BRAVO Magazine 2015-2016 (Issue 2) by The Maryland Symphony Orchestra

ISSUE TWO • 2015–2016 SEASON

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ISSUE TWO • 2015–2016 SEASON

CONTENTS 4 6 6 7 8 9 11

Greetings from Music Director & Conductor Elizabeth Schulze Letter from Board President Brendan Fitzsimmons Letter from MSO Executive Director Michael Jonnes MSO Board of Directors Meet Music Director & Conductor Elizabeth Schulze Orchestra Roster Enjoy the Concert!

BIZET’S CARMEN 13 Program 14 Meet Francesca Aguado 14 Meet Tad Czyzewski 14 Meet Colleen Daly 15 Meet Elizabeth Mondragon 15 Meet Luke Scott 15 Meet Nicholas Simpson

16 Meet Stacey Stofferahn 16 Meet Justin Wilson 17 Meet Robert Aubry Davis 17 Notes

BEETHOVEN’S PASTORAL 21 Program 22 Meet Fatma Daglar 23 Notes

BIZET’S CARMEN

GERSHWIN’S RHAPSODY IN BLUE

THE TEXAS TENORS

GERSHWIN’S RHAPSODY IN BLUE 27 Program 28 Meet Thomas Pandolfi 29 Notes

THE TEXAS TENORS 35 Program 36 Meet The Texas Tenors

FRIENDS OF THE SYMPHONY 38

Thanks to Our Supporters

*Artists and programs are subject to change without notice.

THE MARYLAND SYMPHONY ORCHESTRA 30 West Washington Street, Hagerstown, MD 21740 • 301.797.4000 Fax: 301.797.2314 • www.marylandsymphony.org MSO STAFF

PRODUCTION STAFF

Michael Jonnes Executive Director

Maggie Rojas Seay Personnel Manager

Gregory R. Evans Director of Marketing & Public Relations

D. Marianne Gooding Librarian

Nicole Houghton Operations Manager & Education Coordinator Michael Harp Patron Services Manager Judy Ditto Office Manager

David Fitzwater Operations Assistant ADVERTISING SALES Colette Rupert adsales@marylandsymphony.org LAYOUT & PRODUCTION Mercersburg Printing OFFICIAL PHOTOGRAPHER Youngblood Studios

ISSUE TWO • 2015–2016 SEASON

BRAVO! is published by the Maryland Symphony Orchestra. The publishers have made every effort to insure the accuracy of the information contained herein and accept no responsibility for errors, changes or omissions. The publishers retain all rights to this guide and reproduction of all or a portion of this guide is prohibited without written permission of the publishers. Publication of an advertisement or article does not imply endorsement by the publishers. © Copyright 20152016. All Rights Reserved.

Cover Photo: Dr. Ira Lourie

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ISSUE TWO • 2015–2016 SEASON

LETTER FROM THE MUSIC DIRECTOR

Photo: Youngblood Studios

Our Valentine’s Day weekend performances explore the passionate and dark side of love with a semi-staged version of Bizet’s “Carmen,” produced in collaboration with Hub Opera. I am so proud that our community sustains and supports the best in professional arts institutions such as the MSO, our beautiful Art Museum and now, a wonderful opera company! We also welcome the choruses of Mount St. Mary’s University and Hagerstown Northern Middle School, who join our stellar cast of singers. There is nothing more important than ensuring that our best artistic traditions survive and thrive, and engaging the emerging generations in our productions is the best way to do that. In March, Fatma Daglar, our brilliant principal oboist of 14 years, takes center stage for performances of Vaugh Williams’ melody-rich “Concerto in A minor for Oboe and Strings.” And the orchestra will glow in Beethoven’s gorgeous celebration of life and nature—his “Pastoral Symphony.” Our April Masterworks is a blockbuster! Thomas Pandolfi makes a much anticipated debut with the MSO in Gershwin’s “Rhapsody in Blue,” followed by Dvorak’s “Symphony No. 9 ‘From the New World’,” his paean to the folks songs of America. And, in keeping with our ongoing commitment to encourage new musical voices, we present a Maryland premiere of American composer Christopher Theofanides’ “Dreamtime Ancestors,” a work the MSO co-commissioned with forty-seven other orchestras across the country, through the New Music for America Consortium. Our season concludes with a return of our audiences’ favorites, The Texas Tenors, in a new program of songs taken from County, Classical, and Rock and Roll hit books. These charismatic and engaging artists will charm and thrill you, so make sure you get your tickets early! As always, thank you for your presence at our concerts. Your support inspires us to reach for the very best in musical performance. Sincerely,

Elizabeth Schulze

ISSUE TWO • 2015–2016 SEASON

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LETTER FROM THE MSO PRESIDENT “I still hope to create a few great works and then, like an old child, to finish my earthly course somewhere among kind people.” -Beethoven, in a letter to F.G. Wegeler, 1826

Brendan Fitzsimmons President, MSO Board of Directors

When Beethoven penned the letter from which this quotation is taken he had already completed all nine of his symphonies as well as numerous sonatas, string quartets, songs and other works which are today heralded as masterpieces. Yet, he still sought “to create a few great works.” His evident desire to always grow his art is an inspiration to all of us who love not only his music but the music which came before and after him. As an organization, the Maryland Symphony Orchestra has also dedicated itself to growth and, in doing so, to seek new and better ways to bring the music of Beethoven, Bizet, Gershwin and others to our community. Last spring, the Board of Directors, our music director, our staff, and a number of our musicians got together to formulate a series of goals that the MSO should accomplish in the coming years. These goals are challenging. They are innovative and, with your help, they are achievable. In the coming months you will begin to hear more of our strategic plan as its details are formulated. I have asked our President-

elect, Hugh Talton, to form a committee that will introduce a variety of proposals which are intended to broaden our audience and enhance our offerings while safeguarding the Orchestra’s musical quality and artistic identity. Under Hugh’s diligent leadership these new initiatives will allow this wonderful orchestra to continue to thrive and be a vibrant part of the cultural identity of our region. For over three decades the Maryland Symphony Orchestra has adapted to its changing environment. Throughout that period it has grown and prospered. It will continue to do so. With your help it will always be a source of inspiration and enjoyment. We look forward to sharing the future of our orchestra with you in the coming years. Like Beethoven, the Maryland Symphony Orchestra hopes to create a few more great works. With your help and support, it will create more than just a few.

Brendan Fitzsimmons President, Board of Directors

LETTER FROM MSO EXECUTIVE DIRECTOR From Bizet’s operatic masterpiece, Carmen, to Gershwin’s jazzy Rhapsody in Blue, your orchestra will be presenting to you something exciting and beloved in this the second half of the 15-16 season. It is also with great excitement that we look towards a variety of artistic partnerships with ensembles, choruses and organizations in our region.

Michael Jonnes MSO Executive Director

Our Valentine weekend performance of Carmen (semi-staged) is the result of a new partnership between the Hub Opera Company and the MSO; also involved in this partnership is the chorale from Mount St. Mary’s University and the children’s chorus of Northern Middle School here in Hagerstown. Our Youth Concerts, scheduled for early May, will see a partnership with vocalists from BISFA and a Drum Line from North Hagerstown High School. Our Home for the Holidays concerts, this past December, featured the Williamsport High School Choir as well as the Hagerstown Choral Arts ensemble. Francisco Fullana, the superb young violinist who performed with us in October, presented a master class for string students from BISFA, and Sara Buechner, the nationally known pianist who performed Beethoven’s 4 th Piano Concerto with us in November, presented a master class for keyboard students at Shepherd University

ISSUE TWO • 2015–2016 SEASON

This past October and November, our two opening KinderKonzerts (special introductory concerts for area pre-K, K and 1st graders) played to over 700 students at the Kepler Theatre on the HCC Campus. Over the course of the season, we will present 17 KinderKonzerts for more than 3,500 young students. The generous support of HCC for the hosting of these concerts and the partnership with the Washington County Public Schools is another ongoing collaborative effort. And for all students in grades K-12, we offer Free Student tickets - some three hundred + students attended our October and November classical programs. We invite you to celebrate music and music education with the MSO this winter and spring.

Michael Jonnes Executive Director

MARYLAND SYMPHONY ORCHESTRA, INC. BOARD OF DIRECTORS Jane Anderson Pieter Bickford Deborah Bockrath The Honorable W. Kennedy Boone, III Jason Call Brendan D. Fitzsimmons Ryan M. Flurie Karen Hamilton, Au.D. Raychel Harvey-Jones Linda Hood Mary Lange Kalin Dave Kline Ira S. Lourie, M.D. Brian Lynch Melinda Marsden William L. McGovern The Reverend Kevin S. Munroe Bo Oh Kim Reno Andrew A. Serafini, Jr. Hugh J. Talton, M.D. Robert Tudor, D.M.A. Clayton Wilcox, Ed.D.

EX-OFFICIO MEMBERS Elizabeth Schulze, Music Director Michael Jonnes, Executive Director Paul Hopkins, Player Representative EXECUTIVE COMMITTEE Brendan D. Fitzsimmons, President Dr. Hugh J. Talton, Vice President Linda Hood, Secretary Bo Oh, Treasurer William L. McGovern, Asst. Treasurer

Artistic Advisory Liaison Mary Lange Kalin, Chair

MARYLAND SYMPHONY ORCHESTRA BOARD COMMITTEES 2015-2016 Audit Kim Reno

Audience Development Brendan D. Fitzsimmons, Chair

Development Pieter Bickford, Co-Chair Clayton Wilcox, Co-Chair

Orchestra Negotiations Liaison Brendan D. Fitzsimmons

Endowment Andrew Serafini, Jr., Chair

Personnel Liaison W. Kennedy Boone, III

Finance Bo Oh, Treasurer William L. McGovern, Asst. Treasurer Governance Ira S. Lourie, Chair Education Deborah Bockrath, Chair

Need better Res ISSUE TWO • 2015–2016 SEASON

ELIZABETH SCHULZE Waterloo/Cedar Falls Symphony Orchestra, a seven-year position as music director and conductor of the Kenosha Symphony Orchestra, principal guest conductor of the Hudson Valley Philharmonic, cover conductor and conducting assistant for the New York Philharmonic, and assistant conductor of the Buffalo Philharmonic, an appointment sponsored by the National Endowment for the Arts. Since the beginning of her career, Schulze has been a spirited advocate for music education. Her far-ranging work includes her ongoing association with the National Symphony Orchestra’s Summer Music Institute (SMI). For more than 10 years Schulze has conducted, taught and mentored dozens of young musicians in the SMI at the Kennedy Center. She has also conducted the American Composer’s Orchestra in LinkUp educational and family concerts in Carnegie Hall and throughout New York City. And for six years, Schulze joined her mentor Leonard Slatkin teaching at the NSO’s National Conducting Institute.

Photo: Youngblood Studios

Her music education and mentoring work spans from elementary to university students. She was an artist-inresidence at Northwestern University and has guest conducted the orchestras of The University of Maryland, the Manhattan School of Music and Catholic University of America and guest lectured at the Juilliard School.

With passion, verve and illuminating musicianship, Elizabeth Schulze has been conducting orchestras and opera companies, advocating for music education, and electrifying audiences in the States and abroad for more than two and a half decades. Recipient of the 2013 Sorel Medallion in Conducting for her adventurous program-ming, Schulze is in her 17th season as the Music Director and Conductor of the Maryland Symphony Orchestra and her eighth season as the Artistic Director and Conductor of the Flagstaff Symphony Orchestra. In 1996 she made her European debut, leading the Mainz Chamber Orchestra in the Atlantisches Festival in Kaiserslautern, Germany. She appeared in Paris as the assistant guest conductor for the Paris Opera and has also appeared in London, Frankfurt, Amsterdam and Vienna with the National Symphony during its 1997 European tour. Her most recent international work includes conducting in Hong Kong, Jerusalem and Taipei. Schulze’s recent guest conducting in the States includes appearances with the New Jersey, Detroit, San Francisco and Chautauqua Symphonies. Her positions with U.S. orchestras include an appointment as associate conductor of the National Symphony Orchestra, music director and conductor of the 8

ISSUE TWO • 2015–2016 SEASON

Schulze’s own education includes training in Europe and in the States. She graduated cum laude from Bryn Mawr College and as an honors student from Interlochen Arts Academy. She holds graduate degrees in orchestral and choral conducting from SUNY at Stony Brook. She was the first doctoral fellow in orchestral conducting at Northwestern University and was selected as a conducting fellow at L’École d’Arts Americaines in France. In 1991, she was the recipient of the first Aspen Music School Conducting Award. At Aspen, she has worked with Murry Sidlin, Lawrence Foster and Sergiu Commissiona. As a Tanglewood fellow, she has worked with Seiji Ozawa, Gustav Meier and Leonard Bernstein. Schulze is represented by John Such Artists Management, Ltd.

