Tuesday Musical February 9 Concert

2015-16 Concert Season

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PRESENTING THE FINEST

2015-16 Concert Season SEPTEMBER 30, 2015

Escher String Quartet OCTOBER 27, 2015

David Finckel Wu Han Philip Setzer NOVEMBER 18, 2015

Conrad Tao

FEBRUARY 9, 2016

Marina Piccinini Andreas Haefliger MARCH 11, 2016

The Academy of St. Martin in the Fields with Joshua Bell APRIL 21, 2016

Gregg Kallor Adriana Zabala All concerts are presented at EJ Thomas Hall, The University of Akron, 7:30 PM

For Tickets 330.761.3460 tuesdaymusical.org

Tuesday Musical presents The Academy of St. Martin in the Fields with Joshua Bell

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uilding upon the performance of the Academy of St. Martin in the Fields’ Chamber Ensemble in 2015, and Joshua Bell’s performance for our collaboration with the Akron Symphony Orchestra in 2014, this concert will feature the Academy in its most robust composition.

The Academy of St. Martin in the Fields is renowned for its polished and refined sound, rooted in outstanding musicianship. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, and working without a conductor, the Academy gave its first performance in its namesake church on November 13, 1959.

Originally directed by Sir Neville from the leader’s chair, the original small, conductor-less ensemble’s collegial spirit and flexibility remain Academy hallmarks. This tradition continues today with virtuoso violinist Joshua Bell as music director.

With more than 500 recordings to date, the Academy is among the most recorded chamber orchestras in the world. The orchestra received its first gold disc for its recording of Vivaldi’s Four Seasons in 1969, with the 2007 recording with Joshua Bell reaching No. 1 on the Billboard Classical Chart.

The Academy’s soundtrack for the film Amadeus won 13 gold discs. In 1996 The English Patient picked up an Academy Award for Best Music, with a soundtrack performed by the Academy. In March 2013 the orchestra released its first recording on Sony Classical under Joshua Bell’s leadership: Beethoven’s Symphonies 4 and 7.

Friday, March 11, 2016 7:30 PM at EJ Thomas Hall pre-concert lecture at 6:30 PM

tuesday musical

concert series The University of Akron EJ Thomas Performing Arts Hall Tuesday, February 9, 2016, 7:30 pm

Marina Piccinini, flute Andreas Haefliger, piano Sergei Prokofiev Sonata for Flute and Piano in D Major, Op. 94 1891-1953 Moderato Scherzo Andante

Allegro con brio Pierre Boulez 1925-2016

Sonatine for Flute and Piano INTERMISSION

Marc-André Dalbavie b. 1961

Nocturne (Written for Marina Piccinini and Andreas Haefliger as a wedding anniversary gift, 2012)

César Franck Sonata for Flute & Piano in A Major ​1822-1890 (Transcription for flute & piano by Marina Piccinini)

Allegretto ben moderato Allegro Recitativo-Fantasia

Allegretto poco mosso

Management Marina Piccinini – Nancy Wellman Andreas Haefliger – Opus 3 Artists

Season Support:

Concert Sponsor: The Charles E. and Mabel M. Ritchie Memorial Foundation

The Artists Marina Piccinini

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

Piccinini’s 2015-16 season features engagements of note: in January 2016 she performed the world premiere of Pulitzer Prize– winner Aaron Jay Kernis’ Flute Concerto, written for her, with the Detroit Symphony Orchestra and Music Director Leonard Slatkin. Earlier this month she gave the piece its New York State premiere with the Rochester Philharmonic and Music Director Ward Stare.

Her five state U.S. recital tour with pianist Andreas Haefliger includes concerts for Tuesday Musical, The Kennedy Center for the Performing Arts, the University of Florida Performing Arts Series in Gainsville, the Peggy Rockefeller Concert Series in New York City, and the Soundings: New Music at the Nasher series in Dallas. With her trio Tre Voci (violist Kim Kashkashian and harpist Sivan Magen), she tours the East Coast, with stops in Baltimore, Philadelphia, Rochester and Boston.

Engagements this spring and summer include chamber music performances in Germany, a recital with harpist Anneleen Linaerts in Belgium, a return to the Galway Flute Festival in Weggis, Switzerland, and the Summer Festival Premiere of the Kernis Concerto with the Chautauqua Symphony Orchestra on August 4, 2016.

