Tuesday Musical October 16 Concert by Live Publishing

Les Violons du Roy with Anthony Roth Costanzo, countertenor Tuesday, October 16, 2018

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Up next—Tuesday Musical’s Fuze series presents The Tell-Tale Heart Saturday, November 3, at 7:30 p.m. EJ Thomas Hall Tuesday Musical’s 2018-19 Fuze series opens with “The Tell-Tale Heart.” Inspired by Edgar Allan Poe’s short story, composerpianist Gregg Kallor — newly named as Tuesday Musical’s first composer-inresidence — has created a musical ghost story for Halloween. Cellist Joshua Roman, Kallor and mezzo-soprano Jennifer Johnson Cano will seek to silence the “beating of the hideous heart” for this Akron performance. $45, $40, free for students.

Canadian Brass Holiday Concert Tuesday, December 4, at 7:30 p.m. Akron Civic Theatre The world’s most famous brass group is coming to Akron! Tuba legend Chuck Daellenbach created Canadian Brass in 1970 to elevate the art of the brass quintet with spontaneity, virtuosity and, most of all, fun — but never at the expense of the music. Ring in the holidays with these sneaker-wearing virtuosos: Daellenbach, Caleb Hudson and Christopher Coletti (trumpets), Achilles Liarmakopoulos (trombone) and Jeff Nelsen (horn). $45, $40, free for students.

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EJ Thomas Performing Arts Hall—The University of Akron Tuesday, October 16, 2018 7:30 p.m.

Les Violons du Roy

Jonathan Cohen, music director and conductor Anthony Roth Costanzo, countertenor George Frideric Handel Tolomeo, HMV 25: (1685-1759) “Inumano fratel … Stille amare” Flavio, Re de’ Langobardi, HWV 16: “Privarmi ancora… Rompo i lacci” Concerto grosso in D minor, Op. 6 No. 10, HWV 328 I. Ouverture: [Maestoso] / Allegro II. Air: Lentement III. Allegro IV. Allegro V. Allegro moderato Amadigi di Gaula, HWV 11: “D’un sventurato amante... Pena tiranna” Rodelinda, Regina de’ Langobardi, HWV 19: “Vivi tiranno” INTERMISSION Philip Glass Akhnaten: “Hymn” (b. 1937) Excerpt from Symphony No. 3, for string orchestra Movement I Songs From Liquid Days: “Liquid Days, Part 1” (arr. M. Riesman) Monsters of Grace: “In the Arc of Your Mallet” (arr. M. Riesman) 1000 Airplanes on the Roof: “The Encounter” (arr. M. Riesman) Les Violons du Roy thanks the following partners: Conseil des arts et des lettres du Québec • Canada Council for the Arts • Gestion Marthe Bourgeois Ltée Management for Mr. Costanzo and Exclusive Tour Management for Les Violons du Roy: Opus 3 Artists, 470 Park Avenue South, 9th Floor North, New York, NY 10016, www.opus3artists.com Generous support for this performance and related education and community engagement activities comes from the Lloyd L. & Louise K. Smith Memorial Foundation, as well as from other foundations, corporations and individuals. Among Tuesday Musical’s season supporters:

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The Artists Les Violons du Roy

es Violons du Roy takes its name from the celebrated court orchestra of the French kings. It was founded in 1984 by Bernard Labadie, now styled founding conductor, and continues under music director Jonathan Cohen to explore the nearly boundless repertoire of music for chamber orchestra in performances matched as closely as possible to the period of each work’s composition. Its minimum fifteen-member complement plays modern instruments, albeit with period bows for Baroque and Classical music, and its interpretations are deeply informed by the latest research on 17th- and 18th-century performance practice. The repertoire of the 19th and 20th centuries receives similar attention and figures regularly on the orchestra’s programs. Les Violons du Roy has been a focal point of Québec City’s musical life since it was founded in 1984, and in 1997 it reached out to enrich the cultural landscape of Montréal as well. In 2007, the orchestra moved into its permanent home base in Québec City’s Palais Montcalm while continuing to build on the worldwide reputation it has acquired in countless concerts and recordings carried by medici.tv, Radio-Canada, CBC, and NPR along with regular appearances 8

