2015-16 Concert Season
PRESENTING THE FINEST
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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 Gregg Kallor, piano Adriana Zabala, mezzo-soprano “Kallor knows how to make these words sing, and Zabala gives perfect flight to them.” – Opera News Online
T
uesday Musical welcomes pianist and composer Gregg Kallor back to Akron following an outstanding FUZE! concert in 2014. This concert will feature many of Gregg’s compositions and other more familiar works as he collaborates with mezzo-soprano Adriana Zabala. Kallor is a composer and pianist whose music fuses the classical and jazz traditions he loves into a new, deeply personal language. In 2011, Mr. Kallor received an Aaron Copland Award for composition; he wrote the winning concerto for piano and orchestra during his residency at the home of the late eminent American composer. Mr. Kallor is also the inaugural composer-in-residence at SubCulture in New York City, a two-year residency which features world premieres of three new pieces and collaborations with cellist Joshua Roman, violinist Miranda Cuckson, Ms. Zabala, and baritone Matthew Worth. Adriana Zabala enjoys a vibrant career that spans performing and recording of new operas, songs, and concert works, as well as beloved operatic roles, traditional concert and oratorio works, German Lieder, French Mélodie, and American and Spanish songs. Ms. Zabala is also a champion of new music. Of Exhilaration: Dickinson and Yeats Songs, recorded by Ms. Zabala and Mr. Kallor, Opera News Online observed that “Kallor has found a wonderful exponent in Adriana Zabala, a gifted, agile mezzo-soprano. Kallor knows how to make these words sing, and Zabala gives perfect flight to them. Singing with uncommon clarity and natural beauty, she seems to be deep inside both the poems and Kallor’s musical realizations.”
Thursday, April 21, 2016 7:30 P.M. at EJ Thomas Hall
tuesday musical
concert series
The University of Akron EJ Thomas Performing Arts Hall Friday, March 11, 2016, 7:30 pm
Academy of St Martin in the Fields Joshua Bell, Director & Violin Sergei Prokofiev Classical Symphony, op.25 (Symphony No.1) 1891-1953 I. Allegro con brio II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace Pyotr Ilyich Tchaikovsky Violin Concerto, op.35, TH 59, D major 1840-1893 I. Allegro moderato 19’ II. Canzonetta: Andante 7’ III. Finale: Allegro vivacissimo
Joshua Bell, violin
INTERMISSION Robert Schumann Violin Concerto, mv. II (codetta by Britten) 1810-1856 Joshua Bell, violin Performances are given with the permission of the Britten Estate Ltd.
Ludwig van Beethoven Symphony No. 8, op.93, F major 1770-1827 I. Allegro vivace con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace
Joshua Bell appears by arrangement with Park Avenue Artists (www.parkavenueartists.com) and IMG Artists (www.imgartists.com). Mr. Bell records exclusively for Sony Classical. The Academy of St Martin in the Fields’ March 2016 US tour is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields. www.asmf.org Exclusive Management for the Academy of St Martin in the Fields: OPUS 3 ARTISTS
Season Support:
Concert Sponsor: The Gertrude F. Orr Trust Advised Fund of the Akron Community Foundation
PHOTO BY IAN DOUGLAS
The Artists
Joshua Bell
J
oshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion, and multifaceted musical interests are almost unparalleled in the classical music world. Named the Music Director of the Academy of St Martin in the Fields in 2011, Bell is the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958. An exclusive Sony Classical artist, Bell has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards since his first LP recording at age 18 on the Decca Label. Bell kicked off the fall season performing with the Houston, St. Louis and Indianapolis Symphony orchestras. A U.S. recital tour with pianist Sam Haywood, a European tour with the Academy of St Martin in the Fields and concerts with the New York Philharmonic led by Alan Gilbert both ended 2015 and started