MARYLAND SYMPHONY ORCHESTRA, INC. 2015–2016 Season, Elizabeth Schulze, Conductor FIRST VIOLINS Robert Martin Concertmaster MSO Guild Chair Joanna Natalia Owen Associate Concertmaster Heather L. Austin-Stone Assistant Concertmaster Lysiane Gravel-Lacombe Thomas Marks Chair H. Lee Brewster Yen-Jung Chen Mauricio D. Couto Megan Gray Heather Haughn Catherine Nelson Petr Skopek Madeline Watson SECOND VIOLINS Marissa Murphy Principal J. Emmet Burke Chair Ariadna Buonviri Associate Principal Julianna Chitwood Assistant Principal Karin Kelleher Ruth Erbe Teresa L. Gordon Melanie Kuperstein Swiatek Kuznik Mary Katherine Whitesides Patricia Wnek VIOLAS Phyllis Freeman Principal Alan J. Noia Chair Magaly Rojas Seay Associate Principal Daphne Benichou Assistant Principal Sungah Min Rachel Holaday Stephanie Knutsen Sean Lyons Alice Tung CELLOS Todd Thiel Principal J. Ramsay Farah Chair Schuyler Slack Associate Principal Katlyn DeGraw Assistant Principal Mauricio Betanzo Joe Isom Molly Jones Jessica Siegel Weaver

BASSES Adriane Benvenuti Irving Principal Stuart Knussen Chair Michael Rittling Associate Principal Lee Philip FLUTES Kimberly Valerio Principal Marjorie M. Hobbs Chair Susan Mott Elena Yakovleva PICCOLO Elena Yakovleva OBOES Fatma Daglar Principal Joel L. Rosenthal Chair David M. James ENGLISH HORN David M. James CLARINETS Beverly Butts Principal John M. Waltersdorf Chair Michael Hoover BASS CLARINET Jay Niepoetter BASSOONS Erich Heckscher Principal Bennett S. Rubin Chair Scott Cassada Susan Copeland Wilson

TROMBONES Wayne Wells Principal Richard T. Whisner Chair Jeffrey Gaylord TUBA Daniel Sherlock Principal Claude J. Bryant Chair TIMPANI Meagan Gillis Principal William J. Reuter Chair PERCUSSION Donald A. Spinelli Principal Donald R. Harsh, Jr. Chair Julie Angelis Boehler Robert Hayden Jenkins

Brandon K. Ellis D.D.S. Jason W. Powell D.D.S.

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HARP Marian Rian Hays PIANO/KEYBOARD Open James G. Pierné Chair PERSONNEL MANAGER Magaly Rojas Seay LIBRARIAN D. Marianne Gooding OPERATIONS ASSISTANT David Fitzwater

CONTRA BASSOON Susan Copeland Wilson

RECORDING ENGINEER Bill Holaday

HORNS Joseph Lovinsky Principal Libby Powell Chair Mark L. Hughes Assistant Principal James D. Vaughn Paul Hopkins

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TRUMPETS Nathan Clark Principal Robert T. Kenney Chair Scott A. Nelson Robert W. Grab Chair Matthew Misener

ISSUE TWO • 2015–2016 SEASON

MAKE THE MOST OF YOUR CONCERT EXPERIENCE.

PARKING Street parking is free on weekends. There are also two parking decks in the downtown area for your convenience.

entrance into the theatre, please be sure that the barcode has not been damaged on your ticket. Contact the box office for replacement tickets, if necessary.

LATE ARRIVALS Ushers will gladly seat you during an appropriate break in the program.

COLLEGE RUSH TICKETS College student rush tickets are available for $5 to all Masterworks concerts. These tickets may be purchased in advance through the MSO website or at the MSO box office. Patrons who purchase a college student rush ticket may be requested to show their unexpired college student ID to validate the ticket at the door. Seat selection for these discounted tickets is at the discretion of the MSO box office personnel and standard service fees apply on the purchase of these discounted tickets.

DRESS CODE While audiences for our Saturday evening concerts often dress up, and Sunday matinee patrons tend to be more casual, please dress in a way that is comfortable for you. In consideration of those seated near you, please use fragrances sparingly. FOOD AND DRINK All food and drink, with the exception of bottled water, must be consumed in the lobby. Please help us keep the historic Maryland Theatre clean as we look forward to another 100 years of entertainment in our community. Thank you for adhering to our food and drink policy.

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NOISE Please be considerate of others by minimizing noise that may be disruptive during the performance. Kindly turn off cell phone or set them on silent. We ask that you enjoy food, drink and conservation in the lobby. You may be asked to remove any disruptive children who accompany you. It is appropriate to excuse yourself if you experience a prolonged bout of coughing or sneezing. SMOKING Smoking is not permitted in the Theatre. EMERGENCY EXIT Please take note of the nearest emegency exit. In the event of an emegency, walk calmly to the exit, do not run. PHOTOGRAPHY AND ELECTRONIC DEVICES Photography, videotaping, and sound recording are strictly prohibited in the Theatre. Likewise, texting, tweeting, and the recording and distribution of any performance related content on social media is also prohibited. STUDENTS AND CHILDREN TICKETS Free tickets for Masterworks concerts are available for students in grades K-12 and all children who are not yet school aged. Discounted tickets are available for MSO Pops! and our “Home for the Holidays” concerts in December. Please contact the box office for more information. TICKETS Due to fire code regulations, all patrons, including infants, are required to have a valid ticket when entering the Theatre. Tickets obtained from the box office are printed on thermal paper and should be kept out of direct sunlight and away from extreme heat to avoid discoloration and the possibility that they may become unreadable. All tickets, including e-tickets will be validated using the barcode appearing on the ticket. To expedite your

LOST TICKETS Please call the MSO office for replacement tickets. RETURNS, EXCHANGES, AND REFUNDS Ticket holders may return their unused tickets to the MSO office for resale prior to the concert and receive verification of their tax-deductible contribution. Subscribers may exchange their tickets at no charge for the alternate performance of the same program after the renewal period has lapsed. Exchanges will not be honored one hour prior to curtain due to congestion in The Maryland Theatre lobby. All MSO concert sales are nonrefundable, unless a concert is cancelled. CANCELLATIONS Concert cancellation information is available on local TV and radio stations, on our Web site at www.marylandsymphony.org or by calling the Box Office. Any cancellations will be announced no later than three hours prior to the scheduled start time of the performance. GIFT CERTIFICATES A wonderful gift for any occasion, gift certificates may be purchased for any dollar amount and redeemed for tickets to any MSO performance. PRELUDE Music Director Elizabeth Schulze shares information on featured composers and works during Prelude, a half-hour presentation that will enhance your enjoyment and appreciation of the concert to follow. Prelude begins one hour prior to each Masterworks performance and is free to ticket holders.

The Maryland Symphony Orchestra 30 West Washington Street Hagerstown, MD 21740 301.797.4000 • Fax: 301.797.2314 www.marylandsymphony.org

MSO BOX OFFICE The MSO Box Office and administrative offices are open from 9 a.m. to 5 p.m. weekdays at our West Washington Street location. Box Office personnel are available on concert weekends at the Maryland Theatre Box Office 1 ½ hours prior to concert time.

ISSUE TWO • 2015–2016 SEASON 11

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MASTERWORKS SERIES

Bizet’s Carmen An Opera in Four Acts Libretto: Henri Heilhac and Ludovic Halévy Based on a Novella of Same Name: Prosper Mérimée Presented by:

The Medical Community of Washington County MARYLAND SYMPHONY ORCHESTRA Elizabeth Schulze, Music Director Thirty-Fourth Season, 2015-2016

SATURDAY, FEBRUARY 13, 2016 8:00 PM SUNDAY, FEBRUARY 14, 2016 3:00 PM Robert Aubry Davis, Narrator

With Special Guests MOUNT ST. MARY’S UNIVERSITY CHOIR Andrew Rosenfeld, Director

HUB OPERA ENSEMBLE General Director: Zain Shariff Director, Carmen: Joseph Marschner

NORTHERN MIDDLE SCHOOL CHORUS Nicole Swartwood, Director

Cast Carmen, A Gypsy girl Francesca Aguado Don José, Corporal of Dragoons Nicholas Simpson Escamillo, Toreador Luke Scott Michaëla, A Village maiden Colleen Daly Frasquita, Companion of Carmen Stacey Stofferahn Mercedes, Companion of Carmen Elizabeth Mondragon Le Remendado, Smuggler Tad Czyzewski

Le Dancarïo, Smuggler

Justin Wilson

Urchins Soldiers, Townspeople

N. Middle School Chorus Mount St. Mary’s University Choir

Costumer

Barbara Blackwood

There will be a 20 minute intermission following the end of Act II Artist Sponsor:

Hugh & Marty Talton Additional Sponsors: Additional Sponsors: Anonymous Janice & Robert Cirincione Dr. & Mrs. Jay B. Greenberg Dr. Karen & Dr. Scott Hamilton

Mary Jane & E. L. Hawbaker Dr. & Mrs. George E. Manger Dr. & Mrs. Neil O’Malley Drs. Mary E. Money & Paul C. Waldman Dr. & Mrs. Andrew J. Oh

Tara A. Rumberger, M.D. & James A. Schiro, M.D. Dr. & Mrs. Gary W. Smith David & Suzanne Solberg Dr. & Mrs. William Su Howard N. Weeks, M.D.

Student tickets for Masterworks Series performances are generously underwritten by contributions from Music Director Elizabeth Schulze, Susquehanna Bank, The Rotary Club of Hagerstown, and The Rotary Club of Long Meadows Foundation. The Maryland Symphony Orchestra is proud to be a resident ensemble of the historic Maryland Theatre. Photography, video and sound recording are not permitted in the concert hall. Please take note of the nearest emergency exit. In the event of an emergency walk calmly to the exit, do not run.

ISSUE TWO • 2015–2016 SEASON 13

BIOGRAPHIES BIZET’S CARMEN recent 20th century works including: Ma Joad- The Grapes of Wrath (accompanied by composer Ricky Ian Gordon), Captain Frands von Frauenliebe (The Beautiful Bri- degroom, presented at the 2009 National Opera Association Conference) and ori- ginated the role of Veronica in Fallen Angels (presented at the 2012 D.C. Capital Fringe Festival). Equally at home on the non-operatic stage, Ms. Aguado has also portrayed the role of Titania in Shakespeare’s A Midsummer Night’s Dream.

Lombardi) Repertory Opera Theatre of Northern Virginia, Don José (Carmen) Fairbanks Summer Arts Festival, and Edgardo (Lucia di Lammermoor) HUB Opera. He is also a member of the Washington National Opera Chorus.

Ms. Aguado holds a Master’s degree in vocal performance from Towson Univer- sity and a Bachelor’s degree in music from the University of Maryland.

FRANCESCA AGUADO American soprano Francesca Aguado has been praised for her solid sound and ex- cellent support (Opera Britannia) and for her voice’s confident precision and arti- culation (The Washington Post). Most recently she was praised for her portrayal of Musetta in Puccini’s La Boheme: “Francesca Aguado truly commanded the center of attention in her scenes, especially with her vocally impressive “Musetta’s waltz.’ (DCMetrotheatrearts). In the 2015/2016 season Miss Aguado will join the Maryland Symphony Orches- tra to perform title role in Bizet’s Carmen and in May 2016 she will sing Adina in Donizetti’s L’elisir d’amore. A number of recitals both in the United States and abroad are also planned. Previous credits also include: Rosina (Il barbiere di Siviglia); Third Lady (Die Zauberflöte), Carmen (Carmen); Ariodante (Ariodante); Mother (Amahl and the Night Visitors); Dorabella (Così fan tutte); Dinah (Trouble in Tahiti); Maurya (Ri- ders to the Sea); Sesto (Giulio Cesare); Marthe (Faust); the Duchess (The Gondo- liers); Mamma Lucia (Cavalleria Rustica). She has performed roles from 14

COLLEEN DALY

TAD CZYZEWSKI Tad Czyzewski has appeared as a soloist on Kennedy Center stages with The Washington Chorus, in the Brahms Liebeslieder Waltzes with the Suzanne Farrell Ballet, and with the National Symphony Orchestra in Edvard Grieg’s Peer Gynt. Wrote the Washington Post, “The standout is Tad Czyzewski, whose voice has an authoritative edge and who acts with ease.” Most recently he appeared as the Zweiten Minnesänger in Washington Concert Opera’s production of Strauss’ Guntram. Past appearances include: Il Schiavo (Il Corsaro) with Washington Concert Opera, Arvino (I

ISSUE TWO • 2015–2016 SEASON

Colleen Daly is rapidly emerging as a “dramatically powerful” (The Washington Post) singer in today’s operatic arena. Daly’s most recent performances include Musetta in La Bohème with Annapolis Opera, Lyric Opera of Baltimore, and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at new York City Opera; Fiordiligi in Così fan tutte with Intermountain Opera; Micaëla in both La Tragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera; the Countess in Annapolis Opera’s production of Le nozze di Figaro; and the title role of Thaïs at Opera Company of Middlebury. This February, she will be returning to one of her signature roles, Micaëla, in the Maryland Symphony Orchestra’s presentation of Carmen, and will be presented in her role debut of Fidelia in Puccini’s masterpiece Edgar, with the Baltimore Concert Opera later that month. She has been the recipient of awards from

BIOGRAPHIES BIZET’S CARMEN the Vocal Arts Society of Washington, DC; the Gerda Lissner Foundation, the Liederkranz Foundation, The Washington International Competition, and Annapolis Opera. Daly holds a bachelor’s degree from DePaul University, a Master’s degree from the Opera Studio at the University of Maryland in College Park, and an Artist Diploma from the Academy of Vocal Arts.

Petite Messe Solenelle, Mozart’s Mass in C Minor and Mendelssohn’s Elijah; and has performed Spanish and Mexican music of the Renaissance and Romantic periods with the harp ensemble Ars Musicae Hispaniae. Her enthusiasm for new music and working with living composers has led to her premiering works by several local composers, such as Edward Ficklin, Erin Rogers, and Lawrence Rush. She regularly performs recitals of twentieth and twenty-first century art song, and has established a long-time collaboration with award-winning, New York City—based composer, David Sisco, whose songs she premiered last year at Carnegie Hall.