on the festival circuit. Les Violons du Roy has performed dozens of times throughout Canada as well as in Germany, the U.K., Austria, Belgium, Brazil, Colombia, Ecuador, Spain, the United States, France, Israel, Morocco, Mexico, Norway, the Netherlands, Slovenia, and Switzerland, in collaboration with such world-renowned soloists as Magdalena Kožená (2006 and 2014), David Daniels (2001 and 2004), Vivica Genaux (2007), Alexandre Tharaud (2011, 2014, and 2016), Ian Bostridge (2011), Emmanuel Pahud (2012), Stephanie Blythe (2013), Marc-André Hamelin (2015), Philippe Jaroussky (2017), Anthony Marwood (2017), Isabelle Faust (2018), and Julia Lezhneva (2018). The orchestra has performed at the Berlin Philharmonie and iconic venues in London, Paris, and Brussels, with two performances on invitation at the Concertgebouw in Amsterdam. Since Les Violons du Roy’s first trip to Washington, D.C., in 1995, its U.S. travels have been enriched with numerous and regular stops in New York, Chicago, and Los Angeles. Its seven appearances at Carnegie Hall include three with La Chapelle de Québec featuring the Messiah, the Christmas Oratorio, and the St. John Passion under Bernard Labadie, founder and music tuesdaymusical.org ■ 330.761.3460

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director of the choir, and another featuring Dido and Aeneas under Richard Egarr. Walt Disney Concert Hall in Los Angeles has hosted the orchestra three times, once with La Chapelle de Québec in the Messiah, again under Bernard Labadie. Les Violons du Roy is represented by Opus 3 Artists and Askonas Holt. The 32 recordings released thus far by Les Violons du Roy have been met with widespread critical acclaim. The 12 released on the Dorian label include Juno Award–winning recordings of Mozart’s Requiem with La Chapelle de Québec and of Handel’s Apollo e Dafne with soprano Karina Gauvin. A dozen more have appeared through a partnership between Les Violons du Roy and Quebec’s ATMA label, including 2008 First Violins Pascale Giguère Noëlla Bouchard Nicole Trotier Michelle Seto Fréderic Bednarz Second Violins Pascale Gagnon Angélique Duguay Véronique Vychytil Alexandre Sauvaire Violas Jean-Louis Blouin Annie Morrier Étienne Chénard Cellos Raphaël Dubé Julie Hereish

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Félix Award winner Water Music, 2006 Juno Award winner Piazzolla with conductor JeanMarie Zeitouni, and three releases under the baton of Mathieu Lussier including a CD of Vivaldi violin concertos and another of Mozart’s horn concertos. Further recordings on Erato, Naïve, Hyperion, Analekta, and Decca Gold include mezzo Vivica Genaux with arias by Handel and Hasse; C. P. E. Bach’s cello concertos with Truls Mørk; Marie-Nicole Lemieux performing opera arias by Mozart, Haydn, Gluck, and Graun; Bach and Mozart piano concertos with Alexandre Tharaud; Haydn piano concertos with MarcAndré Hamelin; arias by Handel and Philip Glass with Anthony Roth Costanzo; and albums with soloists Valérie Milot and Diane Dufresne.

Double Bass Raphaël McNabney Flute Ariane Brisson Oboes Jean-Luc Côté Lindsay Roberts Clarinets Jean-François Normand Mélanie Bourassa Bassoons Mary Chalk Gabrièle Dostie-Poirier Horn Guy Carmichael Alice Lane-Lépine

Trumpet Francis Leduc-Bélanger Benjamin Raymond Trombones Renaud Gratton Hugo Bégin Tuba Daniel Hill Harpsichord Thomas Annand Archlute David Jacques Harp Antoine Malette-Chénier

Jonathan Cohen, Music Director onathan Cohen is one of Britain’s finest young musicians. He has forged a remarkable career as a conductor, cellist and keyboardist. Well known for his passion and commitment to chamber music Jonathan is equally at home in such diverse activities as baroque opera and the classical symphonic repertoire. He is Artistic Director of Arcangelo, Music Director of Les Violons du Roy, Associate Conductor of Les Arts Florissants, Artistic Director of Tetbury Festival and Artistic Partner of the Saint Paul Chamber Orchestra. The 2018-19 season also sees return visits to Orchestra of the Age of Enlightenment, Saint Paul Chamber Orchestra and Les Violons du Roy, and debuts with Cleveland Orchestra, New York Philharmonic, Mozarteum Orchester, Royal Northern Sinfonia and BBC National Orchestra of Wales. He returns to the BBC Proms for Theodora with Arcangelo, the ensemble which he founded in 2010 and who strive to perform high quality and specially created projects. He has toured with them to exceptional halls and festivals including Wigmore Hall London, Philharmonie Berlin, Kölner Philharmonie, Vienna

