Program Book by Palm Beach Symphony

PALM BEACH SYMPHONY I 2023-24

MASTERWORKS MUSIC DIRECTOR GERARD SCHWARZ

Yefim Bronfman

Pinchas Zukerman Akiko Suwanai

Vladimir Feltsman

Ignat Solzhenitsyn Emanuel Ax

2 Palm Beach Symphony

THREE CENTURIES IN ART

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What’s your

why?

I WANT THE ARTS TO INSPIRE EVERY GENERATION. We all have a different “why” for being here. For us, it’s to celebrate the irreplaceable role that the performing arts play in enhancing and enriching the life of our community. That’s why we’re committed to playing our part in helping the show go on. We’re proud to support Palm Beach Symphony and all of the inspiration you bring.

Let’s talk about your why.

Contact Kelly Wathen, Sr. Vice President, Market Leader, at 561-803-9539 or kelly.wathen@pnc.com, or visit pnc.com/privatebank. The PNC Financial Services Group, Inc. (“PNC”) uses the marketing name PNC Private Bank to provide investment consulting and wealth management, fiduciary services, FDIC-insured banking products and services, and lending of funds to individual clients through PNC Bank, National Association (“PNC Bank”), which is a Member FDIC, and to provide specific fiduciary and agency services through PNC Delaware Trust Company or PNC Ohio Trust Company. PNC does not provide legal, tax, or accounting advice unless, with respect to tax advice, PNC Bank has entered into a written tax services agreement. PNC Bank is not registered as a municipal advisor under the Dodd-Frank Wall Street Reform and Consumer Protection Act. Bank deposit products and services are provided by PNC Bank, National Association, Member FDIC. “PNC Private Bank” is a service mark of The PNC Financial Services Group, Inc. Investments: Not FDIC Insured. No Bank Guarantee. May Lose Value. ©2023 The PNC Financial Services Group, Inc. All rights reserved.

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Table of Contents November 19 Yefim Bronfman, Piano Sheng I Strauss I Brahms

December 13 Akiko Suwanai, Violin Schwarz I Tchaikovsky I Dvorak

January 15 Pinchas Zukerman, Violin Hailstork I Tchaikovsky I Mozart I Sibelius

February 5 Vladimir Feltsman, Piano Zwilich I Grieg I Rimsky-Korsakov

March 6 Emanuel Ax, Piano Kernis I Mozart I Tchaikovsky

April 25 Ignat Solzhenitsyn, Piano Beethoven

Chair’s Welcome

Message from the Music Director

Symphony Mission

Chief Executive Officer’s Letter

Acknowledgements 96

Palm Beach Symphony 400 Hibiscus Street, Suite 100, West Palm Beach, FL 33401 Phone: 561.655.2657 I Box Office: 561.281.0145 @pbsymphony palmbeachsymphony.org Photo Credits IndieHouseFilms: All performance photography Capehart Photography: All social photography

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CorpGov and IPO Edge proudly support The Palm Beach Symphony on its 50th anniversary and its power to bring our community together to celebrate the performing arts. We have an equal passion for supporting growth in our financial community through journalism and curated events that connect institutional investors, leading companies and trusted advisors from both Palm Beach and around the world.

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2023-24

CALENDAR OF EVENTS Young Friends Season Opening Cocktail Reception Thursday, October 5, 2023 at 6:00pm The Colony Hotel

Young Friends Seaside Social Cocktail Party Friday, January 19, 2024 at 6pm Private residence in West Palm Beach

Dale A. McNulty Children’s Concert Series: The Carnival of More Animals Wednesday, October 4, 2023 at 9:30am and 11:15am, Dolly Hand Cultural Center Friday, October 6, 2023 at 10:30am, Kravis Center for the Performing Arts Saturday, October 7, 2023 at 3:00pm, Eissey Campus Theatre

Masterworks Concert #4 Monday, February 5, 2024 at 7:30pm Kravis Center for the Performing Arts

Pre-Holly Jolly Gift Gathering Party Wednesday, October 25, 2023 at 5:30pm Swoozie’s Downtown at the Gardens Prelude Society & Young Friends Benzaiten Event Thursday, November 9, 2023 at 6:30pm The Benzaiten Center for Creative Arts Season Kick-Off Party Monday, November 13, 2023 at 6:00pm Club Colette, Palm Beach Young Friends Instrument Donation Drive Thursday, November 16, 2023 at 6:00pm The Ben West Palm Beach Masterworks Concert #1 Sunday, November 19, 2023 at 3:00pm Kravis Center for the Performing Arts Seventh Annual Holly Jolly Symphony Fête Tuesday, December 5, 2023 at 10:30am Cohen Pavilion, Kravis Center for the Performing Arts Masterworks Concert #2 Wednesday, December 13, 2023 at 7:30pm Kravis Center for the Performing Arts 50th Anniversary Gala Kick-Off Reception (Invitation Only) Thursday, January 4, 2024 at 6pm Findlay Galleries Masterworks Concert #3 Monday, January 15, 2024 at 7:30pm Kravis Center for the Performing Arts

Prelude Society: Curated Classics Thursday, February 8, 2024 at 6:00pm The Ben West Palm Beach Orchestra Outreach: Indian River Symphonic Association Sunday, March 3, 2024 at 7:30pm Community Church of Vero Beach Masterworks Concert #5 & 50th Anniversary Gala Wednesday, March 6, 2024 5:30pm Gala Cocktails 7:00pm Concert 8:00pm Gala Dinner and Dance Kravis Center for the Performing Arts Swings for Strings Golf Invitational Friday, March 15, 2024 at 11:00am Wellington National Golf Club Orchestra Outreach: Lady in Red Life Gala Sunday, March 17, 2024 at 5:45pm Breakers Palm Beach/Venetian Ballroom Orchestra Outreach: Brooke USA, An Evening of Divertimentos and Dressage Thursday, Mardh 21, 2024 at 7:30pm Vinceremos Therapeutic Riding Sunset Dinner Cruise on “Catalina” (Invitation Only) Wednesday, April 3, 2024 at 6:45pm Riviera Beach Marina Pre-Holly Jolly Gift Gathering Party Friday, April 12, 2024 at 5:30pm Palm Beach Symphony Offices Masterworks Concert #6 Thursday, April 25, 2024 at 7:30pm Kravis Center for the Performing Arts

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BOARD OF DIRECTORS

James R. Borynack Chair

Richard Brekus Vice Chair

John D. Herrick Treasurer

Manley Thaler Secretary

Laurie Bay Director

Cathleen Black Director

Nannette Cassidy Director

Amy Collins Director

Todd Dahlstrom Director

Paul Goldner Director

Carol S. Hays Director

Gary Lachman Director

Marietta Muiña McNulty Director

Karen Rogers Director

Don Thompson Director palmbeachsymphony.org

PALM BEACH

NEW YORK

HAMPTONS

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CHAIR’S WELCOME

elcome to Palm Beach Symphony’s 50th Anniversary Season. As we celebrate this monumental year, I am excited to present a season that promises to be a celebration of music’s ability to engage, educate, and entertain us all. Maestro Gerard Schwarz has meticulously curated a series of performances that showcase the exceptional talent of our orchestra, guest artists, and collaborators. From timeless classics to contemporary works, the 50th Anniversary Season will offer a diverse array of musical experiences that cater to a wide range of tastes and preferences. As always, education and community engagement remain at the heart of our mission. We will continue to engage with local schools, community centers, and aspiring young musicians through our outreach programs, as well as our Dale A. McNulty Children’s Concert Series that reaches the hearts of many young children in our community. The Symphony’s commitment to nurturing the next generation of artists and fostering a love for music within our community is unwavering. Of course, none of this would be possible without the generous support of our patrons, donors, and sponsors. Your dedication to the arts enables us to bring world-class music to the Palm Beaches and make a lasting impact on our cultural landscape. We invite you to join us on this exciting journey as we embark on celebrating our Golden Anniversary. On behalf of the board of directors, thank you for joining us. Please enjoy the concert, which I feel sure we will remember for many years to come.

James R. Borynack Chair

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MESSAGE FROM

GERARD SCHWARZ

elcome to the 50th anniversary season of our great orchestra. It is a remarkable accomplishment to be 50 years old as an arts organization and this speaks to the vibrancy of the artistic community in Palm Beach. We at the Palm Beach Symphony are so proud to be a part of our artistic community. For this season, I have tried to offer something very special on each program in terms of looking to our future. Nothing speaks to this more than new works. Yes, we have a remarkable history of great music to choose from, but we also have a responsibility to help that great cannon continue to grow. We are so grateful to Paul du Quenoy, Ambassador Bonnie McElveen-Hunter and Don and Mary Thompson for helping us commission Ellen Zwilich, Aaron Kernis, Bright Sheng and myself to celebrate this important anniversary. When preparing a season, I look to bring the greatest soloists possible to our stage. In recent years we have been very fortunate presenting memorable performances by many great artists. This season is no different with some of the most extraordinary soloists appearing before the public today joining us. Yefim Bronfman, Akiko Suwanai, Pinchas Zukerman, Emanuel Ax, Vladimir Feltsman and Ignat Solzhenitsyn are each long-time dear friends of mine, and it gives me such joy to bring them to Palm Beach. Of course, the major works on each program represent some of the greatest music ever written by Strauss, Suite from Der Rosenkavalier, Sibelius, Symphony No. 2, Dvorak, New World Symphony, Rimsky-Korsakov, Scheherazade, Tchaikovsky, Symphony No.4, and to end the season, a performance of Beethoven’s 9th Symphony celebrating the 200th anniversary of its premiere. I am so looking forward to sharing all of this great music with you, performed by our magnificent orchestra in the wonderful Kravis Center. I have always felt that you, the audience, next to the music itself, is the most important contributor to the success of any program. Thank you for being part of the Palm Beach Symphony family.