Highlights of recent seasons include a highly acclaimed tour with the Vienna Symphony Orchestra, performing the Nielsen Flute Concerto under the baton of Jukka-Pekka Saraste; performances at London’s Wigmore Hall and Southbank Center; Tokyo’s Casals and Suntory halls; the Seoul Arts Center; New York’s Weill Hall at Carnegie Hall; Lincoln Center’s Alice Tully Hall and Town Hall; the Mozartsaal in Vienna’s Konzerthaus; and at the Kennedy Center in Washington, DC. The list of esteemed orchestras with which Piccinini has appeared includes the Boston Symphony Orchestra, London Philharmonic, Saint Louis Symphony, Tokyo Symphony, St.

Paul Chamber Orchestra, Montreal Symphony, Rotterdam Philharmonic, National Symphony Orchestra, Hannover Symphony, Vienna Symphony Orchestra, Toronto Symphony Orchestra and Ravenna Chamber Orchestra, among others. She has worked with such celebrated conductors as Alan Gilbert, EsaPekka Salonen, Seiji Ozawa, Kurt Masur, Pierre Boulez, Leonard Slatkin, Myung-whun Chung and Gianandrea Noseda, and collaborated with such distinguished artists as the Tokyo, Brentano, Mendelssohn, and Takács string quartets and with the Percussion ensemble Nexus and the Brasil Guitar Duo. She is a regular partner of pianists Andreas Haefliger and Mitsuko Uchida.

A popular figure at international music festivals, she is a frequent guest artist in Japan, and has performed (at the personal invitation of Seiji Ozawa) at the Saito Kinen Festival. Piccinini has also appeared as guest principal flute with both the Boston Symphony and the New York Philharmonic.

While equally at home with contemporary and traditional works, Piccinini is deeply committed to music of the present, and expanding the repertoire for her instrument. She has given first performances of works by some of today’s foremost composers, including Michael Colgrass,

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The Artists Paquito D’Rivera, Matthew Hindson, Miguel Kertsman, Lukas Foss, Michael Torke, John Harbison, David Ludwig and Roberto Sierra.

An active recording artist with CDs on the Avie, Claves, and ECM labels, Piccinini is the latest in a distinguished line of virtuosos to make the Paganini Caprices their own. Her new Paganini arrangements can be heard on her recent and highly acclaimed recording for Avie. Schott Music published the printed music for Piccinini’s Paganini arrangements in 2014. Other recent recordings include Tre Voci’s acclaimed debut CD of works by Toru ¯ Takemitsu, Claude Debussy and Sofia Gubaidulina on the ECM label; a DVD of Schoenberg’s Pierrot Lunaire from the Salzburg Festival, along with an accompanying documentary titled Solar Plexus of Modernism; for Avie, the J.S. Bach’s complete flute sonatas and solo Partita in collaboration with the Brasil Guitar Duo, and the flute sonatas of Prokofiev and Franck with pianist Andreas Haefliger; and for Claves, Belle Époque with pianist Anne Epperson and sonatas by Bartók, Martinu°, Schulhoff, Dohnányi, and Taktakishvili with pianist Eva Kupiec.

The first flutist to win the prestigious Avery Fisher Career Grant, Piccinini’s career was launched when she won first prize in the CBC Young Performers Competition in Canada, and a year later, first prize in New York’s Concert Artists Guild International Competition. Piccini is the recipient of numerous other awards and grants, including Musical America’s Young Artist to Watch, the McMeen-Smith Award, the NEA’s Solo Recitalist Grant (twice), the BP Artist Career Award, and grants from the Canada Council, among others.

Marina Piccinini began her flute studies in Toronto with Akron’s own Jeanne Baxtresser and later received her Bachelor of Music and Master of Music degrees from The Juilliard School, where she studied with the legendary flutist Julius Baker.

She also worked with renowned flutist Aurèle Nicolet and tenor Ernst Haefliger in Switzerland.

A staunch supporter of education, Piccinini gives master classes worldwide around her performance schedule, and is on the faculties of the Peabody Institute of the Johns Hopkins University in Baltimore and the Hochschule für Musik, Theater und Medien in Hannover, Germany.

tuesday musical concert series 2015 | 2016

Andreas Haefliger

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wiss pianist Andreas Haefliger is especially known for his insightful interpretations of Beethoven and Schubert. He has won plaudits for his Beethoven Perspectives recitals on disc (Avie) and at major halls and festivals. He is also sought after as a chamber musician; past highlights include Mostly Mozart New York with the Takacs Quartet and the Salzburg Festival with Mathias Goerne. In 2014, at the BBC Proms, he gave the premiere of a new concerto written for him by Chinese-American composer Zhou Long.