Opera Theater of CT, and Malatesta in Don Pasquale with Salt Marsh Opera in RI. Other performances include Sam in Trouble in Tahiti at The Hartt School, Count Almaviva with the Martina Arroyo Foundation, Spinelloccio/Amantio in Gianni Schicci with Yale Opera, Peter in Hansel und Gretel with Opera Theater of Connecticut, the title role in Gianni Schicci with CLO, and Bass Soloist New Haven Chorale in Handel’s Alexander’s Feast. Luke was also a member of the Archipelago Project with the El Sistema orchestra of Acarigua, Venezuela. Other oratorio engagements include Bach Ich habe genug, Mozart Coronation Mass, Faure Requiem, and Handel’s Messiah. Mr. Scott was a finalist in the Soma International competition, New Jersey Association of Verismo, and has received awards from the Chautauqua Institution, Aspen Music Festival, Martina Arroyo Foundation, Voice Experience Foundation, American Opera Idol, Amici Competition, Violetta DuPont Foundation, the Friedrich Schorr Memorial Award, Bel Canto Scholarship Foundation, Shreveport Opera Singer of the Year Competition, and Cape Cod Symphony Soloist competition.

ELIZABETH MONDRAGON Elizabeth Mondragon is a Washington, D.C. and New York City-based mezzosoprano, whose performance experience ranges from traditional operatic productions to new music premieres. Principal roles include Carmen, Rosina, Dido, Ma Moss and Mother in Amahl and the Night Visitors. She has sung throughout the Northeastern U.S. with companies such as Amore Opera, Boston Lyric Opera’s ONE, Camerata Baroque, The In Series, Maryland Lyric Opera, One World Symphony, Opera North and Regina Opera. As much a lover of concert and recital as opera, she has been a soloist with the Astoria Symphony, Central City Chorus, the Riverdale Choral Society and St. George’s Choral Society, featured in the Bach Christmas Oratorio, Rossini’s

LUKE SCOTT Baritone Luke Scott received his musical training from The Hartt School of Music, Chautauqua Institution, Aspen Opera Theater Center, Martina Arroyo Foundation, and Voice Experience Foundation. This past season he held the title role in Le Nozze di Figaro at Opera on the Avalon in Newfoundland, Guglielmo in Cosi fan Tutte with CLO, the Brahms Requiem with the Newburyport Chorale society, and Escamillo in Carmen with One World Symphony. This year Luke will appear with the Cape Cod Symphony as a concerto competition finalist, sing the title role in Don Giovanni, Marullo in Rigoletto with

NICHOLAS SIMPSON Praised by the Corriere di Rimini, Tenor Nicholas Simpson “possesses a voice that is flexible, but powerful…he literally ISSUE TWO • 2015–2016 SEASON 15

BIOGRAPHIES BIZET’S CARMEN stunned the public with his technical and expressive capability.” According to Opera News, he gives performances that “immediately seize attention with his full-bodied, brightly projected voice.” Mr. Simpson has appeared as Paul in Opera Circle Cleveland’s production of Korngold’s Die Tote Stadt. In its review of the performance, Cleveland Classical noted that “Tenor Nicholas Simpson was splendid as Paul, negotiating a punishingly high and demanding vocal line with strength and agility.” Other highlights of the 2014-2015 Season include singing the tenor solo in Beethoven’s Ninth Symphony with Chorus Austin, the Altoona Symphony, and the Hershey Symphony; the title role in Handel’s Joshua with the San Gabriel Chorale and Orchestra, and his debut in the title role of Tannhäuser with Apotheosis Opera. During the 20132014 Season, Simpson debuted with Fort Worth Opera as the Kronprinz in Kevin Puts’ Pulitzer Prize winning opera Silent Night, and appeared as Count Alberto in Opportunity Makes the Thief with Little Opera Theatre of New York. His other appearances include Sarasota Opera, Union Avenue Opera, Utah Festival Opera, Spotlight on Opera and as guest soloist with the Grace and Spiritus Chorale. Highlights of the 2015-2016 Season include the title role of Wagner’s Tannhäuser for Apotheosis Opera, Prologue/Peter Quint in the Turn of the Screw for the Columbia Festival of the Arts and Hub Opera, covering the title role of Otello with Everybody Can! Opera, the Four Tenors Concert with Opera Delaware, the tenor solo in Carmina Burana with the Flint Symphony, and selections from Tannhäuser for Performance Santa Fe and the Wagner Society of Santa Fe.

Ms. Stofferahn holds a BA in Music Education from Augustana University, two Master of Music degrees in Choral Conducting and Vocal Performance from the Conservatory of Music-UMKC, and a Doctorate of Musical Arts in Vocal Performance also from the Conservatory of Music- UMKC. While actively performing nationally and internationally, Ms. Stofferahn maintains a growing private voice studio in Kansas City, where she is professionally based and resides with her husband. For more information go to www.staceystofferahnsoprano.com.

STACEY STOFFERAHN Stacey Stofferahn is thrilled to make her debut with Hub Opera and MSO as Frasquita in Carmen. Recently, Ms. Stofferahn performed the role of Micaëla (Carmen) with Lawrence Opera Theatre, and Senta in Der fliegende Holländer with the South Dakota Symphony Orchestra and with Opera Siam in Bangkok, Thailand, resulting in high international acclaim for her interpretation of the role. Tosca, with West Bay Opera, was another recent career highlight, also rendering high critical praise. Later this spring, Ms. Stofferahn will debut the role of Sour Angelica with Opera Sacra in Kansas City. Other previous professional engagements include Mimí (Bohème) with Townsend Opera, Musetta (Bohème) and Donna Elvira (Don Giovanni) with Wichita Grand Opera, Hanna Glavari (Merry Widow) with Lyric Opera San Diego, Mercedes (Carmen) with Union Avenue Opera, Viktoria (Viktoria und ihr Hussar) with Vlaamse Opera in Ghent, Belgium; Mahler Symphony #2, Bozeman Symphony and South Dakota Symphony; Beethoven 9th Symphony, SD Symphony; Mozart Requiem, South Dakota Symphony; Brahms German Requiem, Joplin Symphony Orchestra; and Handel’s Messiah with Evansville Symphony Orchestra.

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JUSTIN WILSON Justin T. Wilson, baritone, has brought his commanding voice and formidable stage presence to audiences throughout the D.C.–Baltimore region. Notable recent appearances include Count Almaviva and Figaro in Mozart’s Le nozze di Figaro, Pagano in Verdi’s I Lombardi, and Don Basilio in Rossini’s Il barbiere di Siviglia. Justin’s current season includes several role debuts, including Belcore in Donizetti’s L’elisir d’amore, Giorgio Germont in Verdi’s La traviata, and the title role in Puccini’s Gianni Schicchi. Justin is pleased to make his role debut in this production of Carmen and expresses his utmost gratitude to the maestro, production staff, cast, and crew, and— most of all—to the orchestra.

BIOGRAPHIES BIZET’S CARMEN

ROBERT AUBRY DAVIS Television and radio personality Robert Aubry Davis is a native Washingtonian and an active member of the area’s cultural community. Davis is the creator and host of “Millennium of Music,” a program dedicated to music from the thousand years before Bach. The program is carried by more than 100 public radio stations nationwide. He has been host and moderator of WETA TV 26’s Emmy Award-winning weekly arts discussion program, “Around Town,” since its

inception in 1986. Davis can also be heard on Vox, XM Satellite Radio’s opera and classical vocal music channel. His education in literature and art history at both Duke University and American University and his broad knowledge of — and participation in — the arts make him a well-respected and visible member of Washington’s cultural community. He is a regular lecturer at a variety of area seminars and performances, including concerts with the Folger Consort, the Baltimore Consort, the Early Music Series at the University of Maryland, the Dumbarton Oaks Concert Series and the Smithsonian Early Music Series.

PROGRAM NOTES BIZET’S CARMEN Carmen Georges Bizet

1838-1875

Georges Bizet was yet another of those composers who showed precocious brilliance as a child but never lived long enough to completely fulfill the promise. The difference, however, between Bizet and Mozart, who died at about the same age, is that Mozart left over 600 completed compositions, many of them masterpieces, while Bizet is known primarily for a single work: Carmen. Although Bizet did not come from a family of professional musicians, his parents recognized his talent and supported his ambition to become a musician and composer. Encouraged by his father, he entered the Paris Conservatory at the extremely young age of ten. There, he excelled and on his second try, won the coveted Prix de Rome at 19. A composition prize that allowed the winner to study abroad for three years, the Prix de Rome was almost an obligatory first step on the career ladder for aspiring French composers – although it certainly didn’t guaranteed lasting fame.

After his return to Paris, Bizet hoped to specialize in opera. He had all the right connections in the Paris music establishment but had a difficult time pleasing audiences and himself. His first three operas, including Les pêcheurs de perles (The Pearl Fishers,) received only lukewarm receptions and Bizet himself destroyed many incomplete operas, as well as large-scale orchestral works. Although hardly comic, Carmen was premiered at the Opéra Comique, where the operas used spoken dialogue rather than recitative as in grand opera. Based on a contemporary novella by Prosper Merimée, it is the story of a fickle and promiscuous seductress who ensnares an innocent young soldier into a passion that leads inexorably to his desertion, degradation and, finally, a jealous murder on stage. While other French composers – such as Daniel François Auber and Ambroise Thomas – routinely presented such characters on stage, they were handled discreetly and in accordance with prevailing morality in which the guy with the black hat mended his ways, the hero resisted temptation and the poor

but virtuous girl remained virtuous. By contrast, Bizet retained Merimée’s realism, giving the characters darker emotions and poor self-control. Bizet’s personality did not make the staging of so revolutionary an opera any easier. He was an anti-establishment character with a chip on his shoulder, a quick temper and sharp tongue, traits that did not endear him to the critics. Audiences and critics alike considered Carmen as scandalous and immoral (although that didn’t stop it from enjoying the longest run of any of Bizet’s stage works). But when the critics panned it for its “filth” and suggested that the police courts intervene, Bizet was crushed, sank into depression and succumbed to a chronic throat ailment followed by a heart attack. Within three months of the premiere, he was dead. After a short run following the composer’s death in 1875, Carmen did not make it again to the Paris stage until 1883. Ironically, a production in Vienna in October of 1875 led to its worldwide triumph, advancing it into the standard ISSUE TWO • 2015–2016 SEASON 17

PROGRAM NOTES BIZET’S CARMEN repertory for nearly every opera company. Carmen was much admired by the young Giacomo Puccini, whose own operas adhered to the Italian verismo (“slice of real life”) literary movement and were among Carmen’s direct aesthetic descendants. As with many large musical compositions, especially opera, there is some controversy and confusion about which version of Carmen best reflects the composer’s wishes, especially with regard to when and how much spoken dialogue was replaced with recitative. The version we are most familiar with today is the one revised by Bizet’s pupil and colleague Ernest Guiraud. ACT 1 – A square in Seville Carmen takes place in Seville around 1820. It is lunchtime in a square outside a cigarette factory, whose workers are all young women. A chorus of bored soldiers and their corporal, Morales, charged with general police duties, watch the passing scene and wait for the girls to break for lunch. The local boys play soldier with considerably more enthusiasm. When Micaëla, a shy country girl, enters the square looking for Corporal Don José, Morales and the soldiers tease her and frighten her away. At the changing of the guard, Don José arrives and upon receiving the message that a girl was looking for him, tells Zuniga, the captain, that he is in love with Micaëla and plans to marry her. The factory bell rings and the workers amble out, smoking, in a lilting, mildly seductive chorus. The soldiers, however, are waiting for Carmen, a gypsy beauty and firebrand, who makes a dramatic solo entrance accompanied by a sweeping five-note motive on the strings that comes to be associated with her death. She immediately launches into a habanera whose words capture the essence of her personality: “If you don’t love me, then I love you; but if I love you, beware.” As she sings and dances, she sidles up to Don José, the one soldier who is obviously ignoring her, throws a red cassia flower at his feet and dashes back into the factory followed by the rest of the girls. Dazed, Don José picks up the flower, inhales its 18

perfume and thrusts it into his jacket, again to the accompaniment of the now more subtle, but still menacing, Carmen theme. With calm now restored to the square, Micaëla ventures back with a letter and a little money from José’s fond old mother. She sings a sentimental aria about her mission and he joins her in a duet recalling the joys of his home and village. But already he is under the spell of “that demon” and is counting on the image of his mother to protect him. He starts to read his mother’s letter aloud but when she talks of marriage, Micaëla becomes embarrassed and hastily leaves. As José fervently promises his distant mother that he will marry Micaëla, screams come from the cigarette factory and the girls run out shouting for help and arguing with each other. A fight that has broken out between Manuelita and Carmen, who has slashed her with a knife. While the soldiers hold back the squabbling women, José and two other soldiers enter the factory and bring out the two combatants. Zuniga questions Carmen, but she defiantly refuses to answer and he orders José to tie her hands behind her back. Once the soldiers have finally restored peace, José is left alone to guard Carmen. But she makes short work of him in a seductive aria inviting him to meet her at Lillas Pastia’s tavern if he will free her. As Zuniga and the soldiers return to the square, Carmen quickly puts her hands behind her back. José places her between two guards, but as they start to leave the square, she pushes them roughly aside and escapes. Zuniga immediately sizes up the situation and arrests José. ACT 2 – Lillas Pastia’s tavern One month later, Carmen, Mercedes and Frasquita are sitting around the tavern with Morales and Zuniga. Carmen is waiting for José, who is about to be released from prison. She whiles away the time in a lively song that becomes increasingly frenzied. From outside the tavern come shouts of “Viva el torero” and the toreador Escamillo struts in with his groupies. After a rousing song of self-

