tuesday musical Presenting the finest 2016-2017 Season
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25th anniversary season
Resplendent PURCELL
OCTOBER 6-9 IN FAIRLAWN, SHAKER HEIGHTS & ROCKY RIVER The great Henry Purcell wrote his most majestic music for royal events at Westminster Abbey – from joyous birthday celebrations for the Queen to the heartbreakingly beautiful lamentations at her funeral. Vocal soloists, strings, lutes, recorders, trumpets, percussion, organ, and the acclaimed Apollo’s Singers join in this sumptuous program.
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tuesday musical presents
So¯ Percussion
U
with the Akron Symphony Orchestra
sing “found” instruments — twigs, tuned wine bottles, metal pipes, steel drum — So¯ Percussion plays against the forceful backdrop of Akron’s own orchestra to create the concerto man made by composer David Lang. man made was commissioned by London’s Barbican Centre and the Los Angeles Philharmonic; So¯ performed it with Gustavo Dudamel for the LA Phil’s 2014-15 season opener. Also on the program: The Akron Symphony performs Holst’s The Planets and Tan Dun’s Secret of Wind and Birds (hint: bring your cell phone!).
Saturday, October 15, 2016 8 p.m. at EJ Thomas Hall Pre-concert talk at 7 p.m. by legendary composer David Lang. Tuesday Musical and the Akron Symphony are co-producing this concert, with support from the Louis S. and Mary Myers Foundation. Dr. Larry Snider is sponsoring the pre-concert talk.
tuesday musical Sponsored by The Margaret Clark Morgan Foundation.
OUT-OF-THE-BOX
tuesdaymusical.org 330.761.3460
Wednesday, October 12, 2016 7 pm, Guzzetta Recital Hall, University of Akron STEVE REICH’S Drumming Sō PERCUSSION & the UA Percussion Ensemble Experience Reich’s breakthrough masterpiece for percussion and voice, inspired by the composer’s studies in West Africa. Drumming is exhilarating, intelligent and fun.
Thursday, November 3, 2016 7 pm, Akron Art Museum WEATHER SCORES: Science, Data, Sculpture & Music
$25. Enjoy refreshments with the performers after each concert.
Inspired by Nathalie Miebach’s storm sculptures that embody the forces of nature and time, composers Mischa Salkind-Pearl and Christian Gentry have created musical scores for our talented Fuze musicians. Presented in collaboration with the Akron Art Museum, the evening will include a fascinating conversation between Miebach and the composers.
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tuesday musical
tuesday musical concert series 2016 | 2017
concert series
The University of Akron EJ Thomas Performing Arts Hall Tuesday, September 27, 2016, 7:30 pm
Emerson String Quartet Eugene Drucker and Philip Setzer, violins; Lawrence Dutton, viola; Paul Watkins, cello Wolfgang Amadeus Mozart String Quartet No.15 in D minor, K.421 (1756-1791) Allegro moderato Andante Menuetto Allegretto ma non troppo Mark-Anthony Turnage Shroud (b. 1960) Threnody Intermezzo 1 March Intermezzo 2 Lament Tonight’s performance is the world premiere of Shroud, co-commissioned for Emerson String Quartet’s 40th anniversary by Akron’s Tuesday Musical, The Chamber Music Society of Lincoln Center, the Meany Center for the Performing Arts at the University of Washington, Chamber Music Houston, Elizabeth and Justus Schlichting for Segerstrom Center for the Arts, Wolf Trap Foundation for the Performing Arts, Stiiftung Berliner Philharmoniker, and Wigmore Hall with support of Peter and Sonia Field.
INTERMISSION Ludwig von Beethoven String Quartet No.14, Op.131 (1770-1827) Adagio ma non troppo e molto espressivo Allegro molto vivace (D major) Allegro moderato (recitative) Andante ma non troppo e molto cantabile (A major) Presto (E major) Adagio quasi un poco andante (G♯ minor) Allegro Emerson String Quartet appears by arrangement with IMG Artists, LLC.