Haefliger grew up in Germany, going on to study at the Juilliard School in New York. With his formidable technique and musicality, and his innate sense of architecture and phrasing, he was quickly recognized and engagements with major United States orchestras followed swiftly: the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Boston Symphony, and the Pittsburgh, Chicago and San Francisco symphony orchestras among them.

In his native Europe, Haefliger has been invited to perform with the great orchestras and at major festivals: the Royal Concertgebouw, Rotterdam Philharmonic, Munich Philharmonic, Budapest Festival Orchestra, Deutsche SymphonieOrchester Berlin, Orchestre de Paris, London Symphony Orchestra and Vienna Symphony. He has established himself as a recitalist, making his New York debut in 1988 and since performing at major venues in Europe, including the Lucerne, Salzburg and Edinburgh festivals and the Vienna Konzerthaus, as well as at major halls across North America and Asia.

A regular performer at London’s Wigmore Hall, he appeared there twice in the 2014-15 season, once playing chamber music with the Doric Quartet and then in recital in April 2015, giving the next installment of his Perspectives series (which he also took to the Vienna Konzerthaus).

This series, in which he performs the complete piano works of Beethoven alongside works by other composers from Mozart to Ligeti, has formed the focus of Haefliger’s solo recital appearances and CD recordings in recent years.

Haefliger’s latest chamber music project gathers friends Benjamin Schmid and Karen Gomyo (violins), Lise Berthaud (viola) and Christian Poltera (cello) for concerts in

Copenhagen at the Louisiana Museum and at the prestigious Stiftskonzerte series in Austria, where in 2015 he also played a duo recital with Ian Bostridge. This spring he is performing with his wife, flutist Marina Piccinini, on an extensive tour of the United States – including this evening’s performance in Akron.

After the enormous success of his first recording of Mozart Sonatas for Sony Classical, Haefliger made three further recordings for Sony of Schumann’s Davidsbündlertanze and Fantasiestücke, Schubert Impromptus, and a disc of music by Sofia Gubaidulina. Later, Haefliger recorded for Decca with the Takacs Quartet and Matthias Goerne, winning the Preis Der Deutschen Schallplattenkritik for his Schubert disc of Goethe’s songs with Goerne. His major project in recent years has been his Perspectives series on Avie, for which every single disc has received excellent reviews, including Volume VI, released in spring 2014.

Program Notes Sergei Prokofiev (1891-1953) Flute Sonata in D Major, Opus 94

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uring World War II (or – as the Russians call it – the Great Patriotic War), the Soviet government moved many of its artists away from the fighting in the west to places of relative safety. Prokofiev spent the summer of 1943 in the city of Perm, in the Ural Mountains about 700 miles east of Moscow. He had just completed his opera War and Peace, and that summer he finished his ballet Cinderella and went on to a second project: “I had long wanted to write music for the flute, an instrument which I felt had been undeservedly neglected. I wanted to write a sonata in delicate, fluid classical style.” That last note is important, for Prokofiev’s Flute Sonata is decidedly classical in its slow-fast-slow-fast sequence of movements (typical of the sonatas of Handel and Bach) and in its satisfying combination of restraint and poise.

This sonata, however, met a fate the composer

did not expect. Flutists did not immediately take it up, and violinist David Oistrakh was so struck by the music that he suggested a version for violin. Composer and violinist jointly made this version, which ironically has become much better-known than the original. Each version plays to the strength and character of its respective instrument. The violin version emphasizes that instrument’s flexibility (Prokofiev makes use of violin techniques impossible on the flute, such as harmonics, chording, and pizzicatos), while the original version emphasizes the flute’s glowing sound and agility – the music is full of rhythmic swirls (quintuplets, sextuplets, and so on) that make good sense on the flute but create awkward string-crossings for the violinist.