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2016. A U.S. recital tour with Sam Haywood, the Academy of St Martin in the Fields and orchestral dates celebrating the Baltimore Symphony Orchestra’s Centennial season conducted by Marin Alsop; the Orchestre de Paris conducted by Paavo Järvi, and the London Symphony Orchestra are also scheduled. A recital tour in Asia with Alessio Bax and a recital tour with Sam Haywood in Europe are planned, plus a guest soloist performance with the Detroit Symphony. A Middle East tour with the Israel Philharmonic led by Michael Stern concludes the year. Born in Bloomington, Indiana, Bell received his first violin at age 4 and at 12 began studying with Josef Gingold at Indiana University. At 14 Bell began his rise to stardom, performing with Riccardo Muti and the Philadelphia Orchestra and at 17 making his Carnegie Hall debut. Perhaps the event that helped most to transform his reputation from “musician’s musician” to “household name” was his incognito performance in a Washington, DC subway station in 2007. Ever adventurous, Bell had agreed to participate in the Washington Post story by Gene Weingarten which thoughtfully examined art and context. The story earned Weingarten a Pulitzer Prize and sparked an international firestorm of discussion. Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th century French bow by François Tourte. www.joshuabell.com https://www.facebook.com/joshuabellviolinist Twitter and Instagram: @joshuabellmusic
tuesday musical concert series 2015 | 2016
The Academy of St Martin in the Fields
T
he Academy of St Martin in the Fields is one of the world’s premier chamber orchestras, renowned for its fresh, brilliant interpretations of the world’s most-loved classical music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through its live performances and vast recording output – highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to 1985’s Oscarwinning film Amadeus – the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. Today the Academy is led artistically by Music Director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductorless ensemble which has become an Academy hallmark. Each year the Academy works with some of the most talented soloists and directors in the classical music scene, performing symphonic repertoire and ‘chamber music on a grand scale’ at prestigious venues throughout the world. Highlights of the Academy’s 2015/16 season include concerts and international tours with world-leading soloists, including cellist Steven Isserlis, violinist Julia Fischer and trumpeter Håkan Hardenberger. Music Director Joshua Bell leads tours of the UK, Europe and the United States, Principal Guest Conductor Murray Perahia tours Germany and Europe, and Life President Sir Neville Marriner takes the Academy to Asia with renowned pianist Angela Hewitt. In addition to a busy concert and touring schedule, the Academy continues to reach out
to young people and adult learners through its learning and participation programmes. This year’s projects include the Academy’s flagship Create, Cultivate, Orchestrate! workshops for primary and secondary school children; professional development partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama and the Royal Northern College of Music; and working with some of London’s most vulnerable and homeless adults, creating opportunities for everyone to connect and create music with the orchestra. With more than 500 recordings to date, the Academy is one of the most recorded chamber orchestras in the world. Recent highlights include Beethoven Symphonies Nos. 4 & 7, the Academy’s first recording under Joshua Bell’s directorship, which reached No. 1 on the Billboard Classical Albums Chart, and the critically acclaimed Bach, which had the distinction of being Joshua Bell’s first-ever Bach concertos recording. Joshua Bell’s position as Music Director is supported by Klara and Larry A. Silverstein together with the American Friends of the Academy of St Martin in the Fields, and the Academy’s March 2016 US tour is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields. The American Friends was founded in 1998 to support the work of the Academy around the world, particularly in the USA. Find out more at www.asmf.org You can also follow the Academy: Facebook: /asmforchestra Twitter: @asmforchestra Google+: +academyofstmartininthefields YouTube: /TheASMF SoundCloud: /ASMF presents
Song & Symphony Saturday, April 30, 2016 at 7:30 p.m.
Ashland University Choir & Ashland Area Chorus in concert with the Ashland Symphony Orchestra Robert M. & Janet L. Archer Auditorium Ashland, Ohio
www.ashlandsymphony.org