Musikverein, Salzburg Festival and Carnegie Hall New York. Other recent highlights include a European tour with Vilde Frang with concerts at Oslo Opera House and Tonhalle Zürich and their BBC Proms debut at the Sam Wanamaker Playhouse in 2016. Arcangelo are busy and much in demand in the recording studio, partnering with fine soloists such as Iestyn Davies (their disc Arias for Guadagni won the Recital Category at the 2012 Gramophone Awards and their recording of Bach cantatas was best Baroque Vocal recording in the 2017 Gramophone Awards), Anna Prohaska, and Christopher Purves for Hyperion Records. Their Mozart disc with Vilde Frang on Warner Classics (2015) reached No. 1 in the UK specialist classical chart and received an Echo Klassik Concert Award. Recital recordings with both Christiane Karg (Scene!) and Matthew Rose (Arias for Benucci) were nominated for International Opera Awards 2016. Their recording of CPE

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The Artists

Bach Cello Concertos with Nicolas Altstaedt on Hyperion Records won the BBC Music Magazine Awards’ Concerto category in 2017 and their Buxtehude Trio Sonatas, Op.1 recording for Alpha Classics was nominated for Best Chamber Music/Small Ensemble Performance in the 2018 Grammy Awards. Their most recent recordings of Magnificats by members of the Bach family and Charpentier’s Leçons de ténèbres, are already attracting critical acclaim. Anthony Roth Costanzo, Countertenor ountertenor Anthony Roth Costanzo began performing professionally at age 11 and has since appeared in opera, concert, recital, film, and on Broadway. This season, Mr. Costanzo produces and stars in Glass/Handel, an operatic art installation, at Opera Philadelphia’s O18 Festival and subsequently co-presented by National Sawdust and St. John the Divine in New York. He returns to the English National Opera in his acclaimed performance of the title role in Ahknaten. He also appears in concert with Les Violons du Roy in eight cities, the New York Philharmonic, Philharmonia Baroque at Lincoln Center, Boston Baroque, Mercury, and the NDR at the Elphiharmonie, and will be presented in recital

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by Celebrity Series of Boston. Mr. Costanzo is an exclusive recording artist with Decca Gold, and his first album, ARC: Glass/Handel — a collection of arias by Handel and Phillip Glass with Les Violons du Roy — was released in September 2018. He has appeared with many of the world’s leading opera houses, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, English National Opera, Houston Grand Opera, Opera Philadelphia, Los Angeles Opera, Canadian Opera Company, Glyndebourne Opera Festival, Dallas Opera, Teatro Real Madrid, Spoleto Festival USA, Glimmerglass Festvial and Finnish National Opera. In concert he has sung with the New York Philharmonic, Berlin Philharmonic, San Francisco Symphony, London Symphony Orchestra, Cleveland Orchestra, and National Symphony Orchestra, among others. He has also been presented in recital in Vancouver, Princeton University Concerts, Duke Performances, and at