Gerard Schwarz

Music Director

palmbeachsymphony.org

We’re setting the stage for a better tomorrow The arts help us build rich, vibrant communities. That’s why we’re pleased to sponsor the Palm Beach Symphony, which showcases the best and brightest in our community’s music scene. Gina Sabean, Managing Director 561-461-5147 | gina.sabean2@cibc.com Learn more at cibc.com/US

MUSIC DIRECTOR

GERARD SCHWARZ

nternationally recognized for his moving performances, innovative programming, and extensive catalog of recordings, American conductor Gerard Schwarz serves as Music Director of the Palm Beach Symphony, All-Star Orchestra, Eastern Music Festival, and Mozart Orchestra of New York, and is Conductor Laureate of the Seattle Symphony Orchestra and Conductor Emeritus of the Mostly Mozart Festival. He is Distinguished Professor of Music; Conducting and Orchestral Studies of the Frost School of Music at the University of Miami and Music Director of the Frost Symphony Orchestra. His considerable discography of over 350 albums showcases his collaborations with some of the world’s greatest orchestras including The Philadelphia Orchestra, London Symphony Orchestra, Berlin Radio Symphony Orchestra, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony Orchestra among others. In 2017, The Gerard Schwarz Collection, a 30-CD box set of previously unreleased or limited release works spanning his entire recording career was released by Naxos. Schwarz began his professional career as co-principal trumpet of the New York Philharmonic and has held Music Director positions with the Mostly Mozart Festival, Royal Liverpool Philharmonic, Los Angeles Chamber Orchestra and New York Chamber Symphony. As a guest conductor, he has worked with many of the world’s finest orchestras and has led the San Francisco, Washington National and Seattle Opera companies, among others. He is also a gifted composer and arranger with an extensive catalogue of works that have been premiered by ensembles across the United States, Europe and Korea. Schwarz is a renowned interpreter of 19th century German, Austrian and Russian repertoire in addition to his noted work with contemporary American composers. With more than 300 world premieres to his credit, Schwarz has always felt strongly about commissioning and performing new music. He completed his final season as Music Director of the Seattle Symphony in 2011 after an acclaimed 26 years – a period of dramatic artistic growth for the ensemble. In his five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades. Over the years, he has received nine Emmy Awards, 14 GRAMMY nominations, eight ASCAP Awards, the Ditson Conductor’s Award, and numerous Stereo Review and Ovation Awards. He was the first American named Conductor of the Year by Musical America and has received numerous honorary doctorates. The City of Seattle named the street alongside the Benaroya Hall “Gerard Schwarz Place” in his honor. His memoir, Behind the Baton, was released by Amadeus Press in March 2017. Music Director position underwritten by the Leonard and Norma Klorfine Foundation

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ASSISTANT CONDUCTORS Yun Cao, Chinese-American conductor and pianist, was appointed assistant conductor of Palm Beach Symphony starting the 2022-2023 season. He is recognized for his musical versatility, energetic presence, and compelling musicianship. From classical concerts to opera and musical theater productions, his diverse musical palette has led him to Carnegie Hall, the Kennedy Center, Severance Hall, Chicago Symphony Hall, the Lincoln Center, and major concert halls in Asia and Europe. A strong advocate for music education, Yun is the Resident Conductor of the Aurora School of Music. He has also served in active conducting roles with university orchestras across Florida and Ohio. As a pianist, he has played keyboards with the Cleveland Orchestra, solos in concerto performances across the nation, conducts from the harpsichord, and is an avid chamber musician. Yun has received mentorship from renowned conductors including Gerard Schwarz, Larry Rachleff, Don Schleicher, and Miguel Harth-Bedoya. www.yunxcao.com Matthew Cooperman is a conductor, composer, and educator originally from Columbus, Ohio. Prior to his current role with Palm Beach Symphony, Mr. Cooperman’s previous positions included Music Director of the East Central Indiana Chamber Orchestra, Assistant Conductor of the Muncie Symphony Orchestra, Co-Conductor of the Youth Symphony Orchestras of East Central Indiana, and Director of Orchestras at Brazoswood High School (TX). Mr. Cooperman made his debut with Florida Grand Opera serving as Chorus Master for their 2021-2022 season production of Rigoletto. In 2019 he made his international debut in Russia with the Youth Symphony Orchestra of Saint-Petersburg, and previously conducted the Eastern Festival Orchestra and the Oregon Bach Festival Baroque Orchestra and Chorus. As a composer, he was fortunate to study composition with respected American composer Donald Harris, and previously attended the Young Composer’s Program at the Cleveland Institute of Music. Kyle Elgarten proudly serves as an Assistant Conductor and Orchestra Librarian for Palm Beach Symphony, enjoying a multifaceted career as a musician, administrator and educator. He previously served as the Associate Conductor of the Frost Symphony Orchestra and a Conducting Scholar at the Eastern Music Festival. Passionate about education, Elgarten serves as an Adjunct Instructor of Music at Westminster Christian School in Palmetto Bay, FL. At WCS, he conducts ensembles and teaches group classes in trumpet and improvisation. Elgarten also serves as an artistic coordinator for the Adams Theatre in Adams, MA where he works with community organizers to craft an artistic vision for a theatre opening in 2023. Elgarten holds a Masters of Music in Orchestra Conducting and a Bachelor of Music in Trumpet Performance from the Frost School of Music. His teachers include Gerard Schwarz, Miguel Harth-Bedoya, Craig Morris, and Brian Lynch. palmbeachsymphony.org

HISTORY & MISSION Palm Beach Symphony is South Florida’s premier orchestra known for its diverse repertoire and commitment to the community. Founded in 1974, this 501(c)(3) nonprofit arts organization adheres to a mission of engaging, educating, and entertaining the greater community of the Palm Beaches through live performances of inspiring orchestral music. The orchestra, led by its Music Director and internationally recognized conductor Gerard Schwarz, is celebrated for delivering spirited performances by first-rate musicians and distinguished guest artists. Recognized by The Cultural Council for Palm Beach County with a 2020 Muse Award for Outstanding Community Engagement, Palm Beach Symphony continues to expand its education and community outreach programs with children’s concerts, student coaching sessions, masterclasses, instrument donations and free public concerts that have reached more than 64,000 students in recent years.

History: In our earliest days, the orchestra performed only a few concerts a year with a part-time conductor and a volunteer staff. It was not until Mrs. Ethel S. Stone became the Symphony’s board chair, a position she held for 23 years, that the Palm Beach Symphony orchestra began establishing itself as a cultural force in the community. A visionary leader, Mrs. Stone inherited her love of music from her family and generously shared it with the community she loved. During her tenure, a number of well-known musicians served in leadership roles including Karl Karapetian, John Iuele, Kenneth Schermerhorn, Stewart Kershaw, David Gray, Ulf Bjorlin, and John Covelli. Upon Mrs. Stone’s death on August 6, 1996, John and Joan Tighe stepped in to continue her legacy. They established a stable board of directors, a dedicated administrative staff, and a small endowment fund to ensure the Symphony’s continued growth. Musicians who led the orchestra during the Tighes’ tenure were Alan Kogosowski, Vladimir Ponkin, Sergiu Schwartz, Ray Robinson, and Donald Oglesby.

Today: From our humble beginnings, Palm Beach Symphony has grown to become a cultural pillar in the Palm Beach community. Now a key cultural force in the area, we attract members who enjoy pairing quality concerts with fine dining experiences and social events, and who value and support the symphony’s music education and community outreach programs. In 2019, as the Symphony entered its 45th season, we moved our operations across the bridge from Palm Beach (where we’d operated since 1974) to West Palm Beach, allowing us space to realize our full potential by expanding our mission and reaching even more corners of the community with orchestral music. By integrating with the rich fabric of the Downtown West Palm Beach business district, we’re able to align with countless economic development and tourism assets to enrich the lives of families, businesses, residents, students, and tourists. Through important collaborations with our valued community partners – the Palm Beach School District, the Related Group, the Cultural Council, the Downtown Development Authority, and the West Palm Beach Arts and Entertainment District, to name just a few – we’re continuing to grow our mission and expand our reach in Palm Beach County and beyond, bringing classical music to people of all ages, backgrounds, and life experiences.

18 Palm Beach Symphony

CHIEF EXECUTIVE

OFFICER’S LETTER

elcome to Palm Beach Symphony’s 50th Anniversary Season. Fifty years ago, our musical journey began with a dream, a melody, and an unwavering commitment to the power of music to touch hearts and souls. Today, we proudly celebrate our 50th anniversary season, a testament to five decades of dedication, passion, and artistry. As we step into a new chapter, it is my honor to introduce you to the wonderfully curated 2023-2024 season. This season represents not just a collection of concerts, but a celebration of resilience, unity, and the unbreakable bond between music and our hearts. The arts have always been a source of solace, inspiration, and joy. Our upcoming season embodies these ideals thanks to the brilliant Maestro Gerard Schwarz. Each concert brings together a rich tapestry of performances that will touch your soul, ignite your imagination, and leave you with lasting memories. This season, we also emphasize the significance of connection and community. Through our collaborative efforts, we aim to bring the transformative power of music to a wider audience. Our outreach programs will continue to inspire young minds, providing them with the opportunity to discover the magic of music and shape their artistic journeys. None of this would be possible without the steadfast support of our patrons, donors, board, sponsors, and volunteers. Your dedication to Palm Beach Symphony is the cornerstone of our success, allowing us to bring world-class performances to our vibrant community. We invite you to join us in celebrating our Golden Anniversary Season, one that promises to be a reflection of our shared love for the arts. Our 50th anniversary is not just a milestone; it’s a stepping stone towards the next 50 years of musical excellence. We will continue to engage, educate, and entertain our community through the universal language of music. Thank you for your continued support and enjoy this spectacular season.

David McClymont

Chief Executive Officer

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Bill Bone & Chris Larmoyeux help injured people get their lives back together.