The Academy of St Martin in the Fields VIOLIN I Joshua Bell Harvey de Souza Miranda Playfair Amanda Smith Mark Butler Raja Halder Martin Gwilym-Jones Clare Hayes VIOLIN II Jennifer Godson Clare Hoffman Winona Fifield Rebecca Scott Alicja Smietana Richard Milone VIOLA Fiona Bonds Alexandros Koustos Ruth Gibson Triona Milne CELLO Stephen Orton Will Schofield Judith Herbert Reinoud Ford DOUBLE BASS Lynda Houghton Ben Russell FLUTE Anna Wolstenhome Sarah Newbold OBOE Christopher Cowie Max Spiers
CLARINET Nicholas Carpenter Emily Meredith BASSOON Paul Boyes Richard Skinner HORN Stephen Stirling Emma Witney Peter Francrombe Jo Hensel TRUMPET Mark David Paul Sharp TIMPANI Adrian Bending HARPSICHORD John Constable ORCHESTRA MANAGER Nigel Barratt The Academy of St Martin in the Fields Administration Music Director * Joshua Bell Principal Guest Conductor Murray Perahia KBE Academy Staff Gabriel van Aalst, Chief Executive Sally Sparrow, Orchestra Personnel Manager Ina Wieczorek, Concerts and Recordings Manager Katherine Adams, Librarian
Richard Brewer, Concerts and Administration Assistant Sarah Narhi, Orchestral Administration Trainee Andrew McGowan, Director of Development Andrew Miles, Development Assistant Charlotte O’Dair, Learning and Participation Manager Peter Fisher, Marketing Manager Rebecca Driver Media Relations, PR Consultant Life President Sir Neville Marriner CH, CBE Board of Directors Paul Aylieff, Chairman Heather Benjamin Elizabeth Bennett Mark David Daniel Dayan Evelyne Dubé Julia Jordan Catherine Morgan Trevor Moross Simon Morris Anthony O’Carroll Charlotte Richardson Richard Skinner Harvey de Souza Peter Stott Development Board Trevor Moross, Chairman Paul Aylieff Cyrille Camilleri Gareth Davies Jill Hoffbrand
tuesday musical concert series 2015 | 2016 Christine Jasper Alan Kerr Genia Lifschitz Mark Oshida Peter Stott *Joshua Bell’s position as Music Director is supported by Klara and Larry A. Silverstein together with the American Friends of the Academy of St Martin in the Fields. For Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Senior Director, Artists & Attractions Booking, Manager, Artists & Attractions Irene Lönnblad, Associate, Touring Division Samantha Cortez, Associate, Attractions Kay McCavic, Tour Manager
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Program Notes Sergei Prokofiev (1891-1953) Classical Symphony, op.25 (Symphony No. 1)
I
“
spent the summer of 1917 in the country near Petrograd all alone, reading Kant and composing,” wrote Serge Prokofiev in his 1948 autobiography. “I deliberately did not take my piano. I had noticed that orchestral thematic material composed without the piano was often better … the orchestra would sound more natural if I composed without it. Soon the project for a symphony in the style of Haydn came into being … It seemed to me that if Haydn had lived in our day he would have retained his own style while accepting something of the new at the same time. That’s the kind of symphony I wanted to compose.” A Prokofiev symphony that looked back to the 18th century was a strange idea in 1917, both because Prokofiev in his mid-20s already had a reputation for shocking old-fashioned ears, and because all around him, the biggest war Europe
had ever seen was uprooting the old social order that had grounded Haydn’s world. Only a few miles from where Prokofiev was composing in the woods, the last czar’s abdication had already begun the overthrow of the great ruling houses, and Russia was on the verge of civil war – a state of affairs that made little impression on the habitually self-absorbed composer. Prokofiev lavished his imposing melodic gifts on the symphony, and its hummable tunes have made it a concert standard. It follows 18th-century symphonic form, except in the third movement, which is not the traditional triple-meter minuet, but a duple-meter gavotte, a common baroque-era dance that had fallen out of fashion by the latter 1700s. Prokofiev had already composed the gavotte before the idea for the symphony occurred to him. The symphony uses the instrumentation of a typical 18th-century symphony. The flute parts in the finale are legendarily difficult, pushing the instrument’s extreme high register because Prokofiev refused to use a piccolo, believing (not entirely
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Program Notes accurately) that it was never used in 18th-century symphonies. But verisimilitude is not reverence: the symphony is constantly poking fun at 18thcentury (and perhaps early 20th-century) formality with frequent, and often undignified, leaps of an octave or more.