ISSUE TWO • 2015–2016 SEASON

promotion, he flirts with Carmen, but she decides to wait for her lover as Escamillo and the crowd disperse. José now enters, but Carmen immediately makes him jealous by telling him she has danced for Zuniga. As she diverts his jealousy by dancing for him alone, the call to quarters sounds from the barracks. José starts to leave but Carmen taunts him for obeying the rules. Desperate, he takes from inside his uniform the now withered flower she had thrown to him and declares his passion for her. She entreats him to desert and join her and her gypsy cohorts, but José still resists. Suddenly, Zuniga returns, hoping to find Carmen alone. He and José argue and draw swords, at which point the gypsies Dancairo and Remendado aim their pistols at Zuniga and disarm him. Now hopelessly compromised, José throws in his lot with Carmen. ACT 3 – A mountain pass José and Carmen have been living together as members of the band of smugglers but things have not been going well. José is possessive and jealous, and Carmen is independent and fickle. The scene opens as the smugglers ascend the pass with their booty. José complains to Carmen, who tells him to leave if he doesn’t like it. José draws his knife and threatens her if she ever says that again. Meanwhile, Mercedes and Frasquita begin telling their fortunes with a deck of cards. As they exclaim over their good luck, Carmen moodily joins them and draws the ace of spades. With grim fatalism, she acknowledges her own death. The smugglers break camp and disperse with their contraband. As they leave, Micaëla appears, looking for José. She sings of her terror and begs God to protect her, but just as she sees him on guard, he fires a shot and she hides behind a rock. Now Escamillo struts in and asks José where he can find Carmen, unwittingly telling the ex-soldier how passionately he loves her. When Carmen enters, she is clearly taken with the bullfighter. Dancairo finds the concealed Micaëla, who tells José to return to his distraught mother. Carmen

PROGRAM NOTES BIZET’S CARMEN encourages him to go, but when he angrily refuses, Micaëla reveals that his mother is dying and wants to forgive him before she dies. With his one final ounce of selfrespect, José leaves with Micaëla while Carmen enthusiastically takes Escamillo into the group of gypsies. ACT 4 – Outside a bullring Before the bullfight, a chorus of fans eagerly awaits the arrival of Escamillo. He finally arrives with the magnificently dressed Carmen on his arm. The two declare their love for each other, but Mercedes warns Carmen that José is lurking in the crowd. In an act of pure bravado, Carmen waits outside for José as Escamillo enters the arena. As soon as the crowd leaves, José, now wild and disheveled, emerges from behind an arch. He pleads with Carmen to return to him, but the more desperate his pleas, the more defiant she becomes. He grabs her arm but she breaks away and hurls at him the ring that he had once given her. She rushes to the entrance of the arena but José blocks her way and stabs her. Even as she falls, he regrets his mania and collapses over her body as the crowd shouts the praises of the victorious Escamillo. Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

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MASTERWORKS SERIES

Beethoven’s Pastoral With Special Guest, Fatma Daglar, oboe

SATURDAY, MARCH 19, 2016 8:00 PM SUNDAY, MARCH 20, 2016 3:00 PM

MARYLAND SYMPHONY ORCHESTRA Elizabeth Schulze, Music Director Thirty-Fourth Season, 2015-2016

Overture to L’Italiana in Algeri Gioacchino Rossini (1792-1868) Ralph Vaughan Williams Oboe Concerto (1872-1958) FATMA DAGLAR, OBOE Intermission Symphony No. 6 in F major, Op. 68 Ludwig van Beethoven (1770-1827) I Allegro ma non troppo II Andante molto mosso III Scherzo. Allegro IV Allegro V Allegretto

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BIOGRAPHY FATMA DAGLAR Orchestra, Washington Concert Opera Orchestra, Britt Festival Orchestra, among many others. Recent solo engagements include performances of Richard Strauss, John Harbison, Lukas Foss and Mozart oboe concertos. She has toured and performed throughout the United States, China, Japan, and the Middle East. An enthusiastic advocate of historical performance, she studied baroque oboe at the Oberlin Baroque Performance Institute and has appeared with the Washington Bach Consort, Ama Deus Ensemble, Brandywine Baroque, Modern Musick, and Bach Sinfonia.

FATMA DAGLAR In addition to being the principal oboist of the Maryland Symphony Orchestra, Fatma Daglar is also the principal oboist of the Annapolis Symphony Orchestra, Baltimore Chamber Orchestra, Post-Classical Ensemble and Concert Artists of Baltimore. She recently joined Zéphyros Winds, a distinguished North American chamber ensemble.

bittersweet tone”, “well-rounded tone with a beautiful vibrato”. Fatma Daglar attended the Robert College of Istanbul and the Istanbul University Conservatory of Music, where she received her Bachelor’s Degree in Music. She also holds a Master’s Degree and a Graduate Performance Diploma in Oboe Performance from the Peabody Conservatory, where she studied with Sara Watkins. She teaches at Towson University, University of Maryland at Baltimore County, St. Mary’s College of Maryland, and the Peabody Preparatory.

By music critics of the Washington Post, the Baltimore Sun, and the Annapolis Capital, her playing has been described as such: “extraordinary playing”, “a concerto performance of virtuoso caliber, enthusiastically received”, “a dexterous technician with attractive tone and a nifty sense of phrasing”, “terrific”, “touching,

Fatma Daglar has held the position of assistant principal oboe with the Louisville Orchestra and has performed on oboe and English horn with the Baltimore Symphony Orchestra, Richmond Symphony Orchestra, Wolftrap Opera Orchestra, Harrisburg Symphony Orchestra, National Philharmonic Orchestra, Delaware Symphony

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PROGRAM NOTES Concerto for Oboe and String Orchestra Ralph Vaughan Williams 1872-1958 Ralph Vaughan Williams came from a distinguished family: his paternal grandfather was the first Judge of Common Pleas; his maternal grandparents were Josiah Wedgwood III and one of Charles Darwin sisters. Although the family encouraged his youthful musical talents, they later disapproved of his choice of music as a career; he prevailed, graduating with a Mus.B from Trinity College, Cambridge, in 1894. His progress was slow and uncertain. He went to Berlin in 1897 to study with Max Bruch, and to Paris in 1908 to take lessons from Maurice Ravel. But he was drawn to Elizabethan and Jacobean music. His music became rooted in Tudor polyphony, uncovering that rich heritage for modern audiences. He also had a passion for English folk music; his collection of over 800 folksongs, on which he worked between 1903 and 1910, and his selection of the songs for The English Hymnal in 1906 helped set the stage for the future development of his musical language. Considered radical in his young days and a lifelong agnostic (despite his contributions to religious music), he believed that music was the birthright of every individual. In his long, productive life – his last symphony was premiered just four months before his death at age 85 – Vaughan Williams practiced what he preached. He wrote music for numerous instrumental and vocal combinations, as well as for levels of sophistication and performing ability. Inspired by the virtuosity of the famed English oboist, Léon Goossens, Vaughan Williams composed this concerto in 1944. It is a deliberately small-scale work, more noted for its craftsmanship than for its meaning, message or inspiration. Vaughan Williams agreed with the conductor Sir Henry Wood that it would be unsuitable for the Promenade Concerts performed in cavernous Albert Hall but would need a more intimate setting to be effective. The lighthearted atmosphere of the concerto can be seen already in the titles for the three movements: Rondo Pastorale,

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Minuet & Musette, Scherzo Finale. The solo oboe in the symphony orchestra is often the voice for lyrical or deeply emotive moments. In this concerto, it assumes one more role - acrobatic agility in the finale. It thus requires a master of the instrument to make the solo part sound effortless rather than awkward. The Concerto opens with an introductory sinuous solo melisma that recalls the composer’s The Lark Ascending and, for those that are familiar with the earlier work, inevitably evokes a comparison between the emotive qualities of oboe

and violin. Typically, Vaughan Williams indulges his penchant for weaving English folksong into his music. Aptly titled Pastorale, the first movement presents a stream of folk-like melodies. The Allegro takes up a more energetic tune with a staccato theme with a toggling motive. Metaphorically, the Pastorale progresses through a full day from dawn and sundown, birdcall serenades flanking a shepherd’s workday. Since the soloist is seldom silent, Vaughan Williams tones down the virtuosic passagework in the short Minuet and Musette. Seldom repeating large sections ISSUE TWO • 2015–2016 SEASON 23

PROGRAM NOTES of music, the Minuet does not conform to the standard repeat structure of the eighteenth-century model. The Finale is a technical showpiece and extremely difficult to play. A series of rapid, wide leaps opens the movement, a motivic gesture rather than a true theme. As in the first movement, Vaughan Williams periodically varies the tempo spinning out one melody after another, allowing the instrument to display its lyrical voice. Symphony No. 6 in F major, Op. 68 Ludwig van Beethoven “Pastorale” 1770-1827 While many of Beethoven’s symphonies broke new ground, the Sixth is both innovative – as it prefigures the Romantic tone poems – and traditional. Beethoven and his audience were readily able to attach literary, emotional or extra-musical concepts to music. His Wellington’s Victory was the latest in a long tradition of musical battles dating back to the Renaissance. And of course, there were musical models for many of the images in the Sixth Symphony – Vivaldi’s Four Seasons and bucolic Christmas pastorals with bagpipe drones, as in Handel’s Messiah or Corelli’s Christmas Concerto – not to mention an extensive vocabulary of rhetorical musical figures from the Baroque, bird calls and other perennial tone painting devices. But Beethoven seemed to be searching for something different, an ideal way to portray and “express” nature. “Any painting, if it is carried too far in instrumental music, loses expressive quality...The overall content, consisting of more feelings than of tone paintings, will be recognized even without further description,” he wrote in his sketchbook while working on the Sixth Symphony. This and other notes to himself as he worked reveal the Symphony as more than a sentimental outpouring. Here was another of the composer’s creative challenges to be met in the context of his trajectory of self-fulfillment as an artist. As Beethoven’s biographer, Barry Cooper, puts it: “He was faced with two main problems in writing a symphony in the pastoral style: the first was to prevent 24

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PROGRAM NOTES BEETHOVEN’S PASTORAL the music from degenerating into scenepainting or story-telling; the second was to combine the pastoral style, leisurely and undramatic, with the thrust and dynamism of the symphonic style.” Beethoven wrote more words about the Sixth Symphony than about any of his other compositions. He provided descriptive titles to each of the five movements, while at the same time commenting that the music was selfexplanatory and needed no titles. The first movement, “Cheerful feelings awakened on arriving in the country,” builds up none of the intense tension so common in Beethoven’s first movements, being instead an unhurried study in tranquility. The murmuring accompaniment in the second movement, “Scene by the brook,” captures the sound of a flowing brook interspersed with the birdcalls and chirping insects – all within a tradition in tone painting common since the Renaissance. In a break with the classical symphonic

structure, the last three movements run together as a continuous quasinarrative entity. The third movement, “Merry gathering of country folk,” suggests a village band with the lower strings imitating the drone of a bagpipe. The dance is interrupted by the “Thunderstorm,” a superb impressionistic evocation of lightning, thunder and howling winds. As the storm approaches, the thunderclaps come faster and faster, then slow down as the storm passes. After the final rumbles, a solo clarinet, followed by a solo horn, lead into the “Shepherd’s song: Happy and thankful feelings after the storm.” Instead of a traditional rousing Finale, the bucolic scene ends with the shepherd’s pipe figure fading away into the distance. Beethoven started to work on the Symphony in the summer of 1807 and finished it in June 1808. It was premiered at a concert (Musikalische Akademie) of his recent compositions in the Imperial Theater in Vienna on December 22,

1808. The program, which was over four hours long, also included the premiere of the Fifth Symphony, the Fourth Piano Concerto, the concert aria “Ah Perfido,” some piano improvisations by the composer, three movements from the Mass in C major and, to top it all off, the Choral Fantasia, which Beethoven composed as a grand finale to the occasion. Such monster concerts were the norm in the early nineteenth century, with people coming and going in the middle as they pleased. Not surprisingly, few stayed for the duration. The gentle atmosphere of the Sixth Symphony is in sharp contrast to the high-voltage intensity of the Fifth, completed only a few weeks earlier. Although Beethoven fought, quarreled and argued with everyone, friend, foe or patron, with nature he was at peace. Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

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Pet Friendly

MASTERWORKS SERIES

Gershwin’s Rhapsody in Blue Presented by:

With Special Guest, Thomas Pandolfi, piano

SATURDAY, APRIL 9, 2016 8:00 PM SUNDAY, APRIL 10, 2016 3:00 PM

MARYLAND SYMPHONY ORCHESTRA Elizabeth Schulze, Music Director Thirty-Fourth Season, 2015-2016

Dreamtime Ancestors Christopher Theofanidis (1967-) George Gershwin (1898- 1937)

Rhapsody in Blue THOMAS PANDOLFI, PIANO Intermission

Symphony No. 9 in E minor, Op. 95, From the New World Antonin Dvorak (1841-1904) I Adagio – Allegro Molto II Largo III Scherzo. Molto Vivace IV Allegro con fuoco

Artist Sponsor:

Barbara & Tom Henderson Dr. & Mrs. Stephen Hood Additional Sponsors:

Thomas Pandolfi appears by arrangement with Diane Saldick, LLC, 225 East 36 Street, New York, NY 10006 www.dianesaldick.com Student tickets for Masterworks Series performances are generously underwritten by contributions from Music Director Elizabeth Schulze, Susquehanna Bank, The Rotary Club of Hagerstown, and The Rotary Club of Long Meadows Foundation. The Maryland Symphony Orchestra is proud to be a resident ensemble of the historic Maryland Theatre. Photography, video and sound recording are not permitted in the concert hall. Please take note of the nearest emergency exit. In the event of an emergency walk calmly to the exit, do not run.