C E L E B R AT I N G T H E FIRST 50 SYMPHONIC YEARS

Music is enough for a lifetime, but a lifetime is not enough for music. Sergei Rachmaninoff (at age ten)

C The law firm of Larmoyeux & Bone exclusively represents victims of automobile negligence, medical malpractice, product liability and other claims involving serious injury or death. Chris Larmoyeux and Bill Bone are specialists in civil trial law as certified by the Florida Bar. The firm is located downtown at CityPlace, 550 South Quadrille Boulevard, Suite 200, West Palm Beach, Florida 33401. Tel: {561} 832-9400 www.LB-LAW.com

PLANNED GIVING

LEAVE A MUSICAL LEGACY Palm Beach Symphony is deeply grateful to those who remember us through bequests or planned gifts. There are many ways to make a planned gift to the Symphony. Depending on your age, your income and assets and your vision of giving, you may wish to consider: • Beneficiary Designations under Retirement Plan Assets [401(k), 403(b), IRA] • Bequests via Will or Living Trust • Cash

• Charitable Lead Trusts • Charitable Remainder Trusts • Gift Annuities • Life Insurance • Pledges

Your planned gift will help ensure the Symphony’s bright future by: • Keeping classical music thriving by supporting our world-class musicians and critically acclaimed conductor.

• Building a cultural community by helping us make classical music accessible to all through free outreach events.

• Allowing thousands of local students to be instructed and inspired by our concerts and education programs.

The Dora Bak Society The Dora Bak Society recognizes the dedication and generosity of music patrons who choose to include Palm Beach Symphony in their bequests or other long-range charitable giving plans. The Society offers a wonderful way to help sustain the Symphony’s mission for generations to come. Dora Bak Society members are acknowledged in a variety of ways, including presence on all printed donor lists and other naming opportunities that will carry the donor’s name into perpetuity.

Contact Us When you’re ready to learn more about bequest opportunities that benefit Palm Beach Symphony, please contact David McClymont at 561-655-2657.

palmbeachsymphony.org

ORCHESTRA & STAFF ORCHESTRA Violin I

Evija Ozolins, Concertmaster     Marina Lenau^ Glenn Basham# Avi Nagin^ Michelle Skinner Svetlana Salminen   Monica Cheveresan   Claudia Cagnassone   Rosie Weiss Orlando Forte    Yuhao Zhou Yue Yang Dina Bikzhanova Alexandra Gorski Rich Amoroso Alfredo Oliva   Valentin Mansurov+ Marcia Littley^ Adrienne Williams Sergio Carleo Anne Chicheportiche   Eliot Roske Evgeniya Antonyan Madison Ryan Patrisa Tomassini    Morena Kalziqi Angela Fiedler Adriana Fernandez

Viola

Chauncey Patterson* Yael Hyken^ Felicia Besan   Angela Kratchmer Ethan Durell Hilary Gamble Taylor Shea Ben Freedman Rosa Ortega Colin Priller Samuel Dionisio Daniel Guevara

22 Palm Beach Symphony

Cello   Claudio Jaffé* Jason Calloway^   Brent Charran    German Marcano Aziz Sapaev   Tadeo Hermida Emily Yoshimoto Megan Savage Niloufar Nabikhani     Bass

Juan Carlos Peña*   Brian Myhr^ Benjamin Joella Peter Savage Santiago Olaguibel Amy Nickler Will Penn

Flute

Nadine Asin* Dmytro Gnativ

Flute/Piccolo Joseph Monticello    Oboe   James Riggs* Karen Trujillo

ENGLISH HORN Antonio Urrutia

Clarinet

Ashley Leigh*   Julian Santacoloma

Bass Clarinet Molly Flax

Bassoon   Gabriel Beavers* Carlos Felipe Viña Contra-Bassoon Melanie Ferrabone

French Horn

Richard Todd*   Michelle Haim Bruce Heim Caiti Beth McKinney Marlena DeStefano

Trumpet

Craig Morris*    Katie Mae Hillstrom Terri Rauschenbach

Trombone

Domingo Pagliuca*   Salvador Saez    Kenton Campbell

Bass Trombone Andre Prouty

Tuba   Kevin Ildefonso*     Timpani

Lucas Sanchez*

Percussion

Scott Crawford * Guillermo Ospina Isaac Fernandez Hernandez Karli Viña    Harp    Laura Sherman* Morgan Short

Piano    Valeria Polunina * principal    ^ assistant principal + principal second # associate

STAFF David McClymont

Chief Executive Officer

Jason Barroncini

Production Coordinator

Kyle Elgarten

Music Librarian

Elena Ernay

Staff Accountant & Full Charge Bookkeeper

Renée LaBonte

Community Advancement Coordinator

Sage Lehman

Patron Relations Concierge

May Bell Lin

Membership Director

Madison Mirra

Marketing & Development Assistant

Alfredo Oliva

Orchestra Contractor Miami Symphonic Entertainment, Inc.

Felix Rivera

Patron Advancement Coordinator

Hulya Selcuk

Director of Special Events

Bryce Seliger

Education & Programming Associate

Olga M. Vazquez

Director of Artistic Operations

Principal Chairs Sponsored by: Karen & Kenneth* Rogers, horn The Lachman Family Foundation, viola Leslie Rogers Blum, cello Carol and Thomas Bruce, oboe Norman and Susan Oblon, clarinet palmbeachsymphony.org

PRINCIPAL MUSICIANS Alfredo Oliva is the Orchestra Contractor for Palm Beach Symphony. A New York City native, he grew up in Hialeah, and his first performances at age 17 included working with Frank Sinatra, Sammy Davis Jr., Bing Crosby, Ray Charles, Barry White, Smoky Robinson and Burt Bacharach. The concertmaster of many Broadway shows, he has played in nearly every major classical ensemble in South Florida. Oliva has collaborated with hundreds of award-winning recording artists, including Gloria Estefan (Grammy® nominated album The Standards), Natalie Cole (Grammy nominated album, Natalie Cole En Español), Barry Gibb (In the Now), Michael Jackson (“Heaven Can Wait” and “Whatever Happens” from Invincible), Placido Domingo, Barbra Streisand, The Bee Gees, Julio Iglesias, Celia Cruz (“Yo Viviré” from Siempre Viviré), Alejandro Sanz (El Alma Al Aire, MTV America Latina), José Feliciano (Señor Bolero), Vic Damone, Jennifer Lopez, Shakira, Jon Secada, Enrique Iglesias, Busta Rhymes with Stevie Wonder (“Been Through the Storm” from The Big Bang), Marc Anthony and Ricky Martin (Ricky Martin MTV Unplugged). Since 2007, Oliva’s orchestras have been performing at the Adrienne Arsht Center and other South Florida concert venues as members of the Florida Grand Opera Orchestra as well as the Palm Beach Symphony and recently performed the incredible movie experience Harry Potter and the Chamber of Secrets™ in Concert! Evija Ozolins is the Concertmaster for Palm Beach Symphony and the Florida Grand Opera. She is also a member of the All-Star Orchestra and the acclaimed Bergonzi String Quartet. Born in Riga, Latvia, she is a third-generation musician in a family of professional musicians and began playing the piano at the age of four and violin one year later. After participating in numerous competitions, solo recitals and chamber music performances throughout Latvia and Europe in her teens, she was accepted at the Mannes College of Music in New York City where she studied with renowned violinists Aaron Rosand and David Nadien and played under conductors Kurt Masur, James Levine, Leonard Slatkin, and Yehudi Menuhin. She has given solo recitals in many U.S. cities, including Carnegie’s Weill Recital Hall in Manhattan, as well as in Canada, the Caribbean, and Europe. Ozolins has premiered multiple contemporary chamber music and solo violin works such as Imants Mezaraups Short Suite for violin solo and electronic sound. She has served as Concertmaster for Camerata NY, Jupiter Symphony and the Carnegie Hall concert series of the New England Symphonic Ensemble. She has also served as Principal 2nd Violin with the Binghamton Philharmonic and, for several years, was a member of the Jupiter Symphony under conductor Jens Nygaard. Having recorded as a soloist with Maureen McGovern, Lee Leesack, and Brian Lane Green, her name also appears on movie soundtracks and commercial recordings, including releases with Barry Gibb, Natalie Cole and Gloria Estefan. She performs in numerous Broadway shows, including Motown, Little Mermaid, Camelot, Lion King, My Fair Lady, Color Purple and Phantom of the Opera on Broadway. Recently, she performed palmbeachsymphony.org

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PRINCIPAL MUSICIANS

Mendelssohn’s E Minor Violin Concerto and the Beethoven Two Romances for violin and orchestra in New York City. Ozolins plays on a 1782 Antonio Gragnani violin. Valentin Mansurov is Principal Second Violin for Palm Beach Symphony. An award-winning musician who has won multiple competitions in the former U.S.S.R, Canada, and the United States, Mansurov has performed in solo recitals and chamber music concerts throughout Europe, North America and South America. In addition to his Palm Beach Symphony performances, both orchestral and chamber, he performs locally as a member of the Florida Grand Opera Orchestra. In 2015, Mansurov became a member of the critically acclaimed Delray String Quartet, performing in concerts nationwide. He began studying violin at the age of seven at Uspenskiy’s School for Musically Gifted Children in Uzbekistan and has pursued further college degrees in Turkey, France, Canada and the United States. Chauncey Patterson is Principal Viola for Palm Beach Symphony and Florida Grand Opera, violist for Bergonzi String Quartet at University of Miami, Assistant Principal Violist of The Eastern Music Festival summer program and Associate Professor of Chamber Music at Lynn Conservatory of Music. He has been principal violist of the Denver and Buffalo Symphonies, interim violist of the Fine Arts Quartet and, for 15 years, violist of the renowned and extensively recorded Miami String Quartet. Patterson’s faculty affiliations include: The Cleveland Institute of Music, Blossom School of Music, Kent State University, Hartt School of Music, Encore School for Strings, Eastern Music Festival, University of Charleston (WV), University of Denver, New World School of the Arts, FIU and The University of Wisconsin at Milwaukee. He attended The University of North Carolina at Chapel Hill, the Cleveland Institute of Music and The Curtis Institute. Claudio Jaffé is Principal Cello for Palm Beach Symphony and Florida Grand Opera Orchestra, as well as cellist for the Delray String Quartet. He made his orchestral debut at the age of 11, performing a concerto written specifically for him. Trained as a solo cellist, Jaffé received four degrees from Yale University, including Doctor of Musical Arts. A prizewinner in numerous national and international competitions, he has performed in prestigious concert halls around the world. As an educator, he served as Dean of the Lynn University Conservatory of Music and created their Preparatory Division. He began the Strings Program at Saint Andrew’s School in Boca Raton and has been resident conductor of the Florida Youth Orchestra for over 20 years and currently serves as its Music Director. Jaffé performs regularly at the Sunflower and Buzzards Bay Music Festivals and is currently teaching at Palm Beach Atlantic University.