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the Morgan Library in New York. He has performed at a wide-ranging variety of venues including Carnegie Hall, Versailles, The Kennedy Center, The Metropolitan Museum of Art, National Sawdust, Minamiza Kyoto, Joe’s Pub, The Guggenheim, The Park Avenue Armory, and Madison Square Garden. A champion of new work, Mr. Costanzo recently created roles in the world premieres of Jimmy Lopez’ Bel Canto at the Lyric Opera of Chicago and Jake Heggie’s Great Scott at the Dallas Opera. He has also premiered works written for him by Matthew Aucoin, Paola Prestini, Gregory Spears, Suzanne Farrin, Bernard Rands, Scott Wheeler, Mohammed Fairouz, Steve Mackey, and Nico Muhly. Mr. Costanzo has begun working as a producer and curator in addition to a performer, creating shows for National Sawdust, Opera Philadelphia, the Philharmonia Baroque, Princeton University, WQXR, The State Theater in Salzburg, Master Voices and Kabuki-Za Tokyo. He played Francis in the Merchant Ivory film, A Soldier’s Daughter Never Cries, for which he was nominated for an Independent Spirit Award, and Simon in Brice Cauvin’s De particulier a particulier. He is the first countertenor to host a Met Opera Live in HD Broadcast. In 2012, Mr. Costanzo won first place in Placido Domingo’s international competition Operalia. He is also a 2009 Grand Finals Winner of the Metropolitan Opera National Council Auditions. He won a George London Award, received a career grant from the Richard Tucker Foundation, and became the first countertenor to win First Place in the Houston Grand Opera Eleanor McCullom competition, where he also won the audience choice prize. He received a Sullivan Foundation Award, and won First Place in the Opera Index Competition, the National Opera Association Vocal Competition, and the Jensen Foundation Competition. Mr. Costanzo graduated Magna Cum Laude and Phi Beta Kappa from Princeton University where he was awarded the Lewis Sudler Prize for extraordinary achievement in the arts and where he has returned to teach. He received his Masters of Music at Manhattan School of Music and won the Hugh Ross Award for a singer of unusual promise. In his youth, he performed on Broadway and in Broadway National Tours including A Christmas Carol, The Sound of Music, and Falsettos. He began his operatic endeavors playing Miles in The Turn of the Screw, and with an appearance alongside Luciano Pavarotti. 12

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Program Notes George Frideric Handel (1685–1759) Excerpts from Tolomeo, Re d’Egitto, and Flavio, Re de’ Longobardi Concerto Grosso in D Minor, Opus 6, No. 10 Excerpts from Amadigi di Gaula and Rodelinda

orn a Saxon and adopted by the British as one of their own after settling in England at age 27, Handel expertly fused the national styles of his day, combining the Germanic science of counterpoint with French elegance and Italian vocalità. Before gaining renown as a composer of oratorio starting in the late 1730s, he was best known for his operatic work. He produced some 30 operas in London, including at the Royal Academy of Music, which he founded in 1719. It was there on April 30, 1728, that he premiered the opera Tolomeo, which borrows a libretto previously used by Domenico Scarlatti. The story is set on the island of Cypress circa 108 BCE, where Tolomeo, deposed by his mother in favor of his brother Alessandro, leads

a miserable existence under King Araspe. In the third act, after being forced to marry King Araspe’s sister and disavow his own wife, Tolomeo chooses to take his own life by swallowing poison just before launching into the recitative “Inumano fratel.” In the ensuing aria “Stille amare,” a poignant larghetto in B-flat minor, the fallen sovereign senses his impending death. Fortunately, Tolomeo’s poison turns out to be a sleeping potion, setting the scene for a happy and conciliatory ending. Completed five years earlier, the opera Flavio, Re de’ Longobardi combines the story of Flavio Cuniberto, 13th king of the Lombards (a northern Italian people), with amorous intrigue right out of Corneille’s Le Cid. The aria “Rompo i lacci” is sung in the second act by Guido (a role first performed, like Tolomeo, by the famous castrato Senesino). This tempestuous air in G minor has Guido — the young son of royal counselor Ugone — torn between his loyalty to his father, who has asked him to kill his rival Lotario in a duel, and

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his love for Emilia, Lotario’s daughter. Only the central section, a tender largo in B-flat major, provides a moment of respite. Handel’s Concerti Grossi Opus 6 were composed in rapid succession in fall 1739 and are considered the high point of his instrumental output. The set of 12 concerti grossi is clearly in the lineage of Torelli and Corelli. Consisting of five movements, Concerto No. 10 begins with a French overture in D minor dominated by a recurrent four-note motif. The fugal allegro ends with a coda marked lentamente. Next is a slow aria in triple meter, then a bustling duple meter allegro. The penultimate allegro movement eloquently illustrates the basic principle of the concerto grosso: the opposition of a group of soloists (concertino) with the rest of the orchestra (ripieno). The delicate closing allegro moderato marks a return to French style in the bright key of D major. Amadigi di Gaula takes us back to 1715, when Handel was living with the Earl of Burlington while seeking to make a name for