Among Our Season Supporters:
Concert Sponsor: The C. Colmery Gibson Polsky Fund of Akron Community Foundation
The Artists Emerson String Quartet “Arguably the world’s best group of chamber musicians.” – Fortune
E
merson String Quartet has amassed an unparalleled list of achievements over three decades: more than thirty acclaimed recordings, nine Grammys® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, Musical America’s “Ensemble of the Year” and collaborations with many of the greatest artists of our time. The arrival of Paul Watkins in 2013 has had a profound effect. A distinguished soloist, awardwinning conductor, and devoted chamber musician, Watkins joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been praised by critics and fans alike around the world. “The Emerson brought the requisite virtuosity to every phrase. But this music is equally demanding emotionally and intellectually, and the group’s powers of concentration and sustained intensity were at least as impressive.” – The New York Times The 2016-17 season marks Emerson Quartet’s 40th anniversary, and highlights of this milestone year reflect all aspects of the quartet’s venerable artistry with high-profile projects and collaborations, commissions and recordings – including this evening’s world premiere in Akron, Ohio, of Mark-Anthony Turnage’s Shroud (cocommissioned by Akron’s Tuesday Musical, the Chamber Music Society, and others). Universal Music Group has reissued Emerson’s entire Deutsche Grammophon discography in a 52-CD boxed set. After recent engagements together at the Kennedy Center and Tanglewood, illustrious soprano Renée Fleming joins the Emerson at Walt Disney Concert Hall, performing works by Alban Berg and Egon Wellesz from their first collaborative recording, released by Decca in fall of 2015. The Chamber Music Society of Lincoln Center has programmed celebratory concerts at Alice Tully Hall, as well as in Chicago and Purchase, NY. In October, the Calidore Quartet teams up with the Emerson for the Mendelssohn Octet. Former Emerson cellist David Finckel appears as a special guest for Schubert’s Quintet in C Major. In May 2017,
legendary pianist Maurizio Pollini will join the quartet for a performance of the Brahms Quintet at Carnegie Hall. Additional highlights during the 2016-17 season include a concert with clarinetist David Shifrin as part of the quartet’s season-long residency at Chamber Music Northwest in Portland, Oregon, as well as a collaboration with cellist Clive Greensmith for the Schubert Quintet at the Soka Performing Arts Center in California. The Emerson continues its series at the Smithsonian Institution in Washington, DC for its 38th season, and the quartet members have been selected as Artistic Advisors for Wolf Trap’s Chamber Music at The Barns in Virginia, curating the series in celebration of its 20th season. Multiple tours of Europe comprise dates in Austria, Italy, Germany, Switzerland, Belgium, The Netherlands, Spain and the United Kingdom (including Wigmore Hall for a 40th Anniversary Gala); the quartet also visits Mexico for the Festival Internacional Cervantino. Formed in 1976 and based in New York City, the Emerson was one of the first quartets whose violinists alternated in the first chair position. In 2002, the quartet began to stand for most of its concerts, with the cellist seated on a riser. The Emerson Quartet, which took its name from the American poet and philosopher Ralph Waldo Emerson, is Quartet-in-Residence at Stony Brook University. During the spring of 2016, full-time Stony Brook faculty members Philip Setzer and Lawrence Dutton received the honor of Distinguished Professor, and part-time faculty
tuesday musical concert series 2016 | 2017
members Eugene Drucker and Paul Watkins were awarded the title of Honorary Distinguished Professor. In January 2015, the quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field.