ISSUE TWO • 2015–2016 SEASON 27

BIOGRAPHY THOMAS PANDOLFI District of Columbia, Georgia, Florida, Connecticut, New York, New Jersey, North Carolina, Idaho, Pennsylvania, Wyoming and Oregon. He will also appear in a number of duo recitals with violinist, Emil Altschuler. Thomas’ international concerts have carried him across the globe to China and Europe. He has collaborated with conductors such as Piotr Gajewski, Dimitru Goia, Sabin Pautza, Emil Seigbert Maxim, Peter Schmelzer, Mihail Agafita, Grigori Moseico, David Russell Hulme, Andreas Delfs, Miriam Burns, Sebrina Alfonso, Nicholas Palmer, William Intrilligator, Kim Allen Kluge, Robert Hart Baker, Crafton Beck, Lawrence Rapchak and Gordon Johnson.

THOMAS PANDOLFI American pianist Thomas Pandolfi is an exciting virtuoso who, with each passing season, is becoming more and more sought after by audiences worldwide, and showered with superlatives by critics for his passionate artistry and amazing technique. His orchestral appearances often feature not only the beloved masterpiece concerti by Tchaikovsky, Rachmaninov and Liszt, but also the equally brilliant ones by Paderewski, Rubinstein and Moszkowski. Additionally in the “Pops” genre, Thomas’ critically acclaimed performances of Rhapsody in Blue (Gershwin), Concerto in F (Gershwin), Warsaw Concerto (Addinsell) and the James Bond Concerto (Proctor) are immensely popular.

An outstanding cross-over artist, Thomas Pandolfi’s virtuoso transcriptions of the music of Andrew Lloyd Webber and Marvin Hamlisch are in much demand. For the 2015-16 season, he is offering further such transcriptions in unique

Among his engagements during the 2015-16 season, he will be the guest soloist with The National Philharmonic, Ohio Valley Symphony, Maryland Symphony, Cheyenne Symphony, North Charleston Pops, Alexandria Symphony, Wilson Symphony and the Southwest Suburban Symphony in Milwaukee. His recital touring schedule will take him to California, Wisconsin, Massachusetts, Virginia, Maryland, South Carolina, the 28

ISSUE TWO • 2015–2016 SEASON

programs entitled “Burt, Barry and Beyond” (the music of Burt Bacharach and Barry Manilow), as well as “Happy Birthday Frank, the Voice of the 20th Century”, a celebration of Sinatra. British composer, Simon Proctor, is also writing a “Sinatra Piano Concerto” for Thomas to coincide with the 100th birthday celebration of Mr. Sinatra. Following a violin concerto for Midori, and a saxophone concerto for Brandford Marsalis, film and concert composers Kim Allen Kluge and Kathryn Vassar Kluge have composed The American Piano Concerto for Thomas. The premier performance will be presented on May 7, 2016. A graduate of The Juilliard School, Pandolfi earned both his Bachelor’s and Master’s degrees as a scholarship student. He is the father of two beautiful children, and resides in Washington, DC.

PROGRAM NOTES Dreamtime Ancestors Christopher Theofanidis

b.1967

Born in Dallas, TX and a graduate of Yale, the Eastman School of Music, and the University of Houston, Christopher Theofanidis has been the recipient of the Masterprize, the Rome Prize, a Guggenheim Fellowship and the American Academy of Arts and Letters Charles Ives Fellowship, among others. He is a former member of the faculty of the Peabody Conservatory in Baltimore and the Juilliard School in New York City, and currently teaches at Yale. For the 2006-07 season he was composer-of-the-year of the Pittsburgh Symphony, during which he composed a violin concerto for Sarah Chang. According to the composer, Dreamtime Ancestors is a three-movement tone poem for orchestra that includes optional readings before each movement. It is based on the Australian aboriginal creation myths connected to “dreamtime,” when multiple generations, “dreamtime ancestors,” are connected to each other in the past, present, and future. This is referred to as “all-at-once time.” The work is dedicated to the late composer Stephen Paulus, “a wonderful human being and music maker, who is a part of us of all, past, present, and future.” The work was commissioned by a consortium including the Maryland Symphony Orchestra. Rhapsody in Blue George Gershwin

1898-1937

The musical idiom of jazz evolved in New Orleans in the early part of the twentieth century from ragtime and the blues. The origin of the term jazz is obscure, but it first appeared in print in 1913 in a San Francisco newspaper, in reference to enthusiasm at a baseball game. The application of the term to a specific style of music occurred during World War I. It was in Europe, however, where American dance bands were popular, that classical composers first incorporated the new idiom into their compositions:

Claude Debussy in Golliwog’s Cakewalk (1908); Igor Stravinsky in Ragtime (1918); Maurice Ravel in the Piano Concerto in G major; and especially Darius Milhaud in the ballet La création du monde (1923). George Gershwin was the first American composer to make jazz acceptable to the American classical music audience. The son of poor Jewish immigrants in lower Manhattan, he was a natural-born pianist and left school at 16 to become a pianist with a Tin-Pan Alley firm, plugging their new songs. He soon commenced writing songs himself, eventually teaming up with his brother Ira as lyricist to become one

of the most successful teams of song and musical comedy writers on Broadway. They created a string of immensely successful musicals from Lady be Good in December 1924 to Let ‘em Eat Cake in October 1933. The opening night of a George Gershwin musical comedy was a social and media event with Gershwin himself usually leading the orchestra. Gershwin received the commission for an extended jazz composition from a conductor of popular music, Paul Whiteman, who promoted concerts of jazz music in New York’s Aeolian Hall. Whiteman was the self-styled “King of ISSUE TWO • 2015–2016 SEASON 29

PROGRAM NOTES GERSHWIN’S RHAPSODY IN BLUE Jazz” who attempted to make jazz more symphonic and respectable. Whiteman’s commission followed an Aeolian Hall concert in the fall of 1923, at which Gershwin had played piano arrangements of a few of his songs. Gershwin composed the Rhapsody in a mere three weeks early in 1924, in a two-piano version. Lacking the skills to orchestrate the work, he turned it over for piano and jazz orchestration to Ferde Grofé, a popular composer, pianist and arranger, who served as Whiteman’s factotum. Grofé practically lived in Gershwin’s house, orchestrating the work page-by-page as it came from the composer’s pen. He also rescored the Rhapsody two years later for full symphony orchestra. The premiere, on February 12 1924, was a smashing success. Although the critics – true to form – mostly panned it, the audience loved it. Virtually overnight, jazz became respectable. Gershwin himself played the piano part, becoming an instant celebrity. Significant credit for the success must go to Grofé’s imaginative orchestration, which has ended up as his most enduring contribution to music, along with his Grand Canyon Suite. Symphony No. 9 in E minor, Op. 95 Antonín Dvořák “From the New World” 1841-1904 Antonín Dvořák’s sojourn in the United States from 1892 to 1895 came about through the efforts of Mrs. Jeanette B. Thurber. A dedicated and idealistic proponent of an American national musical style, she underwrote and administered the first American music conservatory, the National Conservatory of Music in New York. Because of Dvořák’s popularity throughout Europe, he was Thurber’s first choice for a director. The fact that he spoke no English was of little consequence since the language of musical discourse was German. He, in turn, was probably lured to the big city so far from home by both a large salary and convictions regarding musical nationalism that paralleled Mrs. Thurber’s own. Thirty years before his arrival in New 30

York, Dvořák had read Henry Wadsworth Longfellow’s Song of Hiawatha in a Czech translation and was eager to learn more about the Native American and AfricanAmerican music, which he believed should be the basis of the American style of composition. He also shared with Mrs. Thurber the conviction that the National Conservatory should admit Negro students. One of them, Henry Burleigh, who became an important AfricanAmerican composer in his own right, is credited with exposing his teacher to African-American spirituals. While his knowledge of authentic Native American music is questionable – his exposure came through samples transcribed for him by American friends and through Buffalo Bill’s Wild West Show – he became familiar with AfricanAmerican spirituals through Burleigh, as well as indirectly via the songs of Stephen Foster. He incorporated both of these styles into the Symphony No. 9, composed while he was in New York. Just as Dvořák never quoted Bohemian folk music directly in his own nationalistic music, he did not use American themes in their entirety. Rather, with his unsurpassed gift for melody, he incorporated characteristic motives into his own themes. Nevertheless, any listener with half an ear can discern “Massa Dear” (also known as “Goin’ Home”) in the famous English horn solo in the second movement. We can deduce the importance of these musical motives from the fact that they appear as reminiscences in more than one movement, especially in the Finale. The symphony, however, is hardly an American pastiche; the second motive in the Largo movement is a phrase of wrenching musical longing that many listeners interpret as the composer’s nostalgia for his native Bohemia. The New York music critic and Dvořák’s friend, Henry Krehbiel, claimed that the movement was inspired by incidents from The Song of Hiawatha. Which incidents, however, have never been definitively determined. Krehbiel posited the scene in which Hiawatha woos Minnehaha, while others have suggested Minnehaha’s funeral. Incidentally, Dvořák had also intended to compose an opera on

ISSUE TWO • 2015–2016 SEASON

Hiawatha, which never left the drawing board. The third movement as well, in its rhythmic thumping, the pentatonic scale and the orchestration dominated by winds and percussion, is meant to portray an Indian ceremonial dance described in Longfellow’s poem. Dvorák’s symphonic use of what he believed to be an authentic Native American musical idiom may have reflected his initial ideas for the opera. One of the most important features of the Symphony is its thematic coherence. Whatever the origin of the melodies, they all have a modular characteristic in that they can be mixed and matched in many different ways. In the last movement, Dvořák brings nearly all of the Symphony’s themes together, sometimes as one long continuous melody, sometimes in contrapuntal relationship to each other. Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

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ISSUE TWO • 2015–2016 SEASON 31

Saint James School Traditional | Boarding & Day | Grades 8-12 | Co-ed

Thank You! The Maryland Symphony Orchestra wishes to thank the board and the staff of the Maryland Theatre for their partnership over the last 33 years. The MSO is looking forward to continuing to work together to bring the best of classical and popular symphonic music to the four-state area.

Theatre Staff:

w w w. s t j a m e s . e d u

Jessica Green, Executive Director Angel Myers, Operations Administrator Audreanna Colombo, Operations Assistant Mike Fletchinger, Maintenance Manager

The Maryland Theatre 21 S. Potomac Street Hagerstown, MD 21740 301-790-3500 www.MDTheatre.org

ISSUE TWO â&#x20AC;˘ 2015â&#x20AC;&#x201C;2016 SEASON

Like a single pebble in a still pond

Concerned about falling?

or a note played within a grand

Can vitamin D help?

orchestra, one person can cause

Consider STURDY

a ripple that speaks to the soul. Meritus Healthcare Foundation exists to bring hope to those in need and comfort to hurting families. Your gift today can start a ripple that penetrates lives. You may not know who you are helping... a neighbor, co-worker, church member or even a family member.

STURDY is a research program to find out if vitamin D pills will help prevent falls.

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Do a deed of simple kindness, though its

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end you may not see;

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Are you age 70 or older?

Beyond the floors, wings and offices. Look at the person.

widening ripples,

Are you afraid of falling or have you had a fall in the past year?

LISTEN CLOSER

down a long eternity.

LOOK DEEPER

To the laughter, the tears and the footsteps. Everyone has a story.

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MAKE A DIFFERENCE

Make a stranger’s day better. Walk in someone else’s shoes.

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Program conducted at Johns Hopkins University in Hagerstown, MD Principal Investigator: Lawrence J. Appel, MD, MPH Protocol # IRB00063914

Approved April 27, 2015

T H E M A RY L A N D SYMPHONY ORCHESTRA B OA R D O F D I R E C TO R S AND FRIENDS OF THE MSO

Cordially Invite You TO T H E

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ISSUE TWO • 2015–2016 SEASON 33

Music expresses that which cannot be said and on which it is impossible to be silent.

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ISSUE TWO • 2015–2016 SEASON

SPECIAL EVENTS

The Texas Tenors Presented by:

With Special Guests, The Texas Tenors Marcus Collins JC Fisher John Hagen

SATURDAY, MAY 7, 2016 8:00 PM

MARYLAND SYMPHONY ORCHESTRA Elizabeth Schulze, Music Director Thirty-Fourth Season, 2015-2016

THE TEXAS TENORS Intermission THE TEXAS TENORS

The classicly-trained trio performs a blend of gospel, country, classical and Broadway music, all with a country charm. As finalists on NBC’s “America’s Got Talent”, they won the hearts of millions of fans and became the highest ranking vocal group in the history of the show.

