelt gratitude.

tuesdaymusical.org n 330.761.3460

2016-2017 Support: Memorials & Tributes Memorial and tribute gifts to Tuesday Musical are meaningful ways to honor special people.

This list reflects gifts received through September 9, 2016.

In Memory of Natalie Altieri Paul and JoAnn Marcinkoski Thomas and Sue Tuxill

In Memory of Eileen “Tootie” Hawk Barbara Feld

In Memory of Alfred Anderson

In Memory of Eugene Mancini

Denis and Barbara Feld Dr. DuWayne and Dorothy Hansen Zenon and Natalie Miahky

Toshie Haga

In Memory of Jeanette Bertsch Brian and Judith Allen Judith Bertsch and Family Linda Carr Denis and Barbara Feld Robert and Beverley Fischer Eleanor Freeman Tom and Mikki Green Bruce and Joy Hagelin Jarrod Hartzler DuWayne and Dorothy Hansen Marcianne Herr Jon and Martha Kelly Dorothy and Peter Lepp Anita Meeker In Memory of Wanda Brechbuhler Kittie Clarke In Honor of Mary Ann and Stephen Griebling’s 60th Anniversary Bob and Beverley Fischer Bruce and Joy Hagelin In Memory of Craig Hagelin

In Memory of David Meeker Drs. Mark and Sandra Auburn Susan Bailey Floy and Lee Barthel Patricia Basile William P. Blair III Maryanne Buchanan Elizabeth Butler Betty Dalton William and Barbara Eaton Roger and Ann Edwards Denis and Barbara Feld Chuck and Judy Gerdes Carol Goodall Joy and Bruce Hagelin Larue Hall Jarrod Hartzler Dr. Tom and Mary Ann Jackson Jon and Martha Kelly Francis and Earline Lenkowski Peter and Dorothy Lepp Barbara MacGregor Natalie Miahky Elizabeth Sandwick Virginia Scott Ken and Pat Suchan Mary Yeager

In Memory of Zenon Miahky Betty Dalton Denis and Barbara Feld Robert and Beverley Fischer Laura Lee Garfinkel Bruce and Joy Hagelin DuWayne and Dottie Hansen Jarrod Hartzler Dorothy and Peter Lepp Anita Meeker Natalie, Paul and Stephen Miahky Walter Pechenuk In Memory of Callie Ann Reid William and Barbara Eaton In Memory of Frank Reid William and Barbara Eaton In Memory of Cynthia J. Stefanik Robert and Cynthia Donel Robert and Beverley Fischer Bruce and Joy Hagelin Phyllis Hall Jarrod Hartzler Peter and Dorothy Lepp Anita Meeker Natalie Miahky In Memory of Jean Swinehart Joan Beach In Memory of Gerry Vieten Joy and Bruce Hagelin

Denis and Barbara Feld William and Barbara Eaton In Memory of Elizabeth Hagelin William and Barbara Eaton In Honor of Joy Hagelin, Barbara Eaton and Anita Meeker Barbara Feld

Presenting the Finest

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2016-2017 Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+

$1,000 to $4,999

In-kind Services

GAR Foundation

Akron/Summit Convention & Visitors Bureau

Akron Beacon Journal

Arts Midwest Touring Fund

Cogneato

The Lisle M. Buckingham Endowment Fund of Akron Community Foundation

Hilton Akron/Fairlawn

Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee

Mustard Seed Market & Café

John S. and James L. Knight Foundation Margaret Clark Morgan Foundation Louis S. & Mary Myers Foundation Ohio Arts Council $10,000 to $24,999 Community Fund – Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation

Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls

Beatrice K. McDowell Family Fund

Steinway Piano GalleryCleveland

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

The University of Akron School of Music

OMNOVA Solutions Foundation

Wooster Color Point

Sisler McFawn Foundation $200 to $999

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

KeyBank Foundation Community Leadership Fund

$5,000 to $9,999

W. Paul Mills and Thora J. Mills Memorial Foundation

Mary S. and David C. Corbin Foundation

Laura R. and Lucian Q. Moffitt Foundation

Mary and Dr. George L. Demetros Charitable Trust

Richard and Alita Rogers Family Foundation

Charles E. & Mabel M. Ritchie Memorial Foundation

Corporate Partners

Lloyd L. & Louise K. Smith Foundation

Akron Tool & Die Co.

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ideastream®

Lehner Family Foundation

John A. McAlonan Fund of Akron Community Foundation

Welty Family Foundation

ClevelandClassical.com

WKSU FM WYSU-FM

Maynard Family Foundation

Nelson Development

tuesdaymusical.org n 330.761.3460

tuesday musical

2016-2017 Board of Directors

Executive Committee President Laurie Gilles

Vice President/President Elect Paul Filon

Treasurer Cheryl Lyon

Secretary Magdalena McClure Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson

Education/Student Voucher Chair Natalie Miahky Finance Chair Cheryl Lyon

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Anita Meeker

Member Program Chair Mary Ann Griebling

Scholarship Chair George Pope

At-large Members Linda Liesem, Teresa Good,

& Mary Jo Lockshin Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider Artistic Administrator Karla Jenkins

Finance Administrator Gail Wild

Arts Administration Intern Moneeb Iqbal

Program art direction by Live Publishing Co.

Presenting the Finest

27

T HE

CLEVEL AND ORC HE STR A A T

T H E

M O V I E S

WEST SIDE STORY

Experience this classic film on the big screen with the original score performed live!

JUNE JUNE JUNE JUNE

1 — Thursday at 7:00 p.m.