for the Munich Biennale festival, Greek, which received a triumphant premiere in 1988. The many ensuing productions worldwide established Turnage’s international reputation. The important works that followed, Three Screaming Popes, Kai, Momentum and Drowned Out, stemmed from a fouryear period as Composer in Association with the City of Birmingham Symphony Orchestra and Sir Simon Rattle, from 1989 to 1993. Three years later Blood on the Floor was commissioned by Ensemble Modern. Written for John Scofield, Peter Erskine and Martin Robertson, it demonstrates Turnage’s ability to draw inspiration from the unique sounds of particular performers, often working in close collaboration. Turnage’s major work in the late 1990s was his second full-length opera, The Silver Tassie, premiered in February 2000 to exceptional acclaim at English National Opera, where he was Composer in Association. It won both the
Mark-Anthony Turnage
M
ark-Anthony Turnage’s orchestral and operatic music is often forthright and confrontational, unafraid to mirror the realities of modern life, yet its energy is exhilarating. With his flair for vivid titles, and his complete absorption of jazz elements into a contemporary classical style, Turnage produces work with a strong appeal to an enquiring, often young audience. At the same time his music is capable of expressing deep tenderness, especially emotions associated with loss. Born in Britain in 1960, Turnage studied with Oliver Knussen and John Lambert, and later with Gunther Schuller. With the encouragement of Hans Werner Henze, he wrote his first opera
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The Artists South Bank Show and Olivier Awards for Opera in 2001. The new century also brought Turnage’s appointment in 2000 as the BBC Symphony Orchestra’s first Associate Composer, culminating in a major Turnage weekend at the Barbican in January 2003. In the autumn of 2002, Sir Simon Rattle conducted Blood on the Floor at one of his first concerts as Chief Conductor of the Berlin Philharmonic, attracting a largely new, younger audience to the Berlin Philharmonie and generating the Berlin Philharmonic’s first major education project. Rattle and the BPO commissioned Ceres, an ‘orchestral asteroid’ to accompany Holst’s suite The Planets, which received its premiere performance in 2006. Other significant works following the turn of the new century included Bass Inventions, premiered by the bass player Dave Holland in Amsterdam in 2001, and Scorched, co-written with John Scofield for jazz trio and orchestra, premiered in 2002 with the Frankfurt Radio Symphony Orchestra and Big Band, conducted by Hugh Wolff. The trumpet concerto From the Wreckage was written for soloist Håkan Hardenberger, who brought it to the 2005 BBC Proms after its Helsinki
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premiere. Of the London performance, The Times’ critic wrote: “this was outstanding: a kind of rebirth piece in which the music begins hellishly but gradually picks up a bluesy swing as the soloist rhapsodically spirals higher and higher. I was mesmerised.” Hardenberger has since performed the concerto over 20 times in 10 countries. Working with the London Philharmonic Orchestra during the 2004/05 season led to Mark-Anthony Turnage’s appointment as its Composer in Residence between 2005 and 2010. The residency was celebrated with Turnage’s first violin concerto, Mambo, Blues and Tarantella, written for Christian Tetzlaff and the LPO with Vladimir Jurowski and premiered at the Southbank Centre in 2008, with subsequent performances in Stockholm and Toronto from the co-commissioning partners. A final new work to celebrate the residency, Texan Tenebrae, was premiered in London in 2010 and three Turnage discs were released on the LPO’s own label. Turnage was also appointed Mead Composer in Residence with the Chicago Symphony Orchestra from 2006 until 2010 for which he wrote two new works, From All Sides and Chicago Remains, conducted by Esa-Pekka Salonen and Bernard Haitink, respectively. Turnage has previously written for other major American orchestras: Scherzoid was a New York Philharmonic/London Philharmonic commission, while his viola concerto On Opened Ground was commissioned by the Cleveland Orchestra for Yuri Bashmet. 2009 brought the premieres of A Constant Obsession commissioned by the Wigmore Hall for the Nash Ensemble and Mark Padmore and Five Views of a Mouth for the BBC Scottish Symphony Orchestra and flautist Dietmar Wiesner, while Hammered Out at the 2010 BBC
A noteworthy addition to Ashland since 1970. Arie Lipsky, Music Director & Conductor
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tuesday musical concert series 2016 | 2017
Proms and Twisted Blues with Twisted Ballad written for the Belcea Quartet were works completed before Turnage took time out to write a third opera. Anna Nicole, with text by Richard Thomas, was premiered at The Royal Opera in London in Spring 2011 in a production by Richard Jones with six sold-out houses and broadcasts on television and radio. Further stagings have followed in Dortmund and at the BAM Next Wave festival in New York, and The Royal Opera opened its 2014/15 season with a second run of Anna Nicole. Turnage wrote two ballet scores in 2011/12: UNDANCE for Sadler’s Wells, a collaboration with Wayne McGregor and Mark Wallinger, and Trespass for the Royal Ballet Covent Garden as part of its Metamorphosis: Titian 2012 project, choreographed by Alastair Marriott and Christopher Wheeldon. Recent concertos include works for cellist Paul Watkins, pianist Marc-André Hamelin and jazz drummer Peter Erskine while in Spring 2013 Turnage was featured composer with the London Symphony Orchestra, culminating in the premiere and recording of a new work
Speranza, also performed under the baton of Daniel Harding in Boston and Stockholm. Other recent orchestral works include Frieze conducted by Vasily Petrenko at the BBC Proms and Passchendaele commemorating the centenary of the outbreak of the First World War. Strapless was premiered at the Royal Ballet Covent Garden in 2016 with choreography by Christopher Wheeldon and is a co-production with the Bolshoi Ballet. Much of Turnage’s music is recorded on Decca, Chandos, EMI, Black Box and the London Philharmonic Orchestra labels. Scorched, on Deutsche Grammophon, was nominated for a Grammy, while Etudes and Elegies was recorded for the Warner label. Turnage is Research Fellow in Composition at the Royal College of Music, and is published by Boosey & Hawkes. Works written before 2003 are published by Schott. He was awarded a CBE in the 2015 Queen’s Birthday honours. This biography of Mark-Anthony Turnage is reprinted by kind permission of Boosey & Hawkes.