The Flute Sonata is one of Prokofiev’s sunniest compositions. There is no hint in this music of the war raging in the west, none of the pain that runs through some of Prokofiev’s other wartime compositions. The third movement is

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John Relyea, bass-baritone Warren Jones, piano

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Program Notes quietly wistful and the music is full of Prokofiev’s characteristically pungent harmonies, but the sonata is generally serene, a retreat from the war rather than its mirror.

The Moderato opens with a beautiful melody for flute, a theme of classical purity and poise.

The flute also has the dotted second theme, and a vigorous development leads to a quiet close on a very high restatement of the opening idea. The Scherzo is in classical scherzo-and-trio pattern, with two blazing themes in the scherzo and a wistful little tune in the trio. The fiery conclusion of this movement (Prokofiev marks it con brio) is particularly effective. The mood changes sharply at the Andante, which is a continuous flow of melody on the opening theme. The music becomes more elaborate as the movement progresses – much of it is built on long chains of quietly swirling triplets – but the quiet close returns to the mood of the beginning.

The finale – Allegro con brio – is full of snap and drive. At the center of this movement, over steady piano

accompaniment, Prokofiev gives the flute one of those bittersweet themes so characteristic of his best music. The music quickens, returns to the opening tempo, and the sonata flies to its brilliant close.

Pierre Boulez (1925-2016) Sonatine for Flute and Piano

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hen Pierre Boulez – 19 years old and supremely talented – arrived in Paris in the fall of 1944 to further his studies, he could not have foreseen how rapidly his musical world was about to expand. Explode, in fact. That fall Olivier Messiaen accepted Boulez as a private pupil, and their close relationship would last nearly fifty years. And the following year Boulez discovered the music of Schoenberg and – under the guidance of René Leibowitz – recognized the possibilities of serial composition.

One of the first works Boulez composed under the powerful

tuesday musical concert series 2015 | 2016

attraction of serial composition was the Sonatine for Flute and Piano, completed in 1946.

Boulez may have been swept away by the possibilities of serial music, but for the structural model for the Sonatine he chose a non-serial composition, Schoenberg’s Chamber Symphony No. 1, composed in 1906. In the Chamber Symphony, Schoenberg compressed the late-romantic symphony – usually long, in four separate movements, and scored for a large orchestra – to a bare minimum. The Chamber Symphony is scored for fifteen players, and its single movement spans only twenty minutes, though that one movement reduces the traditional four movements into one continuous structure.

In his Sonatine, Boulez adapted Schoenberg’s general form and approach, compressing a four-movement structure into a single movement of about thirteen minutes. But where in the Chamber Symphony Schoenberg had maintained some of the sound and gestures of the late-romantic symphony, Boulez adapted Schoenberg’s later method of building music on specific sequences of intervals. The result is a fiercely concentrated but quite brilliant composition, and the Sonatine remains one of the most frequently performed of Boulez’s early works.

The structure of the Sonatine may be followed fairly easily. The opening episode functions as the first “movement.” Boulez marked it Very free, and the work’s seminal theme, a five-note sequence, is announced by the flute in the first measures. Boulez did not build the Sonatine on a fully formed twelve-note sequence but rather on cells made up of intervals derived from this five-note sequence, then expanded those cells in imaginative ways. The opening section, often quite animated, proceeds into what might be called the “slow” movement, which takes place over continuous trills from both piano and flute. The third section – the “scherzo” – is quite fast. Boulez marked it avec humeur, which can translate as either “humor” or “spirit,” and the flute’s opening two-note figure will return in many shapes in this three-part episode. The final section begins with a long – and extremely difficult – piano solo. Eventually the flute rejoins the piano, the music rises to a climax, and the Sonatine drives to a most violent conclusion after

Program Notes a recall of themes heard earlier.

It goes without saying that the Sonatine demands two supremely-accomplished performers, and this piece can be enjoyed simply for the dazzling virtuosity that it requires. Yet Boulez was also concerned with instrumental color, and he made use of such techniques as flutter-tonguing, wide intervallic skips, and extended trills. This music sounds brilliant, and Boulez was often scrupulous in his instructions to the performers: at one point he specified that he wants a passage to sound en éclaboussures (“splashed” or “splattered”), and he marked the very ending both très brusque and brutal.

The Sonatine was commissioned by and written for the French flutist Jean-Pierre Rampal, then only 23 years old. But Rampal disliked the Sonatine and never performed it in public. The premiere was given in Brussels in 1947 by flutist Jan van Boterdael and pianist Marcelle Mercenier.