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PRINCIPAL MUSICIANS

Juan Carlos Peña is Principal Double Bass for both Palm Beach Symphony and the Florida Grand Opera Orchestra and performs regularly with the Naples Philharmonic Orchestra. Born in Honduras, he studied at the Victoriano Lopez School of Music. In Honduras, he was Artistic/Technical Director for the Victoriano López School of Music and Music Director of the San Pedro Sula. In Colombia, he was director of the Chamber Orchestra of the Antonio Valencia Conservatory, and in Spain, he was Music Director of the Madrigalia Chamber Choir. Other credits include: Principal Double Bass and soloist with the Orquesta Sinfónica Nacional (Honduras) and Orquesta Sinfónica del Valle (Colombia), co-principal double bass with Orquesta Sinfónica de Galicia (Spain), conductor of the Symphony Orchestra of the Escuela Nacional de Música (Honduras), and bass instructor and soloist at Soli Deo Gloria Music Camp (Dominican Republic). Nadine Asin is Principal Flute for Palm Beach Symphony and maintains a busy career since leaving her full-time position with the Metropolitan Opera Orchestra after a 20-year tenure. She performs as principal flutist of the Florida Grand Opera Orchestra and with the new All-Star Orchestra (a recent PBS series). Asin has performed with the New York Philharmonic, Great Performers Series of Lincoln Center, Chamber Music Society of Lincoln Center, Da Camera Society of Houston, NPR’s Performance Today, Seattle Chamber Music Society, the Norton Museum and the Musimelange series. She commissioned, performed and recorded the world premiere of Augusta Read Thomas’s flute concerto, Enchanted Orbits, and David Schiff’s After Hours for flute and piano, and recorded Aaron Avshalomov’s Flute Concerto on the Naxos label. She serves on the faculty of the Bard College Conservatory of Music and as adjunct faculty at The Juilliard School. James Riggs is Principal Oboe for Palm Beach Symphony and the Florida Grand Opera orchestra. As an orchestral musician, he has performed with the Metropolitan Opera, the New Jersey Symphony Orchestra, was an oboe fellow of the New World Symphony in Miami, and he is the former principal oboist of the Peoria Symphony. As a chamber musician, he was the oboe fellow for Ensemble Connect, a group based at Carnegie Hall, and has played throughout the US and Latin America. James has been featured as guest artist and teacher at colleges and festivals in Brazil, Colombia, Cuba, as well as the US. In his free time, he likes reading and training Gracie jiu-jitsu.

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PRINCIPAL MUSICIANS

Ashley R Leigh joins the Palm Beach Symphony as Principal Clarinet this year. During her tenure, she served as Assistant Principal, Second, and Eb Clarinet with the Naples Philharmonic for seventeen years. Additionally, Leigh has performed with the Florida Orchestra, the Atlanta Symphony Orchestra, the National Orchestral Institute, the Round Top Festival Institute, Musica Riva Festival (Italy), and the Tanglewood Festival. Gabriel Beavers is Principal Bassoon for Palm Beach Symphony and the Associate Professor of Bassoon at the University of Miami Frost School of Music. Prior to joining the faculty at Frost, he served on the faculty of the Louisiana State University School of Music. He is also a member of the Nu-Deco ensemble and serves as 2nd bassoonist in the Music in the Mountains Festival Orchestra in Durango, CO. Formerly a fellow with the New World Symphony, he has also served as Principal Bassoon with the Virginia Symphony, Acting Principal Bassoon with the Malaysian Philharmonic Orchestra and the Jacksonville Symphony and as Acting Second Bassoon with the Milwaukee Symphony for one season. Beavers has also previously held the position of Visiting Assistant Professor at the University of Missouri-Columbia School of Music. In addition to his orchestral activities, he has an active schedule of solo and chamber performances. He has appeared as a soloist with the Virginia Symphony, Baton Rouge Symphony, Henry Mancini Institute Orchestra, Greater Miami Symphonic Band and Louisiana Sinfonietta and has given recitals throughout the United States and at international wind and double reed festivals in England, Brazil and Japan. Beavers also has recorded two well-reviewed solo albums, “A Quirky Dream” and “Gordon Jacob: Music for Bassoon” both of which are available on Mark Records. Richard Todd’s is Principal French Horn for Palm Beach Symphony. His career can best be described as unparalleled. He has been soloist at Carnegie Hall, the Hollywood Bowl, the Sydney Opera House, and Walt Disney Concert Hall, among his many appearances. A graduate of USC as a student of Waldemar Linder and the legendary Vincent DeRosa, Todd was also a student at the Music Academy of The West and at Tanglewood, where he met the great Gunther Schuller, who was later to become his mentor and record producer. Todd’s professional career began at age 21 as a member of the Utah Symphony. At age 22 he became principal horn of the New Orleans Symphony, and at age 24 he won the Medaille d’Or at the Toulon International Competition. Todd then moved back to Los Angeles and began working in the famous LA film studios. Todd joined the Frost School in 2009 and has grown his studio consistently since his arrival. He has dozens of former students enjoying careers as orchestra performers, freelance artists, studio musicians, artistic administrators, and instructors at major institutions such as UCLA and USC. Todd is a Buffet Artist for Hans Hoyer Horns and is developing his own line of signature mouthpieces with the Osmun Music company.

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PRINCIPAL MUSICIANS

Craig Morris is Principal Trumpet for Palm Beach Symphony. He is a Grammy nominated trumpet soloist and a versatile performer comfortable in all genres of music from Baroque to Contemporary. Regarded as a leading proponent for new music and original programming, Morris received a 2019 Grammy Nomination in the Best Classical Instrumental Solo category for his album Three Pieces in the Shape of a Square, released on Bridge Records and featuring the music of Philip Glass. Morris has also been featured as a soloist with ensembles and festivals around the world, including appearances with the Cabrillo Festival of Contemporary Music, the Chicago Symphony Orchestra, the San Francisco Symphony, Palm Beach Symphony and the Miami Bach Society to name a few. Prior to his work as a soloist, Morris first gained an international reputation by being appointed Principal Trumpet of the Chicago Symphony Orchestra by music director Daniel Barenboim, following the legendary Adolph “Bud” Herseth in that chair. Currently based in Miami, Florida, Craig Morris is the Trumpet Professor at the Frost School of Music at the University of Miami. He has been a Yamaha Artist since 2015. Domingo Pagliuca is Principal Trombone for Palm Beach Symphony and is a Latin Grammy Award-winning trombonist who was born in Venezuela and graduated with honors from the University of Miami with Bachelor’s and Master’s degrees in Music in Instrumental Performance. His versatility as an instrumentalist in different musical genres has led him to be one of the most in-demand musicians in Venezuela and Latin America for recording sessions and musical productions in the commercial field. He has given master classes in the continental US and all over the world, and also, he has performed as soloist in the US, Latin America and Europe. Currently, Pagliuca plays with the worldrenowned Boston Brass, is a Yamaha Artist, and serves as Principal Trombone of the Florida Grand Opera Orchestra (FGO). Kevin Ildefonso is Principal Tuba for Palm Beach Symphony and Florida Grand Opera orchestra. He has also performed with Orchid City Brass Band. Raised in Miami, he began his musical studies as a guitar player at age 11 and picked up the tuba at age 13. After receiving his Bachelor of Music degree from University of Miami, he moved to Boston to pursue his Master of Music degree at the New England Conservatory of Music. While there, he worked with several members of the Boston Symphony Orchestra and studied tuba primarily with Mike Roylance, principal tubist of the BSO. Other primary tuba teachers have included Sam Pilafian, John Olah, and Calvin Jenkins. He has performed throughout South Florida and has held teaching positions at New World School of the Arts (tuba and euphonium instructor) and Keys Gate Charter School (band director).