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himself on London’s music scene. Inspired by a libretto by Antoine Houdar de Lamotte, the opera premiered at the King’s Theatre. Amadigi, a Paladin, and Dardano, the prince of Thrace, are both in love with Princess Oriana, who only has eyes for Amadigi. The magnificent “Pena tiranna,” a sort of sarabande in D minor, is highly evocative of Rinaldo’s famous “Lascia ch’io pianga.” In this aria set in the second act, Dardano laments not being the focus of Oriana’s affection. The 1724-25 season was one of Handel’s most productive, with three of his biggest operatic masterpieces completed during this time: Giulio Cesare, Tamerlano, and Rodelinda. Inspired by Corneille’s tragedy Pertharite, roi des Lombards, the opera Rodelinda plunges us into the same world as Flavio. In the third act, Bertarido (another role first sung by Senesino), the Lombard king deposed by Grimoaldo, attempts to murder his usurper but instead assassinates Grimoaldo’s counselor, Garibaldo. In the heroic aria “Vivi, tiranno,” Bertarido challenges Grimoaldo to take his life without further ado.

Program Notes Philip Glass (born in 1937) Excerpts from Akhnaten, Symphony No. 3, Songs from Liquid Days, Monsters of Grace, and 1000 Airplanes on the Roof

efore becoming a leading exponent of musical minimalism (a genre based on the incantatory repetition of short patterns) and an icon known well beyond the classical sphere, U.S. composer Philip Glass studied at the Juilliard School, then in Paris with Nadia Boulanger. His meeting with the legendary Indian sitarist Ravi Shankar in 1965 was a turning point that helped forge Glass’s unique hypnotic style. A self-described theater composer, Glass first gained renown in 1976 for his opera Einstein on the Beach, which challenged operatic conventions by breaking down traditional narrative codes. The work kicked off a trilogy about “men who changed the world through the power of their ideas” (Glass), with Satyagraha (on Gandhi) in 1980 and Akhnaten, created in 1984 in Stuttgart. Based on the life of the pharaoh Akhenaton (14th century BCE), the opera includes texts

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from original sources in ancient Egyptian, Akkadien, and Biblical Hebrew, linked with narrator commentary in a modern language. Akhnaten’s “Hymn to the Sun” at the close of the second act weaves together major and minor modes and spectacular dissonances. The piece pays tribute to the sun god Aton, whom the pharaoh worshipped exclusively, giving rise to the first known monotheistic religion. In addition to his operatic work, Glass has written 11 symphonies, the most recent of which premiered at Carnegie Hall on January 31, 2017. His Symphony No. 3 was first performed in 1995 in Künzelsau, Germany, under the direction of Dennis Russell Davies (who also conducted the premiere of Akhnaten) and the Stuttgart Chamber Orchestra. By far the shortest of Glass’s symphonies at roughly 23 minutes long, it consists of four movements with no tempo indications. Glass considers the opening movement “a quiet, moderately paced piece [that] functions as prelude to movements two and three.” Songs from Liquid Days, recorded in 1986 with contemporary pop artists and performers such as the Philip Glass Ensemble and conductor Michael Riesman, further enhanced Glass’s reputation. The fourth track, the delightful “Liquid Days, Part One” with lyrics by David Byrne, was performed by the group The Roches. Twelve years later in Los Angeles, Glass penned Monsters of Grace, which he calls “a digital opera in three dimensions.” With 13 scenes, the work draws on poems by 13th century Sufi mystic Jelaluddin Rumi. Some audiences and reviewers took issue with the 3D animations used throughout the performance. Always game for unusual collaborations, Glass composed 1000 Airplanes on the Roof, a “science fiction music drama” in one act with text by David Henry Hwang, in 1988 in a Vienna airport hangar. This spaced-out work recounts the close encounters of M, the sole character, with extraterrestrial life forms who warn him that no one will believe him if he recounts his otherworldly experiences. — Emmanuel Bernier