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Marc-André Dalbavie (born 1961) Nocturne

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arc-Andé Dalbavie studied at the Paris Conservatory (orchestration with Marius Constant and conducting with Pierre Boulez) and in 1994 received the most significant award possible for young French composers, the Prix de Rome. An interest in the physical properties of sound led him to IRCAM, where he specialized in computer composition and in spectral music, music in which timbre becomes as important as pitch or duration. Dalbavie has composed two operas (the most recent of which, Charlotte Salomon, was premiered at the 2014 Salzburg Festival), orchestral works, concertos for many instruments (violin, piano, flute, cello, oboe, and others), chamber music, and works for voice.

Dalbavie served as composer-inresidence with The Cleveland Orchestra in 19982000 and currently teaches orchestration at the Paris Conservatory.

Dalbavie has been drawn repeatedly to composing for the flute. His Flute Concerto (2006) is one of his most frequently-performed works, and before that he had written two chamber pieces that include the flute: In Advance of the Broken Time (1994) and Palimpsest (2002).

Dalbavie composed the Nocturne, which is receiving its first public performances during this tour, for the 25th wedding anniversary of Marina Piccinini and Andreas Haefliger.

César Franck (1822-1890) Sonata in A Major (arranged by Marina Piccinini)

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his Sonata in A Major is an arrangement by Marina Piccinini of Franck’s Violin Sonata in A Major, originally composed in 1886. That sonata is one of the finest examples of Franck’s use of cyclic form, a technique he had adapted from his friend Franz Liszt, in which themes from one movement are transformed and used over subsequent movements. The Sonata in A Major is a particularly ingenious instance of this technique: virtually the entire work is derived from

tuesday musical concert series 2015 | 2016

the quiet and unassuming opening of the first movement, which then evolves endlessly across the sonata. Even when a new theme seems to arrive, it will gradually be revealed as a subtle variant of one already heard.

The piano’s quiet fragmented chords at the beginning of the Allegretto ben moderato suggest a theme-shape that the flute takes over as it enters: this will be the thematic cell of the entire sonata.

The piano has a more animated second subject (it takes on the shape of the germinal theme as it proceeds), but the gently-rocking figure from the opening dominates this movement, and Franck reminds the performers constantly to play molto dolce, sempre dolce, dolcissimo.

The mood changes completely at the fiery second movement, marked passionato, and some critics have gone so far as to claim that this Allegro is the true first movement and that the opening Allegretto should be regarded as an introduction to this movement. In any case,

Featuring the

this movement contrasts its blazing opening with more lyric episodes, and listeners will detect the original theme-shape flowing through some of these.

The Recitativo–Fantasia is the most original movement in the sonata. The piano’s quiet introduction seems at first a re-visiting of the germinal theme, though it is – ingeniously – a variant of the passionato opening of the second movement. The flute makes its entrance with an improvisationlike passage (this is the fantasia of the title), and the entire movement is quite free in both structure and expression: moments of whimsy alternate with passionate outbursts.

After the expressive freedom of the third movement, the finale restores order with pristine clarity: it is a canon in octaves, with one voice following the other at the interval of a measure. The stately canon theme, marked dolce cantabile, is a direct descendant of the sonata’s opening theme, and as this movement proceeds it recalls thematic

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Program Notes material from earlier movements. Gradually, the music takes on unexpected power and drives to a massive coda and a vigorous close.

Franck wrote this sonata for his fellow Belgian, the great violinist Eugene Ysaÿe, who gave the premiere in Brussels in November 1886. The composer Vincent D’Indy recalled that premiere: “The violin and piano sonata was performed ... in one of the rooms of the Museum of Modern Painting at Brussels. The seance, which began at three o’clock, had been very long, and it was

rapidly growing dark. After the first Allegretto of the sonata, the performers could scarcely read the music. Now the official regulations forbade any light whatever in rooms which contained paintings. Even the striking of a match would have been matter for offense. The public was about to be asked to leave, but the audience, already full of enthusiasm, refused to budge. Then Ysaÿe was heard to strike his music stand with his bow, exclaiming [to the pianist], “Allons! Allons!” [“Let’s go!”] And then, unheard-of marvel, the two artists, plunged in gloom ... performed the last three movements from memory, with a fire and passion the more astounding to the listeners in that there was an absence of all externals which could enhance the performance. Music, wondrous and alone, held sovereign sway in the darkness of night.”