Program Notes
Wolfgang Amadeus Mozart (1756-1791) String Quartet No.15 in D minor, K.421
M
ozart was composing his D minor quartet on June 17, 1783, in the same room in which his wife, Constanze, was giving birth to their first son, Raimund Leopold. According to biographer Otto Jahn, “When she complained of pain, he would come to her to cheer and console, resuming his writing as soon as she was calm.” Although many have searched in vain for a correlation between the immediate situation and this profoundly melancholy and intensely expressive quartet, most have concluded with Eric Blom that Mozart shows here his “amazing power of emotional detachment” and the “callousness of genius.” Perhaps the D minor quartet, again in Blom’s words, can best be understood as a “personal confession that is kept within the bounds of pure art only because its expressive intensity is matched by the utmost tact and the keenest discernment of a perfect balance between technique and design.” The Allegro, a short, concentrated movement, is deeply passionate despite its overall restraint. The principal theme in the first violin is characterized by leaps, both down and up, and by the plentitude of individual motives. The subsidiary theme, more confined in range, sounds agitated and uneasy, partly because of the faster-moving notes in both the melody and accompaniment. At the end of the exposition the first violin plans once and then again a little isolated figure ending with three repeated notes. This motto, Reginald Barrett-Ayres points out in his book on Haydn’s quartets, is heard in every movement and acts as a unifying device. While the following development, recapitulation, and coda fall into traditional sonata form patterns, the actual music is anything but ordinary, making this a very affecting movement. The Andante, in A-B-A form, is almost tender, but with a bustle and agitation that stand in the way. Likewise, it is almost serene, but with too many individual motifs and changes of dynamics to provide the necessary tranquility. Soon after the opening, and several times in the course of the A strain, the first violin plays the three-note
motto heard in the last movement, albeit in a slower tempo. The B section is dominated by the three repeated notes. Those, like Wolfgang Hildesheimer in his biography of Mozart, who say that the composer wrote the cries of Constanze in labor into the music think that the two loud outbursts in this part are her screams. A shortened A section concludes the movement. The three-note motto forms an important part of the defiant Menuetto’s main theme. In a striking volte-face, the trio is all sunshine and light, with the first violin playing a jesting tune over a simple pizzicato accompaniment. But the good times do not last long, as the movement ends with a repeat of the bold Menuetto. The mood brightens considerably for the finale, a set of four variations and a coda on an ingenuous-sounding theme with the rhythm of a Siciliano, an old, moderately fast Italian dance of pastoral character. In the first variation, the first violin substitutes a florid elaboration for the rhythmic pattern of the dance tune. The two violins share the lead in the next variation, enlivening the melody with sharp, offbeat accents. The viola, sounding as plaintive and doleful as can be, sets the tone for Variation III; early on it recalls the three-note motto from the previous movements. After three variations that move further and further away from the starting theme, the fourth variation shifts back toward the original, smoothing out the rhythms, modulating to the major, and adding a flowing countermelody in the cello and viola. The coda, which is slightly faster in tempo and back in minor, comes even closer to the opening theme. The three-note figure appears here again and grows in importance so that the entire quartet ends with three determined repetitions of that unifying motto.