Additional Sponsors:

Ted & Sandy Reeder

The Maryland Symphony Orchestra is proud to be a resident ensemble of the historic Maryland Theatre. Photography, video and sound recording are not permitted in the concert hall. Please take note of the nearest emergency exit. In the event of an emergency walk calmly to the exit, do not run.

ISSUE TWO • 2015–2016 SEASON 35

BIOGRAPHY THE TEXAS TENORS before sailing the high seas abroad over 75 cruise ships worldwide with his one man show. This allowed JC to create a program with many different genres of music and world class arrangements which eventually led to his idea of forming The Texas Tenors with his two best friends. His most valuable performance though turned out to be from college where he found the young woman who would become his wife. Jennifer Vannatta, Miss Kansas 1998, married JC in 2004. They have three children: Jackson, Jenson, and Jennings.

MARCUS COLLINS

L-R: Marcus Collins, JC Fisher, and John Hagan

JOHN HAGEN John has been described as “astonishing… a superb tenor of deep musicality” making his Lincoln Center debut in New York City in Teatro Grattacielo’s mounting of Mascagni’s Gulglielmo Ratcliff. Mr. Hagen created 3 tenor roles in the world premiere of The Lost Dauphane for Pamiro Opera airing on PBS. John has performed a vast array of operatic roles ranging from Alfredo in La Traviata to the title role of Otello for Cleveland Opera on tour. His favorite Broadway roles include Billy Bigelow in Carousel and Che in Evita. John has received many awards and accolades throughout his career including finalist in the New Jersey Opera Association of Verismo Opera competition held at Carnegie Hall, Metropolitan Opera Auditions Regional Finalist, and winner of numerous competitions mounted by the National Association of Teachers of Singing. Mr. Hagen is highly regarded for his performances of Verdi’s Requiem and Beethoven’s Symphony No. 9 performing these works with more than a dozen 36

orchestras including the Austin, Corpus Christi, Omaha, Cedar Rapids Symphony Orchestras, the Nebraska Chamber Orchestra, and the Haverford Chorale in Philadelphia to name a few. John has taught voice and vocal pedagogy at Wartburg College and at his alma mater, the University of Northern Iowa.

JC FISHER JC has entertained audiences around the world for the past 15 years. In high school he had a passion for sports and also enjoyed singing in church. He discovered a deeper love of singing at Wichita State University where he earned his bachelor’s degree in music. JC performed various roles including Rodolfo in La Boheme, Tamino in The Magic Flute, Ernesto in Don Pasquale, and Henrick in A Little Night Music and even Miss America’s duet partner at the 1997 Miss Kansas Pageant. After college, JC traveled to Lucca, Italy where he sang in the Puccini festival under the direction of acclaimed Italian Maestro Lorenzo Malfatti. He then created a home base in Katy, TX

ISSUE TWO • 2015–2016 SEASON

Marcus was born in a small town and began to sing at the age of 4. He first learned how to sing by emulating his favorite radio artists like Garth Brooks and George Michael before training classically in college. Along with numerous talent shows, fairs, and cruise ships, Marcus has also performed in New York City with the cast of Hairspray, Off-Broadway’s Altar Boyz as Matthew, Joseph and the Amazing Technicolor Dreamcoat, and as Jinx in Forever Plaid. Beyond music he has worked extensively as an actor with appearances in over 100 episodes of network television, 25 films, and numerous commercials including P.S. I Love You, Across The Universe, 30 Rock, Terminator: The Sarah Conner Chronicles, Sex and the City, recurring roles on One Life To Live and As The World Turns, and the lead character in the video game Alone in the Dark. Marcus is proud to bring a contemporary element to The Texas Tenors and would like to thank everyone who voted for the group, America’s Got Talent, and his family for their love and support.

MARYLAND SYMPHONY ORCHESTRA 2015-2016 Season

Kinder Konzert Series

N W O T S R E AG

visi t

nty, md u o c n o ingt & wash

February 18 BRASS QUINTET 9:30 AM, 10:45 AM, & NOON March 3 PERCUSSION TRIO 9:30 AM, 10:45 AM, & NOON April 14 SMITHSBURG HIGH SCHOOL ORCHESTRA “Children’s Songs and Sing Along” 9:30 AM, 10:45 AM & NOON May 19 WILLIAMSPORT HIGH SCHOOL CHOIR 9:30 AM, 10:45 AM, & NOON All concerts in this series will take place at the Kepler Theater on the campus of Hagerstown Community College. The Kepler Theater is located at 11400 Robinwood Drive, Hagerstown, MD 21741. The 2015-2016 Season Kinder Konzerts Series is made possible through grants provided by: The Mary K. Bowman Historical & Fine Arts Fund, A Fund of the Community Foundation of Washington County MD, Inc., Target, Washington County Arts Council, Washington County Gaming Commission, Washington County, MD through Washington County Community Organization Funding, and an in-kind contribution from Hagerstown Community College through hosting this series in the college’s Kepler Theater.

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Your donation to the MSO helps to make the music possible. Visit marylandsymphony.org and make your gift today! ISSUE TWO • 2015–2016 SEASON 37

Friends of the Symphony The following includes individuals, businesses, foundations and organizations that contributed to the Annual Fund Campaign or made other contributions during the MSO’s 33rd Annual Season (July 1, 2014 thru June 30, 2015). Bolded listings indicate contributors who increased their contribution by 10% or more in comparison to the previous season. INDIVIDUAL PLATINUM BATON ($7,500 & ABOVE) Dr. & Mrs. Robert K. Hobbs Dr. & Mrs. George E. Manger Jim & Georgia Pierné William G. Pitzer Mrs. Theron Rinehart In memory of Theron Rinehart The Betsy Russell Fund for New Music Dr. & Mrs. Hugh J. Talton, In memory of Brooks M. Talton, Sr. INDIVIDUAL GOLD BATON ($5,000 TO $7,499) Jo Ann Bousum, In loving memory of Derwood B. Bousum William B. & Sylvia A. Hunsberger Florence M. Murdock Samuel G. Reel, Jr. Jim & Darlene Stojak INDIVIDUAL SILVER BATON ($3,000 TO $4,999) The Honorable & Mrs. W. Kennedy Boone, III Brendan & Katie Fitzsimmons The Howard Garret Endowment Fund for the Maryland Symphony Orchestra Barbara & Tom Henderson Jim & Mindy Marsden Drs. Tara A. Rumbarger & James A. Schiro Don & Paula Trumble Mike & Marlene Young & Family Waltersdorf Family Donor Advised Fund By John G. Waltersdorf, Roberta Waltersdorf and Margaret Waltersdorf INDIVIDUAL CONDUCTOR’S CIRCLE ($1,250 TO $2,999) Dr. & Mrs. Michael Anderson Dr. Michael & Sybil Attardi Teresa & John Barr Scott and Kim Bowen Dr. & Mrs. J. Emmet Burke Janice & Robert Cirincione Dr. & Mrs. Allen Ditto

April L. Dowler & John W. League James Ivan Dwyer Patricia F. Enders Mr. & Mrs. John F. Erath The Anne E. Garrett Endowment Fund for the Maryland Symphony Orchestra Dr. Catherine Gira Nancy & George Glen Jay & Roberta Greenberg H. Gerald & Jane S. Guyton Dr. Karen & Dr. Scott Hamilton Steve & Linda Hood Dr. & Mrs. John H. Hornbaker Howard and Anne Kaylor Mr. & Mrs. Robert M. Kerstein Drs. Nicholas & Jody Long Dr. & Mrs. Ira S. Lourie Brian A. Lynch William & Gaye McGovern Paul and Harriet Muldowney George & Nancy Mulholland John & Kim Newby Dori & Jim Nipps Dr. & Mrs. Neil O’Malley Nicholas Orfan, M.D. Drs. Mary E. Money & Paul C. Waldman Dr. & Mrs. Andrew J. Oh R. Kathleen Perini Edward and Barbara Peters Dr. Roberta Rothen Elizabeth Schulze Dr. & Mrs. Gary W. Smith David & Suzanne Solberg Dr. & Mrs. William Su John & Margaret Waltersdorf Family Endowment for the Maryland Symphony Orchestra Howard N. Weeks, M.D. Julie & Clayton Wilcox, Ed. D., Washington County Public Schools Mr. & Mrs. William P. Young INDIVIDUAL PATRONS ($500 TO $1,249) Jack Anderson & Cheryl ParrottAnderson Anonymous Thomas J. Arenobine, In loving memory of Wilda R. Gift

ISSUE TWO • 2015–2016 SEASON

Deborah & Gary Bockrath Mr. and Mrs. Howard “Blackie” Bowen Ron Bowers & Angel Myers Mr. & Mrs. William Breichner Anthony W. Buechner Jason and Dadra Call Mr. and Mrs. Frank D. Carden Debbie and Todd Cornell Wayne and Paula Dennis Doris B. Dillon Andrew C. Durham John and Lois Easton Mr. & Mrs. Franklin P. Erck, III Mrs. H. William Fiedler, Jr. John & Carol Ford Francis E. Gift, In memory of Judith Myerly Dr. Catherine Gira Raychel Harvey-Jones Dr. & Mrs. Eldon Hawbaker Gary & Iris Heichel C. William Hetzer, Jr. Mr and Mrs. James N. Holzapfel Jim & Denise Houghton Susan Anne Ingerman & Arlene Siegelman, In honor of Elizabeth Schulze Willa Weller Kaal Mr. & Mrs. George Kalin Clyde & Judy Kernek Mr. & Mrs. Richard L. Kipe Judith Kline Doris E. Lehman Reverend George Limmer Mr. & Mrs. Edward H. Lough Henry and Mary McKinney Theresa T. Michel Leslie Mills Ella C. Mose Rev. Kevin & Dr. Margaret Munroe Varner “Pat” Paddack Kim Reno Sigrid & Curt Reynolds Erica & Patrick J. Saccoia, Jr. Dr. & Mrs. Ronald F. Schultz Greg & Ruthann Snook Bob & Millie Steinke Dr. & Mrs. Thomas M. Tarpley John & Yvonne Thomson John and Lois Unger

Sandy & Bob Wantz, In memory of Gary Wantz Tinker & Pat Williamson Susan Wert & Vicki Willman, In memory of our parents; Charles & Helen Wert and Glenn R. Willman INDIVIDUAL BENEFACTORS ($250 TO $499) Bill and Pat Abeles William T. Alexander Helen R. Beair Pieter & Stephanie Bickford Mr. & Mrs. Lester L. Burger, Jr. Dr. Katie Carr & Mr. Ned Taylor Jeff Cline Frederic & Anne D’Alauro Dr. & Mrs. Breese Dickinson Nancy Dunn The Reverend Dr. D. Stuart Dunnan Wm. & Elizabeth Edwards John “Jay” Frantz Adna & Janet Fulton Dan Greenwald Mr. & Mrs. David W. Hamstead Tom & Gwen Hard Klaus & Becky Hein Margaret Hornbaker Ed & Kathy Hose Michael Jonnes & Barbara Blackwood Mr. & Mrs. James R. King Judith and John Lilga Tom & Ginny Lindsay Vicki L. & Peter H. Michael Michael and Rochelle Morrell Jason Nicholson William O’Toole & Catherine Bodin Dr. Jon Pike Philip Post Harry & Patricia Reynolds Bill Seabrook & Gay Ludington John & Bobbi Schnebly Ada Elizabeth Schwartz Charlotte Seibert Penelope & George Smith Darlene & Jim Stojak, In honor of Joe Tischer’s 80th Birthday! Mr. & Mrs. James W. Stone

Dr. & Mrs. Charles J. Supernavage Stanley & Freda Thawley William and Phyllis Thompson Joseph Watson Terry F. Wills & Christine Parfitt INDIVIDUAL ASSOCIATES ($100 TO $249) Dr. & Mrs. A. F. Abdullah Virginia L. Altman Anonymous Joan S. Applegate Jim & Mary Balow Dr. Bibhas Bandy Stephen W. Becker Suzanne Beckwith Victoria A. Beyer Adeline W. Bloomfield Todd & Judy Bolton Mr. & Mrs. Roy F. Bomar Scott & Kim Bowen Aileen M. Boyd Wayne Braunstein Phil Bray Mr. & Mrs. Anthony F. Britti Mr. & Mrs. William R. Brockway Sue & Jerry Brode Kathy & John Brody H. Wallace and Susan Brubaker, Jr. Barbara H. Burkhardt Bushey Enterprises Keith and Catherine Byers Violet M. Carlson In memory of Paul E. Carlson Dr. & Mrs. Samuel Chan Mary Kay Chaudrue & Charles Charpiat Charles W. Clark Mr. & Mrs. David M. Coe Gordon & Teresa Cooley Mr. & Mrs. Arthur R. Crumbacker Mary Dahbura Keith & Sandra Davis Robert and Karla Davis Bob and Deb DeGraw Larry & Cathi DeHaan Mimi Dickinson Julie G. Dorsett Richard & Kandyce Douglas Gerald & Barbara Ann Driscoll Kenneth V. Duncan Anne & Keith Dunham Kenneth Dunnan Andrew & Maria Durelli Darcé E. Easton Dr. and Mrs. Ali El-Mohandes James C. Failor Jack Farrell & Nancy Colburn Robert & Virginia Fennel Ryan M. Flurie Mr. & Mrs. Stephen C. Garlitz Carl & Rose Marie Gearhart Robert and Elizabeth George Kathryn Gift Melvin Greenwald David Gysberts Michael & Sherri Hall Laurie Harrison Randall & Joni Hartman