Pyotr Ilyich Tchaikovsky (1840-1893) Violin Concerto, op.35, TH 59, D major
P
ytor Ilyich Tchaikovsky spent the spring of 1878 in Switzerland recuperating, or hiding, after a brief but calamitous marriage. The bride, his former student, was disturbed and probably schizophrenic, and persuaded him to marry her by threatening suicide. The prospect of actually living with her caused the homosexual and chronically depressed composer to break down, and his doctor “ordered” him to stay away from her. While he was in Switzerland, another student, the violinist Joseph Kotek, visited him with a suitcase full of the latest music for them to play together, including Lalo’s Symphonie
Espagnole, which is essentially a five-movement violin concerto. It stimulated Tchaikovsky to compose his own violin concerto, including a second slow movement after deciding the first one didn’t work, in about a month. Tchaikovsky at first dedicated the concerto to the violinist Leopold Auer, who declined to play it. Years after Tchaikovsky died, Auer explained in a New York magazine that his problem was not that he was unable to play the concerto (which was what everyone thought) but that from a “purely aesthetic point of view only I found some of it impracticable, and for this reason I reedited the solo part.” In fact, Auer made extensive changes, including cuts in the orchestral sections. Auer was the most influential violin teacher of his age, and most of his students (including Jascha Heifetz, but not Nathan Milstein) played his version, rather than Tchaikovsky’s, into the mid-20th century. The second dedicatee was Adolph Brodsky, who played the first public performance in 1881 in Vienna to mixed reviews (a notoriously conservative Vienna critic called the last
BAROQUE ORCHESTRA jeannette sorrell
A Harlequin Romance
APRIL 7-10 IN BATH, WILLOUGHBY HILLS, CLEVELAND & BEREA The escapades of Harlequin and his girlfriend Columbine were the delight of the Renaissance in the popular Commedia dell’arte street theatre. These colorful characters come to life as dancers Steve Player, Julie Andrijeski and friends interpret Telemann’s lively character suites. (Warning: other musicians might dance out of their seats as well in this rambunctious program!) Olivier Brault and Johanna Novom set sparks flying in Bach’s fiery Double Violin Concerto.
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Program Notes movement “odorously Russian”). The concerto’s wealth of melody, and the distinctive character of its three movements – noble and proud, plaintive, and brusquely triumphant – has since secured it a place among the most played concertos.
Robert Schumann (1810-1856) Violin Concerto, mv. II (codetta by Britten)
B
enjamin Britten’s Elegy, music about loss, was itself lost twice. It began as the slow movement of a violin concerto Robert Schumann wrote for the young but already renowned Joseph Joachim in the fall of 1853. Four months later Schumann attempted suicide, and was confined to a mental hospital the last three years of his life. After playing through the concerto, Joachim decided it was not worthy of its composer, and kept the score all his life without ever performing it publicly, doubtless believing he was protecting Schumann’s reputation by withholding a product of his mental collapse. In hindsight, the slow movement sounds remarkably like what Mahler was creating in the early 20th century; it may have baffled Joachim. The concerto had to wait until 1937, 30 years after Joachim’s death, for its premiere. Britten’s arrangement is a memorial to Dennis Brain (1921-1957), the preeminent horn player of the postwar era, who died in a car accident at age 36. Perhaps because the Serenade for Tenor, Horn and Strings, composed for Brain in 1943, was Britten’s real tribute to him, the Elegy was forgotten after being performed in 1958. Cellist Steven Isserlis discovered it in the Britten Archives half a century later.
Ludwig van Beethoven (1770-1827) Symphony No. 8, op.93, F major
L
udwig van Beethoven’s Eighth is the hardest of his nine symphonies for a modern audience to appreciate, because it is the funniest. We think of Beethoven as a serious, scowling Titan, not as the guy at the party making jokes and slapping us on the back. But the notion of a symphony concert as a serious affair, requiring stony decorum, is a product of the 20th century. Beethoven’s contemporaries might