Ludwig von Beethoven (1770-1827) String Quartet No.14, Op.131
B
eethoven once confided to friend Karl Holz that, while each of his sixteen quartets is unique, “each in its way,” his favorite was the C sharp minor, Op. 131. When Schubert heard the piece, Holz reported “He fell into such a state of excitement and enthusiasm that we were all frightened for him.” Down to our own day many people, musicians as well as listeners,
tuesday musical concert series 2016 | 2017
consider it the greatest quartet ever written. Lasting close to forty minutes, the quartet is divided into seven sections that are played without pause, creating a completely organic, well-integrated whole. The burden for projecting this underlying unity rests with the performers, who must maintain the proper relationships of tempo and mood for the work to flow smoothly from beginning to end. Beethoven began to work on Op. 131 late in 1825, after he had completed the three-quartet commission (Opp. 127, 130, 132) for Prince Galitzin, and presented it to the publisher on July 12 of the same year. Beethoven’s flippant note on the score — “Put together from pilferings from this and that” — caused the publisher great concern, and the composer had to assure the publisher that the music was completely original, and his remark only a joke. In retrospect it now seems that his comment may have referred to the seven separate movements making up a unified work. The quartet was dedicated to Baron Joseph von Stutterheim, Field Marshal, in gratitude for accepting Beethoven’s nephew Karl into the baron’s regiment. Scholars believe that the first hearing was a private concert in Vienna in December 1826, but that the initial public performance did not take place until 1835, long after Beethoven’s death. The very slow introductory Adagio, which Richard Wagner said “reveals the most melancholy sentiment in music,” is basically a fugue, followed by four episodes and a coda, all based on the sober melody originally stated by the first violin. More than sorrowful or pitying, the music is contemplative and serene, surmounting personal despair and sadness. The section ends with a quiet rising C sharp octave leap, which finds an echo in the ascending D octave leap that opens the second section. The fast second movement sails forth, cheery and open-faced, with none of the profundity or expressivity of the first movement. Even the thematic material contributes no striking contrasts to create dramatic tension; the same kind of
Program Notes warm, good spirits prevail throughout. Performers traditionally use the two soft isolated chords at the end of the movement to set the tempo for the two loud answering chords that start the Allegro moderato. The short movement that follows, only eleven measures long, is in effect a recitative, a rhythmically free introduction to the Andante that follows without pause. The fourth movement is an expansive theme and variations that provides the pivotal central focus of the entire quartet. The syncopated theme, which Wagner called the “incarnation of innocence,” is shared by the two violins. Beethoven then puts the melody through a series of six variations in which it is completely shaped and fashioned to reveal fully all of its expressive potential. The two notes heard at the very end determine the speed of the next movement; they are usually made equal to a full measure of the Presto. The Presto corresponds to the Classical scherzo movement, playful and humorous in spirit. The lightness of character, though, disguises a score that is treacherously difficult for the musicians. It requires great delicacy of touch and split-second
reaction times to interweave the four parts and achieve the smooth flow that is necessary. After the abrupt four-note growl by the cello that opens the movement, the first violin picks up the dancelike tune. Passages of smooth legato articulation interrupt statements of the bright, bouncy main theme. Beethoven directs the final return of the opening tune be played ponticello (bowed near the bridge), producing a glassy, whistle-like sound. The whirlwind motion continues until two sets of chords effectively end the movement. The short, introspective Adagio, only twentyeight measures long, provides a transition between the gay flight of the preceding Presto and the rhythmic excitement of the finale. Based on a mournful, meditative melody, which is first played by the viola, the Adagio moves directly to the last section. Two bold, angry unison phrases precede the martial main theme with its dotted (long-short) rhythm, which recalls the last movement of Beethoven’s E minor quartet, Op. 59, No. 2. Forcefully, and with great thrust, the melody builds up momentum until a contrasting melody, obviously derived from the melody of the opening fugue, intercedes. The second theme, a long descending line that slows down as it jumps to three high notes at the end, is heard before a shortened development, recapitulation, and full-length coda. In summarizing this movement, Richard Wagner wrote: This is the fury of the world’s dance – fierce pleasure, agony, ecstasy of love, joy, anger, passion, and suffering; lightning flashes and thunder rolls; and above the tumult the indomitable fiddler whirls us on to the abyss. Amid the clamour he smiles, for to him it is nothing but a mocking fantasy; at the end, the darkness becks him away, and his task is done. – Melvin Berger