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PRINCIPAL MUSICIANS

Lucas Sanchez is Principal Timpani for Palm Beach Symphony and enjoys a multi-faceted career as a timpanist, percussionist and teacher. Sanchez currently performs with Florida Grand Opera, Nu Deco Ensemble and the Southwest Michigan Symphony Orchestra. Previously, he has appeared with the Houston Symphony and the Amarillo Symphony. Sanchez maintains a private percussion studio in Coral Gables, is an instructor for the Greater Miami Youth Symphony program and gives masterclasses at high schools and colleges in South Florida. After beginning his studies in Albuquerque with Douglas Cardwell, he received his undergraduate and master’s degrees from Rice University under the tutelage of Richard Brown. Sanchez is currently writing his thesis for a Doctor of Musical Arts degree from the University of Miami, studying with Matthew Strauss and Svetoslav Stoyanov. Sanchez is proudly endorsed by Pearl/Adams instruments and performs on Adams Philharmonic Dresden Classic Timpani. Scott Crawford is Principal Percussion for Palm Beach Symphony. Scott is a freelance percussionist based in Southwest Florida. He has been performing with the Palm Beach Symphony since 2011. He holds a bachelor’s degree from the University of Maryland School of Music, A Masters from Chicago College of Performing Arts and a Performers Certificate from Lynn University in Boca Raton, FL. Crawford currently performs as a Member of The Huntsville Symphony (Huntsville, AL), Palm Beach Symphony and Florida Grand Opera, and as an extra percussionist with the Naples Philharmonic, Sarasota Orchestra and Southwest Florida Symphony. When not performing on stage, he can be found in the pits of The Naples Players and TheatreZone. When not performing, Crawford owns and operates Florida’s premier drum and percussion rental business, Florida Percussion Service, providing instruments to ensembles throughout Florida and the neighboring states. Laura Sherman is Principal Harp for Palm Beach Symphony. She is a Miami-based harpist with extensive experience in classical, popular and commercial music. Currently the Lecturer of Harp, Music Theory & Chamber Music at the Frost School of Music, University of Miami, Sherman recently relocated from New York City, where she was a popular performer, teacher, writer and editor for thirty-four years, including fifteen years as the original harpist with the Broadway production of Wicked. She can also be heard on the Hamilton Broadway Cast Recording, as well as on recordings of Barbra Streisand, Meredith Monk, and numerous film scores. Sherman founded Gotham Harp Publishing in 2012, specializes in playing J.S. Bach’s music on the pedal harp, and is a frequent writer and guest editor for a number of harp publications.

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IN MEMORY OF

DALE ARCHER MCNULTY 1941-2021

With love, Marietta and sons

36 Palm Beach Symphony

PAUL & SANDRA GOLDNER

CONSERVATORY OF MUSIC

ach season our music education initiatives are expanded upon to reach more students in Palm Beach County, and in recent years, our efforts have impacted more than 70,000 students. These programs continuously evolve to deepen and extend student learning opportunities with multiple interactions that enhance learning and reinforce academic and arts concepts.

Coaching Sessions and Residencies Student musicians learn technique, tone, posture, and proper instrument position in small group settings with professional Palm Beach Symphony instrument instructors.

school sites, or as a virtual option, free of charge to Title 1 elementary, middle and high schools.

Instrumental Music Teacher of the Year We pay tribute to one special band or orchestra K-12 music teacher in Palm Beach County as the Instrumental Music Teacher of the Year with an award that includes coaching sessions by Palm Beach Symphony musicians, a classroom visit by Music Director Gerard Schwarz, Symphony concert tickets for the winner’s classes, and a basket-full of personal indulgences.

Instrument Donations and Lisa Bruna B-Major Award One to three talented student musicians will be honored with the annual Lisa Bruna B-Major Award and receive an advanced level instrument after working with the Symphony to identify, test, and select the one with which to study and launch a career. In addition, we provide the donations of orchestral instruments we receive to underserved children or school music programs.

Lecture Demonstrations and In-School Concerts Presented in a variety of small ensemble combinations, Symphony musicians perform selected works, discuss the music, the instrument, the composer, and their backgrounds and professional careers. The in-school concerts, a highly soughtafter program, provide students with the opportunity to ask questions and speak with musicians in an intimate and more personal setting. The program is offered directly to

Open Rehearsals Select members of the Symphony have the opportunity to watch a rehearsal during the year. Open Rehearsals are a behind-the-scene look into how the final product is pieced together by our Maestro and musicians.

Masterclasses A masterclass is an individual coaching session by a master musician in front of an audience, a class, or in public. Student musicians will perform a prepared piece for expert feedback on areas for improvement, including musical technique, style, interpretative qualities, presentation, and overall musicality. palmbeachsymphony.org

DALE A. MCNULTY

CHILDREN’S CONCERT SERIES

THE CARNIVAL OF more ANIMALS

This production is graciously funded in part by: Paul & Sandra Goldner Conservatory of Music McNulty Charitable Foundation Yvonne S. Boice Trust and Alfred Zucaro Walter Harper Annette Urso Rickel Foundation Eric Friedheim Foundation, Inc. Florida Power and Light Harry T. Mangurian, Jr. Foundation James H. & Marta T. Batmasian Family Foundation Maduro & Sons Foundation/ Henry van der Kwast Rachel C W Gwinn Private Foundation In partnership with Friends of Manatee Lagoon and Busch Wildlife Sanctuary.

38 Palm Beach Symphony

“The Carnival of More Animals”

is a fun and unique children’s concert performed by Palm Beach Symphony and conducted and arranged by Music Director Gerard Schwarz. Joining Palm Beach Symphony for a newly created narrator role was Forrest Galante, television star and acclaimed Forrest Galante animal conservationist, wildlife biologist, and American outdoor adventurer. Frenchman Camille Saint-Saëns (1835-1921) composed “Le Carnaval de Animaux” (The Carnival of the Animals) in 1886. While the original version is for a small orchestra featuring two pianos, Palm Beach Symphony’s arrangement included a more expansive array of instruments, providing students the awesome opportunity to see the full complement of instruments that are in a symphony orchestra.  Instead of the animals in Saint-Saëns’ original work, Palm Beach Symphony’s version incorporated over a dozen animals that live in Florida providing a fact-based educational journey with visuals of these animals projected onscreen. October 4, 2023 at 9:30am & 11:15am I Dolly Hand Cultural Arts Center October 6, 2023 at 10:30am I Kravis Center for the Performing Arts October 7, 2023 at 3:00pm I Eissey Campus Theater “The Carnival of More Animals” was professionally recorded for future television broadcasts.

Palm Beach Symphony’s television production

Eudora’s Fable:

The Shoe Bird receives two Emmy nominations

Palm Beach Symphony has been nominated for two Emmy® Awards in the Suncoast Region for its South Florida PBS broadcast of Eudora’s Fable: The Shoe Bird, originally performed in concert as part of the Symphony’s Dale A. McNulty Children’s Concert Series. In addition to its broadcasts on South Florida PBS, the concert has been seen by more than 114.7 million viewers around the U.S. since March. The program is offered for national broadcast by American Public Media through the Symphony’s partnership with South Florida PBS. Invest in the arts, our community, and future generations of classical musicians. Your contribution will help enhance and increase arts education in Palm Beach County public schools. Help the Palm Beach Symphony share the gift of music. For more information about music education sponsorship and underwriting opportunities, please contact the Palm Beach Symphony office at (561) 655-2657 or visit www.palmbeachsymphony.org/programs/education. Palm Beach Symphony’s educational outreach programs are sponsored in part by generous donations and grants from The Paul and Sandra Goldner Conservatory of Music, Frederick A. DeLuca Foundation, The McNulty Charitable Foundation, James R. Borynack and Adolfo Zaralegui / FINDLAY Galleries, Mr. William Robertson, Annette Urso Rickel Foundation, James H. and Marta T. Batmasian Family Foundation, Florida Power & Light, Edith Hall Friedheim/Eric Friedheim Foundation, Inc., Walter Harper, The Spoto Family Fund, The Harry T. Mangurian, Jr. Foundation Inc., Lois Pope, Peter and Felicia Gottsegen/The Gottsegen Family Foundation, and Yvonne S. Boice Trust and Alfred Zucaro.

PAUL AND SANDRA GOLDNER

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The Palm Beach Symphony’s newly imagined version of Sergei Prokofiev’s musical masterpiece, “Peter and the Wolf,” will be broadcasted on WPBT and WXEL in December. Catch the broadcasts during the following times:

PAUL AND SANDRA GOLDNER

Tuesday, December 12, 2023 at 9:30pm on WPBT Thursday, December 14, 2023 at 8:00pm on WXEL Friday, December 22, 2023 at 10:30pm on WPBT Sunday, December 24, 2023 at 12:00pm on WXEL

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COMMUNITY OUTREACH

alm Beach Symphony provides impactful outreach programs that allow us to reach beyond our concert venue to engage members of the community. Our community outreach events serve as the cornerstone of our efforts to reach Palm Beach County’s broad and diverse community which together with our educational initiatives enabled us to be recognized by The Cultural Council for Palm Beach County with a 2020 Muse Award for Outstanding Community Engagement.

Randolph A. Frank Prize The mission of the Randolph A. Frank Prize for the Performing Arts is to recognize and reward individual performing artists and dedicated educators who enrich the quality of the performing arts in Palm Beach County, Florida.

Chamber Chats Palm Beach Symphony presents lively chamber music concerts enhanced by enlightening narration by local musicians, historians, and scholars. These informative and engaging chamber music programs provide both entertainment and learning experiences for audiences of all ages.

Middle Bridge Trio The Middle Bridge Trio combines the worlds of European classical string playing and American fiddle music to create an intoxicating blend of concert hall and barn dance.

Musical Masterpieces Through our Musical Masterpieces project, we work with diverse populations all over the community, children and adults, to turn unusable donated instruments into works of art. Palm Beach Symphony has recently partnered with aZul and local artist Craig McInnis from The Peach to help individuals with disabilities to create imaginative works of art.

Cox Science Center and Aquarium Partnership Palm Beach Symphony continues to partner with the Cox Science Center and Aquarium located in West Palm Beach. Symphony musicians will present short STEAM (science, technology, engineering, art, and math) lessons and work with children on fun and engaging activities centered around the intersection of science and music. We will provide performances and 3 STEAM sessions throughout the 2023-24 season.

palmbeachsymphony.org

GALA HONORARY CHAIRS

PATRICK & MILLY PARK 5 0 TH A N N I V E R S A R Y C H A I R S A N D G A L A C H A I R S

CATHIE BLACK & TOM HARVEY

SPONSORED BY: James R. Borynack and Adolfo Zaralegui/FINDLAY Galleries Addison Hines Charitable Trust Patrick and Milly Park/The Park Foundation

50th ANNIVERSARY CHAIRS AND GALA CHAIRS

It is with immense pride and gratitude that we welcome you to Palm Beach Symphony’s 50th Anniversary Season. As chairs of this milestone celebration, we are thrilled to share a season filled with an exceptional array of performances that reflect our enduring commitment to musical excellence and community engagement. As we reflect on our rich history and look forward to the future, we are inspired by the unwavering support of our patrons and the remarkable dedication of our artists and volunteers. We invite you to join us in this commemorative season of reflection, appreciation, and the shared love for the timeless beauty of orchestral music.