applaud (or cheer, or hiss), between (or during) movements, and would not be embarrassed to laugh out loud if so moved. Sitting through the Eighth Symphony with a straight face because it’s great art misses the point as much as keeping a straight face through a Shakespeare play would. Beethoven wrote the symphony in 1812, the year Napoleon’s army was crushed invading Russia. Napoleon regrouped, but was defeated by Wellington at Vittoria in 1813 and exiled to Elba, which made the Viennese very happy. Beethoven’s friend Johann Nepomuck Mälzel, an inventor who supplied him with hearing aids, prompted him to write a programmatic piece about the Battle of Vittoria to show off a musical machine he had concocted. “Wellington’s Victory” turned out to be the biggest commercial success of Beethoven’s career. The Eighth Symphony was first performed in a February 27, 1814 Vienna concert that also included “Wellington’s Victory,” the Seventh Symphony, and a vocal trio. Beethoven introduced most of his major orchestral works in similar marathon concerts that overtaxed the players and numbed the listeners, and the Eighth seems to have suffered most in this particular marathon. An anonymous review of that concert lauded the symphony, but said it “did not create a furor,” blaming both “faulty judgment” in playing it after the Seventh Symphony and the dulling effect of the program’s “surfeit of beauty and excellence.” The Eighth hits the ground running like no other Beethoven symphony, with no slow introduction or attention-getting chords. It then stalls as no other Beethoven symphony does, thumping to a stop for a few timid notes on the bassoon. After this first joke, there is a second one: the second theme, which ought to be in the dominant key of C, is instead presented by the violins in the “wrong” key of D major, and then immediately “corrected” through a meandering modulation so that the woodwinds can play it in C. This sort of gag, running roughshod over accepted practice, would have been more apparent to an audience in 1814 than to one that has just sat through Prokofiev. The movement is otherwise forthright, even jubilant, particularly in the triumphant recapitulation of the main theme, which is unusual in that the melody is moved down to the
tuesday musical concert series 2015 | 2016
bass while the violins soar imposingly. Beethoven doesn’t give us any new winks until the very end, when he sets up a big finish several times, only to let it dissipate in some delicate knocking and a pianissimo “the end.” The second movement is famous for its tick-tock accompaniment in the woodwinds, an imitation of a metronome, a device that Mälzel refined, patented and marketed. Beethoven embraced the metronome because it allowed him to indicate tempo precisely in beats per minute, and he even went back to insert “MM” (“Mälzel Metronome”) markings in his older music. The allegretto scherzando’s chirpy tune and ticking figure are from a silly vocal canon (“To Mälzel,” WoO 162) Beethoven wrote to honor, or lampoon, Mälzel. There is some question about whether the canon was actually composed before the sketches for the movement, but even if it came later, it was likely have been based on an even earlier ditty. The movement is Beethoven at his cutest, full of sudden explosions and silences, peekaboo figures and double takes. Since the second movement is a scherzo of sorts (there is no slow movement) the third movement is marked “tempo di menuetto,” and is rife with the sort of rhythmic irregularities that characterize many of Haydn’s more whimsical minuets. It even reiterates the first joke of the first movement, interrupting its flow and having the bassoon restart things. The middle section, with its flowing lines in the horns and clarinets, is entirely serious. Not so the finale: its jittery main theme diminishes into near silence, only to be rudely interrupted by a loud unison C-sharp which, in a respectable piece in F, is the musical equivalent of a joy buzzer or pie in the face. Its immediate effect is to turn the quiet opening of the movement into a romp. Beethoven reprises the “wrong key” second subject: this time it appears in the strings in the not-even-close key of A-flat before the woodwinds take it up in the “correct” key of C. He also brings back, at the end of a powerful and highly contrapuntal development section, the by-now-familiar “everybody stops for the bassoon” effect, with a new twist: the bassoon is in unison with the timpani, playing Fs an octave apart. To do this, the timpani (which
are tuned to one pitch per drum per movement) have to be retuned to two different Fs, rather than to the normal F and C (Beethoven apparently assumed that no third drum would be available). Beethoven would make far more prominent use of this octave tuning in the Ninth Symphony’s famous tympani solos. The effect here is not so much comic as expectant. Later in the movement, the pie-in-the-face C-sharp returns, pushing the music into minor. Beethoven’s last laugh is, naturally, the end, which is delayed by every conceivable kind of F major chord, like a guest who keeps saying goodbye but won’t actually leave. Notes by Howard Posner, © 2016 Lawyer and lutenist Howard Posner writes program notes for the Los Angeles Philharmonic.
Featuring the
MASTERWORKS CHORALE in its 2015-16 Season Closer!
Sunday, April 10, 2016 3:00 pm, Tangier Ballroom, Akron
Marie Bucoy-Calavan, Artistic Director Accompanied by the beauty of Ballroom Dancers Meet the Artists Reception and Dancing Follows!
Tickets:
summitchoralsociety.org or 330.434.7464
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.