tuesday musical concert series 2016 | 2017
FRANZ JOSEPH HAYDN
Masterworks Chorale
Marie Bucoy-Calavan, Artistic Director
Sunday
November 6, 2016
at 3pm
First Congregational Church 292 E. Market Street, Akron
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2016-2017 Support: Individuals
T
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 September 14, 2016. Soloist $15,000+
Patron $400 to $699
Cynthia Knight “Three Graces Piano” — Anonymous
Lee and Floy Barthel John and Betty Dalton Nichole Depew William and Barbara Eaton Lois and Harvey Flanders Patricia Hartzler Tom and Cheryl Lyon Paul and JoAnn Marcinkoski Anita Meeker Earla Patterson Ed and Maureen Russell Rachel R. Schneider Jean Schooley Annaliese Soros Drs. Frederick and Elizabeth Specht
Benefactor $1,500 to $4,999 Diana and John Gayer David and Margaret Hunter Peter and Dorothy Lepp Donald and Corrinne Rohrbacher Lola Rothmann Dr. Kenneth E. Shafer Tim and Jenny Smucker Tom and Meg Stanton Sustainer $700 to $1,499 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 Paul and Linda Liesem Zenon and Natalie Miahky Charles and Elizabeth Nelson Dianne and Herb Newman George Pope Richard Shirey Dr. Larry and Cyndee Snider John P. Vander Kooi Lucinda Weiss Janet Wright
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Donor $200 to $399 Anonymous Anna Maria Barnum John and Jeanette Bertsch Cheryl Boigegrain Dr. Guy and Debra Bordo Frances Buchholzer Rebecca D. and William H. Considine Paul Filon Jon A. Fiume Eleanor Freeman Jean F. Gadd Ted and Teresa Good Stephen and Mary Ann Griebling Michael T. Hayes Loren Hoch Mark and Karla Jenkins Susan and Allen Kallor Kathleen Lambacher Magdalena McClure Paula Rabinowitz and Greer Kabb-Langkamp Ben and Sandra Rexroad Drs. Betty L. Rider and W. Mike Sherman Donald E. Schmid and Rosemary Reymann Margo Snider Mike and Sandy Soful Ann Tainer Bob and Colleen Tigelman Susan D. Van Vorst Jorene F. Whitney Christopher Wilkins Tuesday Musical Endowment Dr. DuWayne and Dorothy Hansen
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 Alfred Anderson Denis and Barbara Feld Dr. DuWayne and Dorothy Hansen Zenon and Natalie Miahky In Honor of Mary Ann and Stephen Griebling’s 60th Anniversary Bob and Beverley Fischer Bruce and Joy Hagelin In Honor of Joy Hagelin, Barbara Eaton and Anita Meeker
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
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Barbara Feld In Memory of Eileen “Tootie” Hawk Barbara Feld In Memory of Eugene Mancini
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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
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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+
$200 to $999
GAR Foundation
The Maynard Family Foundation
The John S. and James L. Knight Foundation
W. Paul Mills and Thora J. Mills Memorial Foundation
Louis S. & Mary Myers Foundation Ohio Arts Council $10,000 to $24,999 Community Fund – Arts & Culture of the Akron Community Foundation
The Laura R. and Lucian Q. Moffitt Foundation The Richard and Alita Rogers Family Foundation Corporate Partners
The Margaret Clark Morgan Foundation
Nelson Development
C. Colmery Gibson Polsky Fund of Akron Community Foundation
Special thanks for the many in-kind services provided by
John A. McAlonan Fund of Akron Community Foundation
Akron Beacon Journal
$5,000 to $9,999
Cogneato
Mary S. and David C. Corbin Foundation
Hilton Akron/Fairlawn
ClevelandClassical.com
Mary and Dr. George L. Demetros Charitable Trust
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The Charles E. & Mabel M. Ritchie Memorial Foundation
Labels and Letters Mustard Seed Market & Café
The Lloyd L. & Louise K. Smith Foundation
Sheraton Suites Akron/Cuyahoga Falls
The Welty Family Foundation
Steinway Piano Gallery - Cleveland
$1,000 to $4,999
The University of Akron School of Music WKSU FM
Akron/Summit Convention & Visitors Bureau
Wooster Color Point
Arts Midwest Touring Fund
WYSU-FM
Kenneth L. Calhoun Charitable Trust, Keybank, Trustee Betty V. and John M. Jacobson Foundation The Roberta and Stan Marks Foundation The R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation The Sisler McFawn Foundation
tuesday musical
2016-2017 Executive 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
Program art direction by Live Publishing Co.