Jim & Wanna Lee Haught Edwin and Lucinda Hawbaker Mary Jane Hawbaker Klaus and Becky Hein Eunice Heistand Robert & Judith Hill Ski and Sheila Holm H. David House, Jr. Sara J. Hoyle Anna & Doug Hutzell Jean Y. Inaba Elizabeth Johns & Don Evason Kenneth & Susan Johnson Mr. & Mrs. Stanley D. Johnson Maurice F. Johnston Judith and Stan Jones Jill Jonnes, In memory of Marilyn Jonnes Michael Jordan Susanne & Rick Kass Jane M. Keller Karol A. Kennedy Charles R. Kershner, In memory of K. Jane R. Kershner Karlen C. Keto Laurence King Sandra King Mr. & Mrs. William King Barbara Kott Mrs. Elizabeth D. Krell Mr. & Mrs. Joseph Kroboth, III Douglas & Rebecca Lane Mr. & Mrs. Robert Larivee Duane S. Lawson, In honor of the Walter Lawson Chair Barbara K. Lawver Michelle Leveque & Patrick McFadden Mr. & Mrs. Jan. A. Liwski Sarah McColester Kathy & Wm. McKinley Regis & Rita Mahoney Al & Claudia Martin Nancy J. Martin Tom & Carol Maschal Lowell & Susan Michael C. David & Barbara L. Miller Doug & Beth Mills Evelyn Monnett Stu & Jami Mullendore Florence M. Murdock Mark & Amy Myers Ingjerd O. Omdahl William O’Toole and Catherine Bodin Tony and Jamie Paci Nicholas Palm Cherie Pedersen Paul & Sally Perryman Dr. and Mrs. W.G. Plavcan Gary & Cheryl Pryor Alan Rapoport & Donna Jennings Donald Richter and Sheila Edwards The Reverend Robert L. Regenold Rick & Kathy Robinson Susan J. Rocco Gary Rohrer Marilyn A. Ross Susan Roza

Maurice & Marie Rumbarger Pauline & Charlie Ruthrauff Albert & Janet Salter Drs. Sanicola Judith B. Sasmore Darryl Shanholtz Aileen Schulze, In memory of Earl J. Schulze Jon & Sandy Scott Bill Seabrook and Gay Ludington Dale & Carolyn Seburn Andrew A. Serafini, Jr. Brian & Kathy Shrader Dr. & Mrs. Alfred E. Smith Steve & Sheri Specht Michael & Jeanne Stoner Deborah Stotelmyer Dr. & Mrs. Robert S. Strauch Drs. Kelli & Albert Strauss Robert & Sara Sweeney Martin & Patricia Tashgy Ray Teel & Barb Lawver Darien Tillinghast Mr. & Mrs. Joseph Tischer George A. Tompkins, Jr. James D. Vaughn Daniel & Catherine Wallace Dr. David H. Wallace Susan Warrenfeltz Joyce & Rich Weaver Esther Lee Webb Monika Wertman Mary L. Wetzel Terry Wills and Christine Parfitt INDIVIDUAL FRIENDS ($50 TO $99) Robert Abdinoor, Sr. In memory of Diana Lea Lovingfoss Dominic Ambrosi & Dale Stein Anonymous Marian Auer Susan Bayer, In memory of Elizabeth Finley Vile William Beard Robert & Kathy Bell Dr. Betty L. Bitner W. Robert Bloyer Dr. & Mrs. Luke H. Brennecke Louise F. Bucco Emmet & Mary Anne Burke, In memory of Abbud S. Dahbura Steve and Kitty Chamos Jeannine & Emile Charest Mr. and Mrs. Ronald A. Cline Mr. & Mrs. Philip Cox James E. Criswell Myron and Ruth Ann Derr Mr. and Mrs. F.C. Douglas Mary Lane Edge Victoriya Eggen Eldon & Shirley Eichelberger Mandi Eichelberger Patricia F. Enders In memory of Charles Blank Ruth Ann Evans In memory of Alan Rapoport Eric Fairbanks

Lisa Fish Mr. & Mrs. Michael E. Flurie William & Carole Ford Mark & Ann Fulton Anne W. Gale Dr. & Mrs. Carl J. Galligan Michael Gehr Joseph & Wanda Gerstner Peter & Elizabeth Glase D. Marianne Gooding Jean Hamilton S. Edward & Katy Hawkins Mary & Terry Hershey Todd & Katie Hershey Ken & Marsha Higley Dr. & Mrs. Richard G. Holz Ronald Hughes and Ben Cross Mary E. Johnson Lea & Allan Judson Dorothy Kemmet Joann E. King John Klein Alina Klimova David Kline Larry Klotz Jay Koch Mr. & Mrs. Jan Kochansky Murray Labman Edward Lane Rebecca Massie Lane Betsey & Ric Lillard In honor of Judy & Allen Ditto Ida McClure Estelle M. Martin Mike & Sandy Martin John & Anne Maysak Vivian S. Michael Larry & Maryann Miller The Reverend Dr. & Mrs. Raymond T. Moreland The Reverend H. Clayton Moyer Charlotte (Sue) Nelson Mary Newby Lynda L. Palmer Donna Sue Parks Dick & Linda Paye Edward R. Plews Lou Plummer Jason Rappaport Melissa Reabold Barbara Reeder Donald Richter & Sheila Edwards Ted & Willie Rissell Mario A. Rojas Betty H. Roney In memory of William V. Roney Shirley L. Rotz James & Christina Sandeen Linne Schanzle David & Candi Seay Jon & Linda Shade Win & Pam Sherman Judith A. Shipley Norma L. Shrader Dr. & Mrs. Eric L. Smith Mr. & Mrs. Joseph Sokol Carol Stouffer Bill & Carolyn Suman Maria R. Theberge

ISSUE TWO • 2015–2016 SEASON 39

FRIENDS OF THE SYMPHONY Henrietta & David Tyson Frank & Annette van Hilst Mr. & Mrs. Robert E. Vidoni The Reverends F. Allan Weatherholt, Jr. & Anne O. Weatherholt Monika Wertman ME Wiseman and JB Wiseman Bill Whaley Eileen W. Wiggins David & Shanon Wolf CORPORATE PLATINUM BATON ($7,500 & ABOVE) Antietam Cable Television Antietam National Battlefield The Mary K. Bowman Historical & Fine Arts Fund, A fund of the Community Foundation of Washington County, MD Citi City of Hagerstown FirstEnergy Foundation on behalf of Potomac Edison The Alice Virginia and David W. Fletcher Foundation, Inc. Google Hagerstown Community College The Herald-Mail Company / Herald-Mail Media Jericho Productions, Inc. MHA Audio, Inc. Martin Storage Co., Inc. / Allied Van Lines Maryland State Arts Council Maryland State Highway Administration Meritus Health The PNC Foundation Potomac Edison SpringHill Suites by Marriott Hagerstown Youngblood Studios The Maryland Symphony Orchestra Waltersdorf Henson Endowment Fund Washington County Board of County Commissioners CORPORATE GOLD BATON ($5,000 TO $7,499) Electromet Corporation, David McCain Ann and Gordon Getty Foundation Hagerstown-Washington County Convention and Visitors Bureau, Inc. The Hamilton Family Foundation, Inc. The M&T Charitable Foundation, Inc. Premier Catering by Bagel-Lisious Charles Schwab, T. J. Roccograndi Independent Branch Volvo CORPORATE SILVER BATON ($3,000 TO $4,999) Community Foundation of Washington County MD, Inc.

The Hershey-Fitzsimmons Group, RBC Wealth Management Mercedes-Benz of Hagerstown Parkway Neuroscience & Spine Institute Agnita M. Stine Schreiber Foundation, Inc. Washington County Gives Matching Grant Washington County Sheriff ’s Department What’s NXT, LLC CORPORATE CONDUCTOR’S CIRCLE ($1,250 TO $2,999) AC&T Co., Inc. Associated Radiologists, P.A. and Diagnostic Imaging Services, LLC Paul Crampton Contractors, Inc. Delaplaine Foundation, Inc. Ellsworth Electric, Inc. Garland E. Groh Foundation, Inc. Hill Country Kershner Sisters Foundation Leiters’ Fine Catering, Inc. Manitowoc Crane Marshfield Associates Mercersburg Printing Middletown Valley Bank Northwestern Mutual, Edward H. Lough Outdoor Express RV Rider Jet Center The Rotary Club of Hagerstown Charitable Foundation, Inc. Schmankerl Stube Bavarian Restaurant Sharrett Auto Stores Susquehanna Bank Target Tiger’s Eye Benefits Consulting, Ted & Sandy Reeder Younger Motorcars Washington County Arts Council Washington County Gaming Commission CORPORATE PATRONS ($500 TO $1,249) American Legion Clopper-Michael Post No. 10 American Legion Auxiliary Unit # 10 Sons of the American Legion Squadron #10 The Beachley Foundation, Inc. The Blue Goose Fresh Market & Bakery Bulls & Bears, Bowman Hospitality Jone L. Bowman Foundation, Inc. Michael G. Callas Charitable Trust DSL Sound, Inc. Dick’s Sporting Goods Ewing Oil Co., Inc. Exchange Club of Antietam Fountain Head Country Club Holzapfel Group Wells Fargo Advisors Innovative Incorporated The Jewelry Shop Leitersburg Cinemas

ISSUE TWO • 2015–2016 SEASON

David Lyles Developers, Ltd. Plamondon Hospitality Partner Road Runner Services, LLC The Rotary Club of Hagerstown Charitable Foundation, Inc. The Rotary Club of Hagerstown Contributions Committee The Rotary Club of Long Meadows Foundation, Inc. Saul Ewing LLP Sheetz, Inc. Albert E. & Naomi B. Sinnisen Foundation Tri-State Tennis Association, Inc. Wantz Distributors, Inc. Washington County Free Library Wolf Furniture CORPORATE BENEFACTORS ($250 TO $499) 28 South The John Allison Public House by Flannery’s Amica Companies Foundation Antietam Tree & Turf Bank of Charles Town R. Bruce Carson Jewelers Center for Joint Surgery & Sports Medicine Charity Grow Colonial Jewelers Eastcoast Hardwood Veneers, Inc. Hagerstown Publishing, LLC Hagerstown REACT C-22 Hub City Inflatables Huckleberry Fine Arts Lyles Farms MSB Architects Connie Manger, Realtor, Berkshire Hathaway Home Service Bowen PNC Bank Phoenix Color Corporation Podiatry Associates of Hagerstown, PA Railey Mountain Lake Vacations The Rhubarb House Simplicity Salon & Spa Wish Kitchens and Baths CORPORATE ASSOCIATES ($100 TO $249) Aqua 103 B.P. Lesky Distributing, Inc. Bikle’s Snow, Skate, Surf Shop Bushey Enterprises County Commuter Craig, Friedly, Potter & Moore Insurance Agency Howard’s Art Supplies & Frames of Hagerstown The Inn at Antietam Maidstone Interior Design Services The Maryland Theatre Ridgerunner Publishing Roostervane Gardens Sagittarious Salon & Spa The Savage River Lodge, Mike & Jan Russell-Dreisbach Smith Elliott Kearns & Co. Snavely’s Garden Corner, Inc.

The Maryland Theatre TKO Designs Jewelry CORPORATE FRIENDS ($50 TO $99) Baltimore Orioles Basket Full of Gifts Bee’s Creations The Boutique, LLC Crystal Grottoes Caverns Dan’s Restaurant & Tap House Hearty Pet Inner Beauty Krumpe’s Do-Nut Shop LJ’s & The Kat Lounge Lovell’s Nursery, Inc. MailChimp Music & Arts RoosterMoon Coffeehouse Schula’s Grill & Crab House Sushi Palax Japanese & Chinese Cuisine Note: While we make every effort to be accurate and thorough, it is possible that we may have accidentally omitted or misspelled a name. Please contact us at 301.797.4000 with any additions or corrections. Only contributions of $50 or more are recognized.

DID YOU KNOW…?

contemporaryamericantheaterfestival AT SHEPHERD UNIVERSITY

• Over 300 students attend Masterworks Series concerts each season through the MSO Free Student Ticket Initiative. • Over 350 single tickets are provided to 8 community social services organizations to attend Matinee Masterworks Series concerts each season through the generosity of our Angel Ticket Program supporters. • The MSO supports the regional community events of over 34 nonprofits each season providing in excess of $6,000 in gift certificates and single tickets to Masterworks Series concerts.

SEASON 26: JULY 8 - 31, 2016 FIVE NEW AMERICAN PLAYS IN ROTATING REPERTORY

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CATF.ORG 888/999-2283

TENNIS TOURNAMENT

June 11 & 12, 2016

SAVE THE DATE At Saint James School Hagerstown, MD

to benefit The MSO

Player registration is available by calling the MSO office at 301.797.4000 or online at www.marylandsymphony.org ISSUE TWO • 2015–2016 SEASON 41

FRIENDS OF THE SYMPHONY THE MARYLAND SYMPHONY ORCHESTRA

ENDOWMENT FUND & HERITAGE ENDOWERS’ SOCIETY The MSO’s commitment to artistic excellence is well-known, but such a commitment depends on the generosity of communityminded individuals and organizations who gladly shoulder the responsibility of promoting, preserving and supporting the Symphony’s mission. Many MSO patrons have demonstrated this kind of strong personal commitment to our artistic, educational and community-based initiatives through contributions to the MSO Endowment Fund. However, the need for additional endowment support remains. Continuing to build the MSO’s endowment ensures the Symphony’s continued quality and stability. To recognize contributors of estate planning gifts such as bequests, trusts, charitable gift annuities or insurance policies, the Maryland Symphony Orchestra provides membership in the Heritage Endowers’ Society. Members of the Society are extraordinary contributors, demonstrating their devotion to symphonic music and the MSO thereby guaranteeing the future of both. Estate planning is often put off until sometime “in the future.” Through careful planning today members of the Heritage Endowers’ Society have the satisfaction of knowing that their own interests and wishes have helped to shape the MSO’s future, and that tomorrow’s audiences will benefit from today’s generosity. Contributions to the MSO Endowment Fund, as are all gifts to the MSO, are tax-deductible as allowed by federal law. We invite you to make a contribution to the MSO Endowment Fund or become a member of the Heritage Endowers’ Society by including a provision for the Maryland Symphony Orchestra in your estate plan. Please visit with your financial or legal advisors or call the MSO’s Director of Development Vicki Willman at 301-797-4000 for more information.