Tuesday Musical 1887 Society Jeanne Baxtresser
Our Lady of the Elms, Sisters of St. Dominic
Jerry Davidson
Peter & Dorothy Lepp
Denis & Barbara Feld
Kenneth Sabol
Robert & Beverley Fischer
Ruth & D.H. Todd
Mr. & Mrs. Bruce Kenny
Lorrie A. Whitfield
Mary Jo Lockshin
Shirley Workman
2015-2016 Support: Individuals
T
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 February 15, 2016. Soloist $15,000+ “Three Graces Piano” - Anonymous Director $5,000 to $14,999 Ronald & Ann Allan David & Margaret Hunter Tim & Jenny Smucker Benefactor $1,500 to $4,999 Ann & David Brennan John & Diana Gayer Cynthia Knight Donald & Corrinne Rohrbacher Lola Rothmann Dr. Pamela Rupert Kenneth Shafer Richard Shirey Lucinda Weiss Sustainer $700 to $1,499 Richard & Eleanor Aron Lee & Floy Barthel John & Jeanette Bertsch The Honorable Frank C. Comunale Robert & Beverley Fischer Laura Lee Garfinkel Howard Greene Bruce & Joy Hagelin Sue Jeppesen Gillman Peter & Dorothy Lepp Paul & Linda Liesem Zenon & Natalie Miahky Charles & Elizabeth Nelson Herb & Dianne Newman George Pope E.G. Sue Reitz Dr. Pat Sargent John P. Vander Kooi Patron $400 to $699 Alan & Sara Burky Harloe & Harriet Cutler John & Betty Dalton William & Barbara Eaton Oliver & Carolyn Esman Denis & Barbara Feld Jon A. Fiume Harvey & Lois Flanders (Scholarship Endowment) Mark & Laurie Gilles Jarrod Hartzler Lawrence B. Levey
Tom & Cheryl Lyon Earla J. Patterson Rachel R. Schneider Jean Schooley Richey & Sandra Smith Cyndee and Dr. Larry Snider Drs. Frederick & Elizabeth Specht Michael & Elizabeth Taipale Donor $200 to $399 Drs. Mark & Sandy Auburn Jack & Bonnie Barber Mr. & Mrs. David Beasley Cheryl Boigegrain Dr. Guy & Debra Bordo Braun & Steidl Architects, Inc. Sarah J. Buck Alfred Cavaretta Sally Childs Ed & Linda Conrad Helen A. Elefritz Paul Filon Paul & Michele Friday Dr. Robert & Sharon Gandee Stephen & Mary Ann Griebling John & Suzanne Hetrick Michael T. Hayes Dr. Loren Hoch Mark & Karla Jenkins Dr. Violet E. Leathers Paul & JoAnn Marcinkoski David & Anita Meeker John & Tina Mogen Nathan & Karen Mortimer Al & Judy Nicely Paula Rabinowitz/Greer Kabb-Langkamp Ben & Sandy Rexroad Mr. & Mrs. Edward Russell Peter & Nan Ryerson Mike & Sandy Soful Charlotte E. Staiger Ann Tainer Bob & Colleen Tigelman The Tolivers Jorene F. Whitney 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. Jacqueline Hamblin John & Suzanne Hetrick David & Margaret Hunter Barbara Kahler Dr. & Mrs. John Karnoupakis Alan & Paula Kurzweil Peter & Dorothy Lepp UnitedHealthcare Alfred Nicely Dorothy Polefrone Elizabeth Sandwick Richard & Lisa Wiedman Sara Wright
In Memory of Natalie Altieri by William & Barbara Eaton Paul & JoAnn Marcinkoski In Memory of Margaret Baxtresser by Lee & Floy Barthel In Memory of Alice Monroe by David & Ann Brennan Dr. & Mrs. Frank Cleary Jan Stager 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
In Tribute to Louise Harvey by Cyndee Snider
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
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
Nelson Development
Ohio Arts Council
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 Target Foundation
Mary S. and David C. Corbin Foundation The Margaret Clark Morgan Foundation
$200 to $999
Gertrude F. Orr Trust Advised Fund of the Akron Community Foundation
The Maynard Family Foundation W. Paul Mills and Thora J. Mills Memorial Foundation
C. Colmery Gibson Polsky Fund of the Akron Community Foundation
The Laura R. and Lucian Q. Moffitt Foundation
$5,000 to $9,999 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®
Hilton Akron/Fairlawn Labels and Letters
The Lloyd L. & Louise K. Smith Foundation 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 WKSU FM
Lehner Family Foundation
Christ Church in Downtown Canton
presents
Misa Cubana by José Maria Vitier
Sunday, 17 April, 2016 @ 6:00 pm
Choir, orchestra, soloists,
percussion ensemble. Free-will offering received.
Cuban composer and pianist, José Maria Vitier (b. 1954) is known for music for movies and television; enjoy the combination of classical and Cuban folk music styles in this newly popular choral extravaganza.
www.cantoncpc.org/musicseries
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 Chair George Pope
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.
SUMMER NIGHTS
with The Cleveland Orchestra... FEATURING
Subscriptions and Lawn Ticket Books
AVAILABLE NOW! S U B SC R I B E
| 216-231-1111
clevelandorchestra.com/subscriptions
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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(330) 971-7000 | westernreservehospital.org
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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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