Cathie Black and Tom Harvey

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Members of the Impresario Society play a leading role in Palm Beach Symphony’s efforts to deliver spirited Masterworks concerts with the finest musicians in South Florida and distinguished world-class guest artists. As part of the Impresario Society, members enjoy our most world-class benefits, including: • Invitation to major donor dinner • One-of-a-kind keepsake signed by a guest artist • Backstage pass for you after a concert • Exquisite post-concert dining experiences • Recognition • … and much more Memberships are offered at a variety of levels starting at $15,000 and include a variety of benefits that can be tailored to your needs. If you are interested in becoming an Impresario member, contact CEO David McClymont at (561) 655-2657 or visit palmbeachsymphony. org/impresario.

Impresario Society

We are grateful to the 2023-24 Impresario Society members for their generous support in underwriting the concerts, guest artists, conductor, and orchestra chairs.

Grand Impresarios

James R. Borynack and Adolfo Zaralegui/ FINDLAY Galleries Thomas E. Harvey and Cathleen P. Black Foundation Leonard and Norma Klorfine Foundation Patrick and Milly Park

Associate Impresarios

Bill and Kem Frick/The Frick Foundation, Inc. John D. Herrick Charles and Ann Johnson/The C and A Johnson Family Foundation Gary and Linda Lachman/The Lachman Family Foundation Patricia Lambrecht The Honorable Ronald Rosenfeld David Schafer Dodie and Manley Thaler and the Thaler Howell Foundation

Contributing Impresarios

Cynthia Anderson and Jerome Canty Mrs. James N. Bay Alan Benaroya JoAnne Berkow Kathy Lee Bickham and John Bickham Leslie Rogers Blum Walter Harper

George and Lisa Hines The Honorable Bonnie McElveen-Hunter McNulty Charitable Foundation Nancy and Ellis J. Parker Ari Rifkin/The Len-Ari Foundation Lois Pope Karen and Kenneth* Rogers Robin B. Smith Kimberly Strauss Sieglinde Wikstrom

Assistant Impresarios

Christine and Max Ansbacher Mara and Arthur Benjamin Tina and Jeffrey Bolton Family Fund Carol and Thomas Bruce Jerome Claeys Amy and John Collins Willard and Mary Demory Willard Dow and Kelly Winter Diane and Richard Farber Cindy and Robert Friezo Gerry Gibian & Marjorie Yashar Jo and Douglas E. Gressette Irwin and Janet Gusman Henry and Elaine Kaufman Foundation, Inc. Elaine Kay Tova Leidesdorf David Moscow and Linda Klein Suzanne Mott-Dansby Dr. Martha Rodriguez and Dr. Jesus Perez-Mendez Carol and Jerome Trautschold

palmbeachsymphony.org

Sunday, November 19, 2023 3 PM Dreyfoos Hall The Kravis Center for the Performing Arts

Yefim Bronfman, Piano Gerard Schwarz, conductor Yefim Bronfman, piano Bright Sheng, composer Program Francis Scott Key The Star-Spangled Banner (1779-1843) Paul du Quenoy, conductor

Sheng Black Swan (inspired by Intermezzo Op. 118, (b. 1955) No. 2 by Johannes Brahms) Sheng Triumph of Humanity* (World Premiere) (b. 1955) R. Strauss Suite from Der Rosenkavalier, Op. 59 arr. Schwarz (1864-1949) Intermission Brahms Piano Concerto No. 2 in B-Flat Major, Op. 83 (1833-1897) I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso - Un poco più presto Yefim Bronfman, piano

*This evening was generously underwritten by Ari Rifkin/The Len-Ari Foundation. *World premiere composition commissioned by Prof. and Mrs. Paul du Quenoy, with support from the Common Sense Society and the Palm Beach Freedom Institute. *The opportunity to conduct Palm Beach Symphony was an auction item won at Palm Beach Symphony’s annual gala

48 Palm Beach Symphony

ARTIST PROFILE

YEFIM BRONFMAN Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike. Following summer festival appearances in Verbier, Israel, Aspen, Grand Tetons and Sun Valley the season begins with a European tour celebrating the auspicious 500th anniversary of the Munich Opera and Orchestra with concerts in Lucerne, Bucharest, London, Paris, Linz, Vienna and Munich. In partnership with Amsterdam’s Royal Concertgebouw Orchestra together they will visit Japan and Korea followed in the US by return engagements throughout the season with New York Philharmonic, Boston, Kansas City, National, Milwaukee, Pittsburgh, San Francisco symphonies and Minnesota Orchestra. With Munich Philharmonic and both Brahms concerti on the program he will travel to Spain and Carnegie Hall followed by European engagements with Budapest Festival Orchestra. An extensive winter/spring recital tour will begin in Ljubljana and include Milan, Berlin, Cleveland, Chicago, Vancouver, Seattle, San Francisco, Los Angeles, La Jolla and culminate in Carnegie Hall in early May. Mr. Bronfman works regularly with an illustrious group of conductors, including Daniel Barenboim, Herbert Blomstedt, Semyon Bychkov, Riccardo Chailly, Christoph von Dohnányi, Gustavo Dudamel, Charles Dutoit, Daniele Gatti, Valery Gergiev, Alan Gilbert, Vladimir Jurowski, Zubin Mehta, Riccardo Muti, Andris Nelsons, Yannick Nézet-Séguin, Sir Simon Rattle, Esa-Pekka Salonen, Jaap Van Zweden, Franz Welser-Möst, and David Zinman. Summer engagements have regularly taken him to the major festivals of Europe and the US. Always keen to explore chamber music repertoire, his partners have included Pinchas Zukerman, Martha Argerich, Magdalena Kožená, Anne-Sophie Mutter, Emmanuel Pahud and many others. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emigration to Israel at age 15. palmbeachsymphony.org

MASTERWORKS ONE

Widely praised for his solo, chamber and orchestral recordings, Mr. Bronfman has been nominated for 6 GRAMMY® Awards, winning in 1997 with Esa-Pekka Salonen and the Los Angeles Philharmonic for their recording of the three Bartok Piano Concerti. His prolific catalog of recordings includes works for two pianos by Rachmaninoff and Brahms with Emanuel Ax, the complete Prokofiev concerti with the Israel Philharmonic and Zubin Mehta, a Schubert/Mozart disc with the Zukerman Chamber Players and the soundtrack to Disney’s Fantasia 2000. His most recent CD releases are the 2014 GRAMMY® nominated Magnus Lindberg’s Piano Concerto No. 2 commissioned for him and performed by the New York Philharmonic conducted by Alan Gilbert on the Da Capo label; Tchaikovsky’s Piano Concerto No.1 with Mariss Jansons and the Bayerischer Rundfunk; a recital disc, Perspectives, complementing Mr. Bronfman’s designation as a Carnegie Hall ‘Perspectives’ artist for the 2007-08 season; and recordings of all the Beethoven piano concerti as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls Mørk, and the Tönhalle Orchestra Zürich under David Zinman for the Arte Nova/BMG label. Now available on DVD are his performances of Liszt’s second piano concerto with Franz Welser-Möst and the Vienna Philharmonic from Schoenbrunn, 2010 on Deutsche Grammophon; Beethoven’s fifth piano concerto with Andris Nelsons and the Royal Concertgebouw Orchestra from the 2011 Lucerne Festival; Rachmaninoff’s third concerto with the Berlin Philharmonic and Sir Simon Rattle on the EuroArts label and both Brahms Concerti with Franz Welser-Möst and The Cleveland Orchestra (2015). Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

COMPOSER PROFILE

BRIGHT SHENG Bright Sheng is respected as one of the leading composers of our time, whose stage, orchestral, chamber and vocal works are performed regularly by the greatest performing arts institutions throughout North America, Europe and Asia. A MacArthur fellow and proclaimed by the foundation as “an innovative composer who merges diverse musical customs in works that transcend conventional aesthetic boundaries”,

50 Palm Beach Symphony

MASTERWORKS ONE

Sheng has created an oeuvre that is not only with Asian influence but also with strong synthesis of Western musical tradition which makes his work distinctive and original. Sheng himself admits: “I consider myself both 100% American and 100% Asian.” In September of 2016, in a co-production with the Hong Kong Arts Festival, with sold-out runs at both places, the San Francisco Opera premiered Sheng’s commissioned opera Dream of The Red Chamber featuring a libretto by David Henry Hwang and Sheng, based on a beloved Chinese novel by the eighteenth century writer Cao Xueqin. In September he conducts a threecity tour of the production in China. The opera was selected as one of the finalists for the Best Premiere by the International Opera Awards in London. In summer 2022, the San Francisco Opera revived the production of Dream of the Red Chamber, a rare honor as it is the only revival of any new operas the company has ever commissioned. In addition to composing, Sheng enjoys an active career as a conductor and concert pianist, and frequently acts as music advisor and artistic director to orchestras and festivals. He is currently the Leonard Bernstein Distinguished University Professor at University of Michigan, and the Y. K. Pao Distinguished Visiting Professor at Hong Kong University of Science and Technology where, in 2011, he founded and has been serving as the Artistic Director of The Intimacy of Creativity—The Bright Sheng Partnership: Composers Meet Performers in Hong Kong. For the 2022-23 academic year, he was appointed as the Distinguished Artist-in-Residence by the New York University Shanghai for its 10 anniversary celebrations. Sheng was born on December 6th, 1955, in Shanghai, and moved to New York in 1982 where he pursued his graduate works and studied composition and conducting privately with Leonard Bernstein. Bright Sheng’s music is exclusively published by G. Schirmer, Inc. and has released eleven exclusive CDs. Please follow www.brightsheng.com