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Texts and Translations George Frideric Handel Inumano fratel… Stille amare (Tolomeo, HWV 25) RECITATIVO ACCOMPAGNATO Che più si tarda omai, Oh neghittose labbra, A dissetar con queste poche stille, Che Elisa ti presenta, L’empio furor della tua sorte irata ? Si beva, sì ! Inumano fratel, barbara madre, Ingiusto Araspe, dispietata Elisa, Numi o furie del ciel, cielo nemico, Implacabil destin, tiranna sorte, Tutti v’invito A gustar il piacer della mia morte. Ma tu, consorte amata, Non pianger, no, mentre che lieto spiro; Basta che ad incontrar l’anima mia, Quando uscirà dal sen, mandi un sospiro. ARIA Stille amare, già vi sento Tutte in seno, la morte a chiamar; Già vi sento smorzare il tormento, Già vi sento tornarmi a bear. RECITATIV Why do you delay further, O slothful lips,

In quenching, with these few drops That Elisa gives you, The pitiless rage of your angry fate? Yes, let me drink, yes! Inhuman brother, barbarous mother Unjust Araspes, merciless Elisa, Ye Gods, or Furies of heaven, hostile heaven, Implacable Destiny, tyrannical Fate, I invite all of you To delight in my death. But you, my beloved spouse, Do not weep, no, while I gladly die; Let it suffice that, to meet my soul When it leaves my bosom, you will send a sigh. ARIA Bitter drops, already I feel you All in my breast, calling for death; Already I feel you ease my torment, Already I feel you restore my happiness. George Frideric Handel Privarmi ancora… Rompo i lacci (Flavio, HWV 16) RECITATIVO Privarmi ancora dell’amata beltà? Ma pria che gli astri Febo nel ciel ricopra vendicati saran’ dal mio furore e l’onor vilipeso, e ’l genitore !

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tuesday musical 2018 | 2019 ARIA Rompo i lacci, e frango i dardi che al mio seno amor scagliò; ma poi senza l’idol mio come, o Dio ! viver potrò !

ARIA Grief is the tyrant of my heart, nor do I ever hope to find compassion.

RECITATIV Taking my beloved beauty away From me, too? —But even before the stars are covered once more by Phoebus revenged shall be by my fury both my scorned honour and my father!

Frantic with love, my aching heart, besieged by grief, can find no peace. George Frideric Handel Vivi tiranno (Rodelinda, HWV 19)

ARIA I tear the snares and break the darts that Love hurled at my breast! But then, — without my darling how, oh God! can I exist?

Vivi, Tiranno! Io t’ho scampato. Svenami, Ingrato, Sfoga il Furor.

George Frideric Handel D’un sventurato amante… Pena tiranna (Amadigi di Gaula, HWV 11) ARIA Pena tiranna io sento al core, né spero mai trovar pietà.

Volli salvarti Sol per mostrarti Ch’ho di mia Sorte Più grande il Cor. Live, Tyrant! I have spared you. Bleed me, Ingrate, Vent your Fury. I wanted to save you Only to show you That my Heart is Nobler than my Fate.

Amor m’affanna e il mio dolore in tanti guai pace non ha.

O Jerusalem! Crossroads of Three faiThs Baroque orchestra jeannette sorrell

A new program from Jeannette Sorrell that weaves the four distinct and exotic quarters of Jerusalem into a celebration of brother & sisterhood.

apollosfire.org 800.314.2535 expect great music af1819_tma_september.indd

FRIDAY, NOVEMBER 16, 8:00PM FAIRLAWN LUTHERAN CHURCH

Other performances around Northeast Ohio November 10, 12 & 17-18

19 9/13/18 10:53 AM

Texts and Translations Philip Glass Hymn (Akhnaten)

FUZE series 7:30 p.m. at Akron’s EJ Thomas Hall, except Canadian Brass at Akron Civic Theatre $45, $40, students free | subscriptions available

Thou dost appear beautiful On the horizon of heaven Oh, living Aten He who was the first to live When thou hast risen on the Eastern Horizon Thou hast filled every land with thy beauty Thou art fair, great, dazzling, High above every land Thy rays encompass the land To the very end of all thou hast made All the beasts are satisfied with their pasture Trees and plants are verdant Birds fly from their nests, wings spread Flocks skip with their feet All that fly and alight Live when thou hast arisen

Saturday, November 3

The Tell-Tale Heart — A Musical Ghost Story Composer/pianist Gregg Kallor, cellist Joshua Roman, and mezzo-soprano Jennifer Johnson Cano seek to silence the “beating of the hideous heart.”