Invest in the future of your orchestra. The returns are immeasurable!

Maryland Symphony Orchestra Endowment Fund For contributions through June 30, 2015.

DISTINGUISHED ENDOWERS ($100,000 and over) The Estate of Alberta G. Alcorn Mr. & Mrs. Bennett Rubin Doris H. Thompson The Estate of Jay L. Troxell The John M. Waltersdorf Family Washington County Board of County Commissioners PRINCIPAL ENDOWERS ($50,000 to $99,999) The State of Maryland USF & G Foundation, Inc. PRIME ENDOWERS ($25,000 to $49,999) First National Bank of Maryland The Estate of Florence Hill Graff Mr. & Mrs. Jerry E. Massey Mr. & Mrs. Dominick J. Perini Mr. & Mrs. Charles L. Pitzer Mrs. Agnita M. Schreiber Susquehanna Bank (formerly Farmers & Merchants Bank & Trust)

MAJOR ENDOWERS ($10,000 TO $24,999) The Honorable & Mrs. W. Kennedy Boone, III C&P Telephone Company of Maryland Ewing Oil Company Hagerstown Trust Company C. William Hetzer, Inc. Harvey H. Heyser, Jr. The Marion I. & Henry J. Knott Foundation John H. Hornbaker, Jr., M.D. The Estate of Mr. & Mrs. John V. Jamison, III Maryland Metals, Inc. Maryland National Foundation, Inc. Maryland Symphony Orchestra Guild Mr. & Mrs. Spence W. Perry Jim & Georgia Pierné Rust-Oleum Corporation James Schurz Mrs. Dorothy Slocum Webster Mr. & Mrs. William P. Young, Jr.

ISSUE TWO • 2015–2016 SEASON

SPECIAL ENDOWERS ($5,000 TO $9,999) Dr. and Mrs. A. F. Abdullah Mr. & Mrs. John M. Baer Mr. & Mrs. Allen J. Clopper Conservit, Inc. Coopers & Lybrand The Samuel Freeman Charitable Trust Grove Worldwide Dr. & Mrs. Robert K. Hobbs Mr. & Mrs. Robert T. Kenney Mr. & Mrs. James E. Marsden Leslie W. Mills Dr. & Mrs. Robert Nitzell Samuel G. Reel, Jr. William J. & Selina A. Reuter Dr. & Mrs. Joel L. Rosenthal Sovran Bank / Nations Bank Mr. & Mrs. Joseph C. Tischer Mrs. Mary B. Welty PATRON ENDOWERS ($1,000 TO $4,999) Dr. & Mrs. A.F. Abdullah Mr. & Mrs. Jack B. Byers Hermione H. Brewer Michael G. Callas Dr. & Mrs. Jack Carey

Mrs. David Cushwa, III Mary & Bud Dahbura Deloitte & Touche Dr. & Mrs. Breese Dickinson Mr. & Mrs. Merle Elliott Mrs. Patricia Enders Mr. & Mrs. Franklin P. Erck, III G.A. Stewart Enterprises, Inc. Dr. & Mrs. Carl J. Galligan Mr. & Mrs. William H. Gelbach, Jr. Mrs. Lucinda S. Grunberg Mr. & Mrs. Donald R. Harsh, Jr. Mr. & Mrs. John Hershey, Jr. IBM Corporation Mr. & Mrs. Howard S. Kaylor Renee & Fred Kramer Dr. & Mrs. Edward M. Macon Mr. & Mrs. J. Alvin Massey Mrs. Victor D. Miller The Noxell Foundation, Inc. Packaging Services of Maryland, Inc. Mrs. Theron Rinehart In memory of Theron Rinehart Pearl & Odell H. Rosen Mr. & Mrs. Ralph L. Sharrett Statton Furniture Manufacturing Co. Mr. & Mrs. Ronald Z. Sulchek Mrs. Agnes Supernavage Mr. & Mrs. Barry Tuckwell

MSO ENDOWMENT FUND & HERITAGE ENDOWERS’ SOCIETY Bruce Van Wyk Venice Inn Mr & Mrs. Robert A. Wantz Weinberg & Green Dr. & Mrs. Howard N. Weeks Captain J. Maury Werth Mr. & Mrs. Richard T. Whisner ASSOCIATE ENDOWERS (under $1,000) Mrs. Jack Beachley Mrs. Sara Bock Dr. Edward W. Ditto, III Mr. & Mrs. Frank D. Carden, Jr. Toni & Lee Crawford Dr. Robert L. Josephs Morton & Sophia Macht Foundation, Inc. Maryland Symphony Orchestra Guild In memory of Rosemary G. Vocke by Peter & Kathleen Clouthier Volvo (formerly Mack Trucks, Inc.) Paul C. & Margaret K. Massey Children (Curt, Jerry, Judy and Alvin) In memory of Ralph Sharrett Mr. & Mrs. Richard Meyer

HERITAGE ENDOWERS’ SOCIETY (For Donors who wish to make gifts or pledges through estate planning; such as insurance policies, wills or trusts) Mr. & Mrs. Edward L. Hose Mr. & Mrs. John V. Jamison, III Mr. & Mrs. James E. Marsden Mr. & Mrs. Alan J. Noia Dr. & Mrs. Carl D. Pedersen Mr. & Mrs. Spence W. Perry Mr. & Mrs. James G. Pierné Mrs. Theron Rinehart Dr. & Mrs. Hugh J. Talton Doris H. Thompson Mr. & Mrs. Joseph C. Tischer

Angel Ticket Contributors MSO Angels have purchased gift tickets for members of community organizations who otherwise might not be able to attend concerts. Joan S. Applegate Helen R. Beair Mr. & Mrs. Anthony F. Britti Louise F. Bucco Charles W. Clark Larry & Cathi DeHaan Mrs. Patricia F. Enders, In memory of Charles Blank Anne W. Gale Dr. Catherine Gira Elizabeth Johns & Don Evason Mr. & Mrs. George Kalin Mr. & Mrs. James R. King Mrs. Elizabeth D. Krell Mr. & Mrs. Robert Larivee Doris E. Lehman Judith & John Lilga Mr. & Mrs. Jan A. Liwski Mr. & Mrs. Edward H. Lough

Ella C. Mose William O’Toole & Catherine Bodin Kim Reno The Rotary Club of Long Meadows Foundation, Inc. Dr. & Mrs. Alfred E. Smith Ida Smith Ray Teel & Barb Lawver Dr. David H. Wallace Tinker & Pat Williamson

Through remembering the MSO in their estate plan Hugh & Marty have given the gift of music to future generations

Planned gifts to the Maryland Symphony Orchestra allow donors the unique opportunity to significantly impact the orchestra they love; ensuring concert performances and music education programs in our community for years to come – all while enjoying numerous tax advantages and other benefits.

Photo: Youngblood Studios

Talk to your legal or financial advisor, or contact MSO Director of Development Vicki Willman, 301.797.4000

Dr. & Mrs. Hugh J. Talton MSO Heritage Endowers’ Society Members

www.marylandsymphony.org ISSUE TWO • 2015–2016 SEASON 43

Acknowledgements

The Maryland Symphony Orchestra’s Board of Directors, Staff and Musicians gratefully acknowledge the donation of services and assistance from the following individuals and organizations. SALUTE TO INDEPENDENCE AC&T Co., Inc. Atlantic Coast Charters Antietam Cable Television, Inc. Antietam National Battlefield (ANB) Antietam National Battlefield Volunteers Bay Fireworks Pieter Bickford Board of County Commissioners Washington County, MD Robert Aubry Davis Ellsworth Electric, Inc. Exchange Club of Antietam Brendan D. Fitzsimmons Friends of the MSO Hagerstown-Washington County Convention and Visitors Bureau, Inc. Herald-Mail Media Jericho Productions, Inc. Thomas Jones, Chief, Division of Visitor and Resource Protection, ANB James Kessler Leiters’ Fine Catering, Inc. Lost Creek Motorsports MHA Audio, Inc. Manitowoc Cranes Martin Storage Co. Maryland Correctional Training Center Maryland National Guard Salute Battery Maryland State Highway Administration MSO Stage Crew: Dwayne Bovey, Ronald Scott & Steven Tyler Stephen Miles National Park Service Rangers, Staff & Volunteers Outdoor Express RV Plamondon Enterprises, Inc. T/A

Roy Rogers Restaurant PNC Potomac Edison Sharpsburg Area Emergency Medical Services (CO-19) Sharpsburg Volunteer Fire Company (CO-1) SpringHill Suites by Marriott, Hagerstown Ted’s Rent It Center Susan Trail, Superintendent, ANB Rob Tudor United Rentals, Frederick Wantz Distributors, Inc. Washington County Board of Education Washington County Commuter Washington County Sheriff ’s Office WHAG-TV Dr. Clayton Wilcox, Superintendent WCPS Youngblood Studios MASTERWORKS & SPECIAL CONCERTS Citi Eastcoast Hardwood Veneers, Inc. Patricia F. Enders Frederick Community College Friends of the MSO MHA Audio, Inc. Maryland Theatre Maryland Theatre Ushers Omega Media Washington County Museum of Fine Arts Weill Music Institute, Carnegie Hall EDUCATIONAL PROGRAMS Allegany Arts Council Barbara Ingram School for the Arts Board of Education of Washington County

Friends of the MSO Hagerstown Community College Stephen Miles Smithsburg High School Smithsburg High School Jazz Band Smithsburg High School Orchestra South Hagerstown High School Trinity Lutheran Church Washington County Free Library John Wesley United Methodist Church Patricia Wishard OFFICE SUPPORT Friends of the MSO Impact Innovative Incorporated MEDIA SPONSORS Antietam Cable Television The Herald-Mail Company / Herald-Mail Media Main Line Broadcasting MSO EVENTS Antietam National Battlefield Bulls & Bears DSL Sound, Inc. Ellsworth Electric, Inc. Friends of the MSO Fountain Head Country Club The Gourmet Goat Marvin Hill, USTA Official Leiters’ Fine Catering, Inc. Maryland Theatre Mercedes-Benz of Hagerstown Mercersburg Printing Potomac Edison PNC Premier Catering by Bagel-Lisious Sage Dining Services at St. James School

Matt Taylor, Tennis Director, FHCC 28 South Restaurant Wantz Distributors, Inc. Washington County Free Library SEASON TICKETS SPONSORED BY Associated Radiologist, P.A. FREE STUDENT TICKETS SPONSORED BY Music Director Elizabeth Schulze, Susquehanna Bank, The Rotary Club of Hagerstown, and The Rotary Club of Long Meadows Foundation PATRON TRANSPORTATION SPONSORED BY Northwestern Mutual, Edward H. Lough MSO “OFFICIAL CAR SERVICE” Road Runner Services, LLC MSO “OFFICIAL HOTEL” SpringHill Suites by Marriott of Hagerstown Courtyard by Marriott of Hagerstown MSO “OFFICIAL MOVER” Martin Storage Co., Inc. / Allied Van Lines MSO “OFFICIAL PHOTOGRAPHER” Youngblood Studios

Honorary Board Members Dr. J. Emmet Burke Dr. Anton Dahbura April L. Dowler Frederica Erath John F. Erath Patricia F. Enders Dr. J. Ramsay Farah Donald R. Harsh, Jr. Marjorie M. Hobbs Howard S. Kaylor Dori J. Nipps Alan J. Noia Georgia Pierné

James G. Pierné Samuel G. Reel, Jr. William J. Reuter Dr. Joel L. Rosenthal Dr. Hugh J. Talton Marty Talton Cassandra Wantz Richard T. Whisner

ISSUE TWO • 2015–2016 SEASON

The Maryland Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

Applause.

Standing Ovation.

The arts are an important part of any community. Thatâ&#x20AC;&#x2122;s why Citi is a proud supporter of the Maryland Symphony Orchestra and its Youth Concerts. Thanks for giving us a reason to applaud. Bravo.

The Worldâ&#x20AC;&#x2122;s Citi

BRAVO! to the Maryland Symphony Orchestra from the Associates of Wells Fargo Advisors

Complex Manager:

Financial Advisors:

Scott Trent

James Holzapfel K. Richard Holzapfel James Sellgren

Ryan Flurie Brenda Albert William Abeles, Sr.

William Abeles, Jr. David Abeles Susan Wood

1145 Professional Court Hagerstown, Maryland 21740 (301) 733-2353 â&#x20AC;˘ (800) 388-1248 Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. ÂŠ2013 Wells Fargo Advisors, LLC 0813-00604 08/13