Program notes by Eric Bromberger

WOOSTER

Chamber Music SERIES 2015-2016

October 4, 2015 November 8, 2015 February 7, 2016 March 20, 2016 April 24, 2016

Emerson String Quartet Michael Strauss and Friends Wu Han and David Finckel Harlem String Quartet Gryphon Trio

All concerts are Sundays, at Gault Recital Hall, The College of Wooster, unless noted. n - ava Tickets: $25.00 general admission available at the Wilson Bookstore on The College of Wooster Campus, The Wooster Book Company, or at the door. For formation, phone 330-263-2115 3 additional information, www.woosterchambermusic.com woosterchamberm

tuesday musical concert series 2015 | 2016

Tuesday Musical Association has been an integral part of this community since 1887. We take great pride in having presented many of the greatest classical music artists from around the world.

Looking forward, we want to continue this tradition of excellence for future generations, and you can assist us in achieving this goal. We established the 1887 Society as a way for you to make a bequest that reflects your values – a gift that will live on.

Our 1887 Society was established to recognize donors who make legacy gifts to Tuesday Musical Association through a bequest in their wills. We invite you to join the 1887 Society and, as a member, you will be recognized in our concert program books, invited to meet the performers and invited to an 1887 Society reception. Additionally, you will have the personal satisfaction of knowing that you have played a significant role in the continuing success of this remarkable organization.

For more information about Tuesday Musical’s giving opportunities, please contact the Tuesday Musical Association at 330-761-3460.

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2015-2016 Support: Individuals

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he Tuesday Musical Association gratefully acknowledges all donors this season. Every gift plays a significant role in the ongoing success of Tuesday Musical’s Concert Series and Education Programs. Revenue generated through ticket sales only covers a small portion of what is needed to sustain the artistic excellence of our programming.

This list reflects gifts received through December 31, 2015.

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Dr. Loren Hoch

E.G. Sue Reitz

Mark & Karla Jenkins

Dr. Pat Sargent

Dr. Violet E. Leathers

John P. Vander Kooi

Paul & JoAnn Marcinkoski

Patron $400 to $699

David & Anita Meeker John & Tina Mogen

Alan & Sara Burky

Nathan & Karen Mortimer

Harloe & Harriet Cutler

Al & Judy Nicely

John & Betty Dalton

Paula Rabinowitz/Greer Kabb-Langkamp

Ben & Sandy Rexroad

Bob & Colleen Tigelman

Mr. & Mrs. Edward Russell

The Tolivers

Peter & Nan Ryerson

Jorene F. Whitney

Mike & Sandy Soful Charlotte E. Staiger Ann Tainer

Tuesday Musical Endowment Dr. DuWayne & Dorothy Hansen

2015-2016 Support: Memorials & Tributes Memorial and tribute gifts to Tuesday Musical are meaningful ways to honor special people.

In Memory of Natalie Altieri by William & Barbara Eaton

Dr. & Mrs. John Karnoupakis Alan & Paula Kurzweil Peter & Dorothy Lepp

In Memory of Margaret Baxtresser by

UnitedHealthcare

Lee & Floy Barthel

Alfred Nicely

In Memory of Alice Monroe by

Elizabeth Sandwick

Dorothy Polefrone

David & Ann Brennan

Richard & Lisa Wiedman

Dr. & Mrs. Frank Cleary

Sara Wright

Jan Stager

In Tribute to Louise Harvey by

Hank & Reba Craig Carol & Ted Curtis John & Betty Dalton Roger & Ann Edwards Elizabeth Elledge Oliver & Carolyn Esman K Goodwin Stephen & Mary Ann Griebling Richard & Betty Haas Jacqueline Hamblin John & Suzanne Hetrick David & Margaret Hunter Barbara Kahler