Tuesday, December 4

Canadian Brass Holiday Concert Ring in the holidays with the world’s most famous (and fun!) brass ensemble.

How manifold is that which thou hast made Thou sole God There is no other like thee Thou didst create the earth According to thy will Being alone, everything on earth Which walks and flies on high Thy rays nourish the fields When thou dost rise They live and thrive for thee Thou makest the seasons to nourish All thou hast made The winter to cool The heat that they may taste thee There is no other that knows thee Save thy son, Akhnaten For thou hast made him skilled In thy plans and thy might Thou dost raise him up for thy son Who comes forth from thyself Philip Glass Liquid Days, Part 1 (Songs from Liquid Days) Oh round desire Oh red delight The river is blood The time is spent

Thursday, April 18, 2019

For Lenny Pianist Lara Downes celebrates Leonard Bernstein’s 100th birthday.

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Love likes me Love takes it shoes off and sits on the couch Love has an answer for everything Love smiles gently... and crosses its legs Well here we are well here we are Sleep Being in air Turning to speak Losing our way Pour it all out

tuesdaymusical.org ■ 330.761.3460

tuesday musical 2018 | 2019 We are old friends I offer love a beer Love watches television Love needs a bath Love could use a shave Love rolls out of the chair and wiggles on the floor Jumps up I’m laughing at love Drink me Drive... Breath... Drive… Sleep... Why do you ask? Still is the night It is much further Than we thought In liquid days Land travels hard Fly home daughter Cover your ears

Philip Glass In the Arc of Your Mallet (Monsters of Grace) Don’t go anywhere without me. Let nothing happen in the sky apart from me, Let nothing in this world, or that world, Without me being in its happening. Vision, see nothing I don’t see. Language, say nothing, The way the night knows itself with the moon, Be that way with me. Be the rose nearest to the thorn that I am. I want to feel myself in you when you taste food, In the arc of your mallet when you work. When you visit friends, When you go up on the roof by yourself at night. Ah! There’s nothing worse than to walk out along the street without you. I don’t know where I’m going. You’re the road and the knower of roads, More than maps, more than love.

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ENGAGING our community

Inspiring current and future generations of music lovers Annual Scholarship Competition Hailed as the best of its kind in Ohio, the competition awards more than $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 Decompression Chamber brings free concerts to hospitals, factories, government offices, social service agencies, and other high-pressure environments throughout Akron. “We bring great music to stages, schools, hospitals, libraries – anywhere music enriches learning and lives.” - Jarrod Hartzler

Executive and Artistic Director

tuesdaymusical.org or 330-761-3460 22

tuesdaymusical.org ■ 330.761.3460

ENGAGING our community

Throughout NE Ohio, Tuesday Musical expands access to the world’s best music and musicians.

Benefitting students and adults with innovative programs 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. Monthly Members’ Gatherings Expand your arts community and join Tuesday Musical. Enjoy short afternoon performances by talented local and regional musicians, followed by refreshments and opportunities to socialize with other music lovers.. Brahms Allegro TM’s junior music club encourages young members to develop their skills, perform for their peers, and compete in regional competitions. expect great music

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Support: Individuals

tuesday musical 2018 | 2019

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s Main Stage and Fuze concert series and Education and Community Engagement Programs. (As of September 30, 2018) Director $5,000+ Anne Alexander Ann G. Allan 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 Paul and Linda Liesem Rusty and Marianne Miller George Pope Patrick Reilly Corrinne and Donald Rohrbacher Dr. Pat Sargent Kenneth E. Shafer Larry and Cyndee Snider R. Thomas and Meg Harris Stanton Sustainer $700 to $1,499 Eleanor and Richard M. Aron Earl and Judy Baxtesser Family John Bertsch Rob and Alyssa Briggs Alfred Cavaretta Kittie Clarke Harloe and Harriet Cutler Barbara and Denis Feld

Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Joy and Bruce Hagelin Jarrod Hartzler John Vander Kooi Elizabeth and Charles Nelson Lola Rothmann Dr. Pamela Rupert Darwin Steele 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 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 Bill and Sally Manby JoAnn and Paul Marcinkoski Natalie Miahky 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 Kathleen Walker Keryl Whetstone Jorene F. Whitney Christopher Wilkins