CLASSICAL MUSIC CLASSICAL MUSIC CLASSICAL MUSIC ALIVE on 88.5! ALIVE ALIVE on on 88.5! 88.5! For Northeastern Ohio For Northeastern Ohio For Northeastern Ohio
9:00 a.m. - 3:00 p.m. Weekdays Hosted by Barbara Gary Sexton 9:00 a.m. - 3:00Krauss p.m.&Weekdays 9:00 a.m. - 3:00Krauss p.m.&Weekdays Hosted by Barbara Gary Sexton Hosted by Barbara Krauss & Gary Sexton
Evenings & Overnights Evenings & Overnights Evenings & Overnights 24/7 All Classical Channel 2 On www.wysu.org 24/7 All Classical Channel 2 24/7 All Classical Channel 2 On www.wysu.org On www.wysu.org
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Radio you need to know.
Call 1-877-724-8069 for a free quote, or visit us at 111 W. Center St. in Downtown Akron.
Radio you need to know. Radio you need to know.
www.wysu.org 330.941.3363 www.wysu.org www.wysu.org 330.941.3363 330.941.3363
tuesday musical concert series 2016 | 2017
tuesday musical September 27, 7:30 p.m.
Emerson String Quartet
January 25, 2017, 7:30 p.m.
Imani Winds
Engaging & informative talks one hour before performances. .
Presenting the finest 2016-2017 Main Stage Season at EJ Thomas Hall November 22, 7:30 p.m.
October 15, 8 p.m.
Dina Kuznetsova Jinjoo Cho
Sō Percussion with the Akron Symphony
March 1, 2017, 7:30 p.m.
St. Petersburg Philharmonic with pianist Nikolai Lukansky
April 26, 2017, 7:30 p.m.
Escher String Quartet
Single tickets: $25-$45 for most concerts. Always free for students.
tuesdaymusical.org
330.761.3460
commitment
the life care
The Life Care Commitment, backed by OPRS with the help of charitable support, helps assure all OPRS residents that they will always have a home here even if – in good faith – they run out of the funds meant to see them through.
Call 330.867.2150, ext. 201 to learn more! 1150 West Market Street • Akron, OH 44313 • rockynol.org
George Balanchine’s
with PENNSYLVANIA BALLET SPONSORED BY
NOV 30 - DEC 4 MATINEE AND EVENING PERFORMANCES, AT THE STATE THEATRE
at
tickets | playhousesquare.org
or 216-241-6000
NORTHEAST OHIO’S FAVORITE HOLIDAY TRADITION!
CLEVELAND ORCHESTRA
CHRISTMAS CONCERTS
with CLEVELAND ORCHESTRA CHORUSES & GUESTS SPONSORED BY
DEC 11-13 & 17-20 MATINEE AND EVENING PERFORMANCES, AT SEVERANCE HALL
tickets | 216-231-1111 or clevelandorchestra.com
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.
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.
2016-17 Concert Season 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
Samuel Gordon, Artistic Director 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 Concerts at Faith Lutheran Church 2726 W. Market St., Akron, OH
All concerts are free and open to the public. Hear the chamber choir everyone raves about!
WWW.OHIO.COM
ONLINE at Ohio.com and IN PRINT everyday! 1-800-777-2442
This moment brought to you by you.
Caring isn’t just reserved for doctors and nurses. Akron Children’s Hospital is able to improve the lives of children like Jordan because of caring people like you. Every gift, regardless of its size, makes a positive impact on our patients. What moment will you help make possible? Please give at akronchildrens.org/donate.
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