NOTES ON THE PROGRAM By Aaron Grad

Triumph of Humanity [2023] BRIGHT SHENG Born December 6, 1955 in Shanghai, China

After studying piano with his mother during his childhood in Shanghai, Bright Sheng came of age during China’s Cultural Revolution, when he was sent to a remote region bordering Tibet to spend his teenage years working with a folk music troupe. He enrolled at the Shanghai Conservatory when schools reopened, and upon finishing his undergraduate studies there he moved in 1982 to New York, where he trained under Leonard Bernstein among other mentors while earning a doctorate degree from Columbia University. As the MacArthur Foundation noted when announcing his Fellowship (i.e. “genius grant”) in 2001, Sheng is “an innovative composer whose skillful orchestrations bridge East and West, lyrical and dissonant styles, and historical and contemporary themes to create compositions that resonate with audiences around the world.” His newest work is Triumph of Humanity, co-commissioned by Palm Beach Freedom Institute, the Common Sense Society, and the palmbeachsymphony.org

SAVE THE DATE

PALM BEACH SYMPHONY SEVENTH ANNUAL HOLIDAY LUNCHEON

TUESDAY, DECEMBER 5, 2023, 10:30 AM COHEN PAVILION THE KRAVIS CENTER FOR THE PERFORMING ARTS Premier venue, champagne and cocktails, expansive in-person silent auction, glorious music, fine food, as well as presentations of donated instruments to Palm Beach County school children and the 2023 award for PALM BEACH SYMPHONY INSTRUMENTAL MUSIC TEACHER OF THE YEAR

LIZ QUIRANTES, CBS 12 NEWS ANCHOR MISTRESS OF CEREMONIES MUSIC BY

PALM BEACH SYMPHONY BRASS QUINTET In Truth Vocal Ensemble from The King’s Academy Chamber Ensemble from Lake Worth Community High School THIS FESTIVE LUNCHEON SUPPORTS THE SYMPHONY’S EDUCATIONAL INITIATIVES AND INSTRUMENT DONATION PROGRAM, BENEFITING UNDERSERVED MUSIC STUDENTS IN PALM BEACH COUNTY. ALL PROCEEDS CONTRIBUTE TO PALM BEACH SYMPHONY’S MISSION TO PROVIDE WORLD-CLASS MUSIC, COMMUNITY OUTREACH, AND MUSIC EDUCATION PROGRAMS THROUGHOUT THE PALM BEACHES.

EVENT INFORMATION www.palmbeachsymphony.org I 561.568.0265 hselcuk@palmbeachsymphony.org

MASTERWORKS ONE

Palm Beach Symphony. Within a typical instrumentation for a Western orchestra, Sheng incorporated two percussion instruments with roots in China: the flat gong known as the tamtam, and a set of small Peking cymbals associated with traditional opera performances. Starting in a slow tempo marked “Dark,” the music rises from the depths of the low strings to become heavier and more active until the brass enter decisively, playing with a rumbling “fluttertongue” articulation. In a program note, Sheng wrote that he was inspired by “living through the three-year period 2020-2022: Covid-19, war in Europe, and political tensions within the U.S. and between nations. I witnessed pretention, anger, and grief. At the same time, I also experienced true generosity and compassion, which made me believe, more than ever, that the humanity will triumph regardless.”

Suite from Der Rosenkavalier [1911] Arranged by Gerard Schwarz RICHARD STRAUSS Born June 11, 1864 in Munich, Germany Died September 8, 1949 in Garmisch-Partenkirchen, Germany

Richard Strauss, already a successful conductor and composer of orchestral tone poems, established himself as Germany’s greatest opera composer with the shocking debut of Salome in 1905. He followed up with Elektra, based on an existing play by Hugo von Hofmannsthal, and then Der Rosenkavalier (The Knight of the Rose), which Strauss and Hofmannsthal conceived together from scratch, loosely following an 18th-century story. The opera was an immediate success, rivaling even Salome; after debuting in Dresden in 1911, it reached Milan’s La Scala and Vienna’s Court Opera by the end of the year, and it opened in London’s Royal Opera House and New York’s Metropolitan Opera in 1913. This suite from Der Rosenkavalier was created by Maestro Gerard Schwarz, who filmed it with the All-Star Orchestra and recorded it with the Seattle Symphony for Naxos Records. The opening music of the suite, taken from the opera’s prelude, peaks with a braying figure from the French horns that hints at what has been transpiring in the bedroom where the opera begins. In another scene, Octavian (the young knight involved in that bedroom encounter) arrives dressed in silver and bearing a symbolic rose, as represented by a sparkling theme played by flutes, celesta, harp and violins. In Schwarz’ arrangement, instrumental soloists fill in some of the most exquisite vocal lines, like where oboe and clarinet play the parts of Sophie and Octavian recognizing their love for each other, as they both sing, “Where and when have I ever been so happy?” With sprightly comic romps, debonair waltzes, and gorgeous melodies around every corner, this suite distills the endless charms of Der Rosenkavalier into 30 minutes of orchestral confection.

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Ben VanHouten

Wishing the most successful season to Palm Beach Symphony Honoring

The Magic of Music Congratulations!

T H E L A CH M A N FA M I LY F O U N D AT I O N Milton & Roslyn Lachman Gary and Linda Lachman DI R EC TOR S

MASTERWORKS ONE

Piano Concerto No. 2 in B-flat Major, Op. 83 [1881] JOHANNES BRAHMS Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria

When Brahms was laboring over his First Piano Concerto from 1854 to 1859, he was a young and unsteady composer still reeling from the mental breakdown and death of his mentor, Robert Schumann (not to mention the romantic feelings that he developed for Schumann’s widow, Clara). When Brahms debuted that concerto, he had to suffer an audience reaction in which, as he put it, “three hands attempted to fall slowly one upon the other, at which point a quite audible hissing from all sides forbade such demonstration.” For all his promise as an orchestra composer, Brahms spent his thirties struggling to find a way forward with music for large ensembles, tripped up by his exacting standards and his reverence for music’s past titans. He finally broke through with the “Haydn” Variations for orchestra from 1873, followed by the first two symphonies in 1876 and 1877. He then made his preliminary sketches for the Second Piano Concerto during a trip to Italy in 1878, the same year he wrote the Violin Concerto for his friend Joseph Joachim. After two orchestral overtures in 1880, Brahms finally completed the Piano Concerto No. 2 in 1881. He tried out the concerto in a private reading with Hans Von Bülow and the Meiningen Court Orchestra, and then he performed the public debut in Budapest. In marked contrast to the icy hisses that greeted the First Concerto more than 20 years earlier, the public clamored to hear Brahms’ Second, and he obliged with performances in 22 different cities in a span of three months. In the Piano Concerto No. 2, Brahms dealt squarely with the burden of history that had haunted his early career, above all the looming shadow of Beethoven. The piano’s quick entrance into the concerto with free-flowing solos draws a comparison to Beethoven’s Piano Concerto No. 5 (“Emperor”), but the distinctive voice of Brahms comes through in the opening horn solo and the muscular figurations in the piano. The grand structure of this opening movement and a wealth of orchestral passages without piano establish a symphonic attitude, a tendency confirmed with the “extra” movement that follows, defying the three-movement pattern of most Classical and Romantic concertos. Hardly a “tiny, tiny wisp of a scherzo” as Brahms (facetiously) described it, the Allegro appassionato blasts through stormy exchanges in D-minor. In the Andante, the piano shares the spotlight with a solo cello playing a sweet and humble melody Brahms later saw fit to reuse in the song Immer leiser wird mein Schlummer (“My slumber grows ever more peaceful”). Letting nearly a quarter of the movement pass before entering, the piano answers with a multilayered solo that superimposes two-beat and three-beat patterns, a Brahms hallmark that generates a sense of forward propulsion and yearning. With its rondo structure and inventive permutations of a basic motive, the Allegretto grazioso finale honors the Classical concerto tradition of Mozart and Beethoven. Contrasting episodes introduce glints of the “Gypsy” music that Brahms fell in love with as a teenager. © 2023 Aaron Grad.

palmbeachsymphony.org

Wednesday, December 13, 2023 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts

Akiko Suwanai, Violin Gerard Schwarz, conductor and composer Akiko Suwanai, violin Program Schwarz (b. 1947)

Sinfonietta*

Tchaikovsky (1840-1893)

Violin Concerto in D Major, Op. 35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo

Akiko Suwanai, violin Intermission Dvořák (1841-1904)

Symphony No. 9 in E Minor, Op. 95 “From the New World” I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

*Commissioned for the Palm Beach Symphony by Don and Mary Thompson in honor of the 50th Anniversary of Palm Beach Symphony