Advertise in the Tuesday Musical Programs Contact Ruth Krise 330.714.2704 for More Information expect great music

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no Margaret Baxtres ser Ann Tuesday, ual Piano Septem Concert ber 11, 2018

Support: Memorials & Tributes These gifts to Tuesday Musical are meaningful ways to honor special people. In Memory of Barry Collier

In Memory of Elizabeth Kime

Barbara Eaton Anita Meeker

Robert and Beverley Fischer

In Memory of Elizabeth Dalton Robert and Beverley Fischer Jarrod Hartzler Paul and JoAnn Marcinkoski Natalie Miahky

In Memory of Betty Sibley Watts Wetterau

Robert and Beverley Fischer

Jarrod Hartzler Pamela Johnson Peter and Dorothy Lepp Lynne Margolies Anita Meeker David Watts

In Honor of George Pope

In Honor of Billie Whittum

Elizabeth Sandwick

Harriet Richman

In Memory of Eugene Mancini Toshie Haga In Memory of Paul Marcinkoski

AKRON SYMPHON Y ORCHESTRA

VERDI AND VALKYRIES NOVEMBER 16 8 PM

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TICKETS:

330.535.8131 akronsymphony.org

9/17/18 8:32 AM

tuesdaymusical.org â&#x2013; 330.761.3460

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

$1,000 to $4,999

In-kind Services

GAR Foundation

Akron/Summit Convention & Visitors Bureau

Akron Beacon Journal

John S. and James L. Knight Foundation Louis S. and Mary Myers Foundation Ohio Arts Council

Arts Midwest Touring Fund The Lisle M. Buckingham Endowment Fund of Akron Community Foundation

Peg’s Foundation

Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee

$10,000 to $24,999

KeyBank Foundation

Community Fund—Arts & Culture of the Akron Community Foundation

Lehner Family Foundation Beatrice K. McDowell Family Fund

C. Colmery Gibson Polsky Fund of Akron Community Foundation

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

Kulas Foundation

OMNOVA Solutions Foundation

John A. McAlonan Fund of Akron Community Foundation

Sisler McFawn Foundation

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

Mary S. and David C. Corbin Foundation

Maynard Family Foundation

Lloyd L. and Louise K. Smith Foundation Welty Family Foundation

Cogneato ideastream® Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls Steinway Piano Gallery— Cleveland The University of Akron School of Music WKSU-FM Wooster Color Point

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

Charles E. and Mabel M. Ritchie Memorial Foundation

ClevelandClassical.com

$200 to $999

$5,000 to $9,999

Mary and Dr. George L. Demetros Charitable Trust

Cally Graphics

Laura R. and Lucian Q. Moffitt Foundation Richard and Alita Rogers Family Foundation Corporate Partners Akron Tool & Die Co.

44 Nelson>> Development <<

**OPEN LATE**

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

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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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The Press Club of Cleveland named the Akron Beacon Journal the best large daily newspaper in Ohio. Judges said the Beacon Journal has a well-balanced “mix of local and national news. Great photos and overall content.”

The Beacon Journal and its staff received 30 awards — 12 for ﬁrst place — at the Press Club of Cleveland’s 40th All Ohio Excellence in Journalism Awards competition. There were more statewide newspapers.

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For 7-day News and information print or digital, call 330-996-3600 or visit OHIO.COM

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tuesday musical

2018-2019 Board of Directors

Executive Committee President Paul Filon

Vice President/President Elect Linda Liesem

Treasurer Stephannie Garrett

Secretary Marianne Miller Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson Student Voucher Chair Magdalena McClure

Finance Chair Stephannie Garrett

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Fred Specht

Member Program Chair Teresa Good

Scholarship Chair George Pope

At-large Members Mary Jo Lockshin, Mike Magee,

Paul Mucha & James Wilding Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider

Programs Director Moneeb Igbal

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.

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 utmost 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 2018/2019 Tuesday Musical concert (some restrictions may apply) or receive a charitable donation receipt for the value of the tickets. Please remember to call the office 24 hours PRIOR to the concert. Your seats are the best in the house and someone else would love the experience of sitting just where you do.

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