Cyndee Snider

2015-2016 Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+

The Roberta and Stan Marks Foundation

GAR Foundation

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

The John S. and James L. Knight Foundation Ohio Arts Council

Nelson Development OMNOVA Solutions Foundation

$10,000 to $24,999

The Richard and Alita Rogers Family Foundation

Community Fund – Arts & Culture of the Akron Community Foundation

The Sisler McFawn Foundation

Mary S. and David C. Corbin Foundation

Target Foundation

The Margaret Clark Morgan Foundation

$200 to $999

Gertrude F. Orr Trust Advised Fund of the Akron Community Foundation

The Maynard Family Foundation

C. Colmery Gibson Polsky Fund of the Akron Community Foundation $5,000 to $9,999

W. Paul Mills and Thora J. Mills Memorial Foundation The Laura R. and Lucian Q. Moffitt Foundation

Mary and Dr. George L. Demetros Charitable Trust

Special thanks for the many in-kind services provided by

FirstMerit Bank Services

Cogneato

John A. McAlonan Fund of the Akron Community Foundation

Hazel Tree Interiors

The Charles E. & Mabel M. Ritchie Memorial Foundation

ideastream®

The Lloyd L. & Louise K. Smith Foundation

Hilton Akron/Fairlawn Labels and Letters

The Welty Family Foundation

Mustard Seed Market & Café

$1,000 to $4,999

Steinway Piano Gallery - Cleveland

Sheraton Suites Akron/Cuyahoga Falls

Arts Midwest Touring Fund

TRIAD Communications, Inc.

Betty V. and John M. Jacobson Foundation

The University of Akron School of Music

Lehner Family Foundation

WKSU FM

tuesday musical

2015-2016 Executive Board of Directors

Executive Committee President Charles Nelson Vice President/President Elect Laurie Gilles Treasurer Cheryl Lyon Recording Secretary Magdalena McClure

Corresponding Secretary Linda Liesem

Immediate Past President Patricia Sargent

Committee Chairs Brahms Allegro Chair Cheryl Boigegrain Development Chair The Honorable Frank C. Comunale Code of Regulations/Standing Rules Paul Filon Education/Student Voucher Chair Natalie Miahky Finance Chair Cheryl Lyon Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Anita Meeker

Newsletter Editor Bob Fischer

Member Program Chair Mary Ann Griebling

Scholarship Co-Chairs George Pope & Guy Bordo

Staff

Executive Director Jarrod Hartzler

Programs Director Cyndee Snider

Finance Administrator Gail Wild Artistic Administrator Karla Jenkins

Program art direction by Live Publishing Co. Cover design by TRIAD Communications, Inc.

REINBERGER CHAMBER HALL

IN RECITAL

MARIA JOÃO PIRES SPECIAL PRESENTATION ONE NIGHT ONLY!

AL L- B E E T H OV EN MAR 10 — Thursday at 7:30 p.m.

BEETHOVEN Piano Sonata No. 13**

Maria João Pires, piano* Julien Brocal, piano**

BEETHOVEN Piano Sonata No. 31*

Presented in Reinberger Chamber Hall at Severance Hall.

BEETHOVEN Piano Sonata No. 14** BEETHOVEN Piano Sonata No. 32*

TI C K E T S

| 216-231-1111

clevelandorchestra.com

Starring Lon C haney

with

Live AccompAniment * by organist

Todd WiLson

OCT 30

WELSER-MÖST HAS MANAGED FRI | SOMETHING 8:00 p.m. RADICAL WITH THE CLEVELAND ORCHESTRA — MAKING THEM at Severance PLAY AS ONE SEAMLESS UNIT .Hall . . A VERY DELICATE BEAUTY MAKES THE Just in timeTHAT for Halloween — see this CLEVELANDERS vintage 1923 silent filmSOUND with the

LIKE NO OTHER ORCHESTRA.

score improvised live on Severance Hall’s mighty Norton Memorial Organ. *Please note that The Cleveland Orchestra does not appear on this program.

—The Times (London)

TI TICCKKEETTSS

| | 216-231-1111 216-231-1111

clevelandorchestra.com clevelandorchestra.com

I BELIEVE IN

“Classical music is so important to our… culture, society and civilization. And WCLV keeps alive some of the greatest music ever written.”

- Norm Wain

Find out more at ideastream.org/support

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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 Lectures Free Pre-concert Lectures, 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

Concordia at Sumner

Concordia at Sumner offers gracious living on a beautifully landscaped 64acre setting. We invite you to see why Concordia at Sumner is the ideal place for senior living. For more information, call 330-664-1000. · Independent Living · Assisted Living · Short-term Rehabilitation · Skilled Nursing 970 Sumner Parkway • Copley, OH 44321 330-664-1000 • www.concordiaatsumner.org

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 TMA 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 Association 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 2015/2016 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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