2 — Friday at 7:00 p.m.

3 — Saturday at 7:00 p.m.

4 — Sunday at 3:00 p.m.

at Severance Hall

The Cleveland Orchestra Brett Mitchell, conductor Celebrate the 50th anniversary of this iconic film, as The Cleveland Orchestra plays Leonard Bernstein’s electrifying score live while the re-mastered film is shown in hi- def on the big screen with the original vocals and dialog. Winner of ten Academy Awards®. music by Leonard Bernstein and Irwin Kostal screenplay by Ernest Lehman based on “West Side Story”

by Jerome Robbins, Leonard Bernstein, Stephen Sondheim, and Arthur Laurents directed by Robert Wise and Jerome Robbins presented by arrangement with MGM © all rights reserved

216-231-1111 clevelandorchestra.com

TICKETS

THE OPERA EVENT OF THE SEASON

OPE R A IN FIVE AC TS

BY C L AU D E D E B U S SY The Cleveland Orchestra conducted by Franz Welser-Möst stage direction by Yuval Sharon set design by Mimi Lien lighting and projection design by Jason Thompson costume design Ann Closs-Farley choreography by Danielle Agami featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Julie Mathevet, soprano (Yniold) David Castillo, baritone (Doctor/Shepherd) and the Cleveland Orchestra Chamber Chorus (Sung in French with English supertitles)

SEVERANCE HALL MAY 2 — TUESDAY at 7:30 p.m.

MAY 4 — THURSDAY at 7:30 p.m.

MAY 6 — SATURDAY at 7:30 p.m.

T HE

CLEVEL AND ORC HE STR A

Luminous and hypnotic — Pelléas and Mélisande mezmerizing of ofall all is among the most magical and mesmerizing opera scores. Composed when Impressionism was a new and radical force, it was Claude Debussy’s only completed opera. This tale of two fallen lovers resonates with mystery and meaning.

Debussy’s beautiful depiction transforms the unending musical longing that Richard Wagner had pioneered with Tristan and Isolde into a tragedy of unique power. It is presented at Severance Hall in a made-for-Cleveland production directed

by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.

216-231-1111 clevelandorchestra.com

TICKETS

House Notes Parking Beginning at 5 p.m. for evening concerts and 12:30 p.m. for Sunday concerts, special event parking is available at $5 per vehicle in the EJ Thomas Hall parking deck or in surrounding campus lots.

Late Seating Out of consideration for other audience members and the performers, latecomers will be seated at a suitable pause in the program.

Emergency Numbers Physicians and others expecting calls are requested to leave their name and seating location with the Head Usher upon arrival. Please leave your seat location with the person(s) who may need to reach you in case of an emergency and ask them to call EJ Thomas Hall at 330.972.6828.

Pre-concert Talks Free Pre-concert Talks, designed to enrich the concertgoing experience, are presented one hour before most Tuesday Musical concerts and last 30 minutes.

Intermission Intermissions are 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance.

Special Accommodations If you have special seating requirements, please inform the Ticket Office when you place your ticket order. EJ Thomas Hall has wheelchair accommodations and other seating services for the physically challenged in both the Orchestra and Grand Tier sections. Handicapped parking is available in the EJ Thomas Hall deck and the North parking deck accessed from both Forge St. and Buchtel Ave.; a valid parking permit must be displayed.

A special sound system for the hearing impaired and large print program notes are available, free of charge, with advance notice. Please see the Head Usher for the sound system device and call the Tuesday Musical office to request the program notes.

Restrooms Public restrooms are located in the Robertson Lobby of EJ Thomas Hall. The ladies’ room can be accessed from the odd-numbered entry doors and the men’s room access is from the even-numbered entry doors.

The center stairs in the Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp.

Cameras, Audio Recorders & Video Equipment Cameras, video and audio recording devices of any kind are prohibited at all performances. Our ushers are instructed to retrieve these prohibited items from patrons in the auditorium.

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Paging Devices, Phones & Hearing Aids All electronic and mechanical devices – including pagers, cellular telephones, and wrist-watch alarms – must be turned off while in the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing device and adjust it accordingly.

Refreshments Bar service is offered in the center lobby before concerts and at intermission. Soda and light snacks are also available in the lobby. The EJ Café, located in the Herberich Lobby, offers appetizers, desserts, gourmet coffees, espresso and cappuccino. Drinking fountains are in the center lobby.

Smoke Free Theatre Smoking is not permitted anywhere inside EJ Thomas Hall, but designated smoking areas are located outside the building.

Event Cancellation On very rare occasions, severe weather forces EJ Thomas Hall to cancel or postpone an event.

Cancellation information is available by calling the Tuesday Musical office at 330.761.3460.

Security Policy Customer safety and security is of the upmost importance. All patrons entering the facility must have a ticket for that day’s event. There is a police presence both inside and outside of the theatre.

Program Information For information about any Tuesday Musical concert, please call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org.

Ticket Information Single Tickets To purchase single tickets to any Tuesday Musical concert, call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org.

Tuesday Musical Association 1041 West Market Street, Suite 200 Akron, OH 44313-7103 Releasing Tickets Tuesday Musical subscribers who are not able to attend a concert are encouraged to release their tickets 24 hours prior to the concert. In exchange for their tickets, subscribers may receive tickets to a different 2016/2017 Tuesday Musical concert (some restrictions may apply) or receive a charitable donation receipt for the value of the tickets. Please remember to call the office 24 hours PRIOR to the concert. Your seats are the best in the house and someone else would love the experience of sitting just where you do.

tuesdaymusical.org n 330.761.3460

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