56 Palm Beach Symphony

ARTIST PROFILE

AKIKO SUWANAI “Her big, focused, almost piercing tone took over, carving sonic space, a race car driver weaving in and out of (and even cutting off) traffic” The Washington Post Japanese violinist Akiko Suwanai has established herself as one of the most sought-after artists of her generation. Since winning the International Tchaikovsky Competition in 1990 she has enjoyed a flourishing career, performing chamber music worldwide and engaging at the highest-level with orchestras and conductors worldwide. In the 2022/23 season, Akiko toured with the Rotterdam Philharmonic/Shani and performed with the BBC Symphony Orchestra/Bringuier, Sinfonieorchester Basel/Bolton, Duisberg Philharmoniker/Bellincampi, Hong Kong Symphony Orchestra/van Zweden and National Symphony Orchestra/Märkl, to name a few. Frequently invited to chamber music festivals internationally, Akiko has long standing relationships with Martha Argerich and took part in her birthday celebrations in summer 2021 and this season performs at the Stresa Festival and the new, Far East Classical Music Festival at the House of Hungarian Music with renowned cellist, Istvan Vardai. Also a regular recitalist, performances in the 2022/23 season included dates with Ilya Rashkovsky in Taiwan, Tomoki Sakata in Japan and Evgeny Bozhanov in Duisburg. Universally acclaimed for her performances of the core violin repertoire, Akiko has recently released a new disc for Universal Japan of the Complete Sonatas and Partitas for solo violin by Bach. She is also recognized for her master interpretations of lesser performed works and passion for new music. In previous seasons she has recorded works by Takemitsu with the NHK Symphony Orchestra/Järvi for Sony and given premieres of Peter Eötvös’ Seven at the Lucerne Festival under Pierre Boulez, and in the following year at the BBC Proms conducted by Susanna Mälkki. She has also given Asian premiers of important new works including violin concertos by James MacMillan, Esa-Pekka Salonen and Krzysztof Penderecki. Highlights of her 2021/22 season included touring with the Budapest Festival Orchestra/ Fischer, as well as weeks with Tonkünstler/Märkl and Valencia Orchestra/Sung. Akiko recently palmbeachsymphony.org

ARTIST PROFILES

recorded the complete Sonatas and Partitas for solo violin by Bach for Universal, which was released in January 2022 and was followed by a six-date solo recital tour in Japan including concerts in Tokyo and Nagoya. Successes in previous seasons also include concerts with Orquesta Sinfonica del Principado de Asturias performing Ligeti’s Violin concerto, which she will revive in his anniversary year, and concerts with Hamburg Symphoniker for the reopening of the Laeiszhalle for Mozart Violin Concerto No.1 as well as performances of Beethoven’s Violin Concerto with NHK SO and Japan Philharmonic. In 2012, Akiko launched and became Artistic Director of the Tokyo based ‘International Music Festival NIPPON’ which presents a variety of orchestral and chamber concerts as well as regular commissions of new works and world premieres by Japanese and international composers. With the Festival, Akiko has premiered new works including Karol Beffa’s Violin Concerto alongside The Deutsche Kammerphilharmonie Bremen and Dai Fujikura’s PitterPatter with Boris Berezovsky. Akiko performs on the “Charles Reade” Guarneri del Gesu violin generously loaned to her by the Japanese-American collector and philanthropist, Dr. Ryuji Ueno.

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58 Palm Beach Symphony

MASTERWORKS TWO

NOTES ON THE PROGRAM By Aaron Grad

Sinfonietta [2023] GERARD SCHWARZ

For the 50th anniversary of the Palm Beach Symphony, we decided to commission five works to help celebrate this incredible milestone. Bonnie McElveen Hunter generously commissioned Ellen Zwiich, Aaron Kernis, and Joseph Schwantner. Paul DuQuenoy commissioned Bright Sheng, and Don and Mary Thompson asked me to compose an orchestral work. Don and Mary have a long and devoted history of commissioning works, often chamber music, and the results have been both excellent works and extraordinary additions to the repertoire. I was very honored to be included, especially in honor of our 50th. This Sinfonietta is dedicated to Don and Mary with admiration and respect. They requested that I write a short tone poem. Most of my music is not programmatic, but I was excited by the challenge. My intention had been to write a symphonic work, but with the programmatic elements, it is now a Sinfonietta. The work is in three movements. The first is a fanfare, the second is an arioso with a long melodic line, and the third is a rhythmically complex contrapuntal finale. The fanfare takes shape as strife among the sections of the orchestra led by four antiphonally placed trumpets. The basic material is shared with the trumpets, trombones and horns, woodwinds, strings, and percussion, each engaged in their own positions within the conflict. The second movement represents calm and beauty after the conclusion of the conflict of the first movement. This reminds us that calm and peace is always an option. In this movement, centered on the ethereal quality of the strings and winds, the orchestra timbre resonates gentleness. The last movement is a culmination of both realities. Like times of international strife, both real and emotional conflict exist, but in this piece as in life, we strive for triumphant harmony with total commitment paralleled with the entire orchestra. The piece is scored for triple winds, including piccolo, English horn, bass clarinet, and contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, plus multiple percussion, harp, and a full string compliment. By Gerard Schwarz

Violin Concerto in D Major, Op. 35 [1878] PYOTR IL’YICH TCHAIKOVSKY Born May 7, 1840 in Kamsko-Votkinsk, Russia Died November 6, 1893 in Saint Petersburg, Russia

After Tchaikovsky’s short-lived marriage and subsequent mental breakdown in 1877, a visit to Switzerland that November did wonders for his health and spirit. He returned the following March for another retreat, this time joined by Iosef Kotek, a violinist and former composition student. Together they played through major works of violin repertoire, a process that sparked in Tchaikovsky a “burning inspiration” to compose a violin concerto. palmbeachsymphony.org

MASTERWORKS TWO

It took Tchaikovsky only 25 days to complete the concerto, including the orchestration. He considered having Kotek perform the premiere, but instead chose to offer the debut to Leopold Auer, a famous Hungarian virtuoso based in Saint Petersburg. That plan went awry when Auer declared that certain passages were unplayable, forcing Tchaikovsky to cancel the scheduled premiere and look for another soloist. After the belated premiere in Vienna in 1881, it didn’t take long for serious violinists—even Auer, eventually—to find that their fingers could indeed keep up with all that passionate lyricism and fiery virtuosity, and the concerto has become a cornerstone of the repertoire. As impressive as the rapid passagework may be, it is the luscious melodies that make Tchaikovsky’s concerto a perennial favorite. The opening movement frames the violin’s seductive themes in a grand and spacious form, including a cadenza that arrives early (in the manner of Mendelssohn’s Violin Concerto) to usher in a sweet recapitulation. The second movement is a nostalgic Canzonetta, or “little song.” Tchaikovsky wrote this movement to replace a discarded version of the slow movement, which he recycled a few months later in a work for violin and piano, Souvenir d’un lieu cher (“Memory of a Dear Place”). The finale commences without a pause, launching right into a suspenseful solo cadenza. In the Allegro vivacissimo body of the movement, the violin blazes through thrilling pyrotechnics and several contrasting themes on its way to a breathless conclusion.

Symphony No. 9 in E Minor, Op. 95, From the New World [1893] ANTONÍN DVOŘÁK Born September 8, 1841 near Prague, Bohemia Died May 1, 1904 in Prague, Bohemia

Antonín Dvořák came from a small Bohemian village, where his zither-playing father was the local butcher and innkeeper. Dvořák’s first big hit was a set of Slavonic Dances that drew upon Czech folk music, and even a steady stream of masterful symphonies and chamber music scores in the Beethoven-Brahms tradition hardly dispelled the notion that he was a provincial composer. While his embrace of that local cultural identity cost him credibility within the German-speaking world, he found appreciative audiences further afield. In the 1880s, a series of visits to London made him a local hero, and in the next decade he made an even bigger impact in the New World. The job that lured Dvořák away from his beloved Czech homeland was an offer to direct the National Conservatory in New York. When he accepted in 1892, he understood that his position involved more than running a music school. He wrote to a friend, “The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short a national style of music!” Besides teaching American composers and supporting them in their efforts to bring local inspiration into their music, Dvořák infused his own compositions from that period with sounds borrowed from Native American and African-American traditions—the sources he latched onto as quintessentially “American.” His understanding of Indian culture was indirect, gleaned from his reading of Longfellow’s epic poem The Song of Hiawatha (1855) and from melodies that appeared in heavily edited songbooks published by Eurocentric scholars. Dvořák did have the benefit of more direct contact with Black music through a student at the conservatory, Harry Burleigh, a singer and composer who had learned spirituals from his grandfather, who was born enslaved.

MASTERWORKS TWO

Dvořák noted essential similarities between Native American and Black music, qualities he recognized in Scottish tunes as well. The shared trait among those styles and many other global folk traditions was the use of the pentatonic mode, as opposed to the major and minor scales of European art music. (An easy way to hear the contrast is on a piano; the black keys form a pentatonic mode, while the white keys form a major scale.) Dvořák let those folk influences filter through the symphony that he composed in New York in time for a debut at Carnegie Hall on December 16, 1893, performed by the New York Philharmonic. Dvořák numbered the symphony as his fifth, having disavowed several early works, but it was actually his ninth and final symphony, and modern practice reflects that numbering. The subtitle, “From the New World,” was Dvořák’s own. In the symphony’s first movement, a leaping motive sounded by the horns at the start of the Allegro molto section becomes a building block for adventurous exploration that owes more to Brahms and Beethoven than American folk music. A secondary theme set in a major key, first heard in the flute, introduces a pastoral contrast. The Largo second movement reflects the spirituals that Dvořák learned from his Burleigh, and it provides the English horn with its most endearing solo passage in the orchestral repertoire. Later, with the addition of lyrics by William Arms Fisher, this melody became “Goin’ Home,” and the fact that it is frequently mistaken for an authentic spiritual proves how well Dvořák synthesized his source material. The third movement fulfills the traditional function of a symphonic scherzo in the mold of Beethoven and Mendelssohn, while also tying the work together with quotations from the two preceding movements. According to Dvořák, a wedding scene from The Song of Hiawatha served as inspiration for this festive music. The finale, like the opening movement, blends European-leaning themes and techniques with glints of modal material, including flashbacks to some of the symphony’s earlier highlights. As the Czech composer duly acknowledged, “I should never have written the symphony ‘just so’ if I hadn’t seen America.” © 2023 Aaron Grad.

palmbeachsymphony.org

Monday, January 15, 2024 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts

Pinchas Zukerman, Violin Gerard Schwarz, conductor Pinchas Zukerman, violin Craig Morris, trumpet Program Hailstork (b. 1941)

Four Hymns Without Words I. Moderato II. Marziale III. Moderato IV. Exuberant

Craig Morris, trumpet Tchaikovsky (1840-1893)

Sérénade mélancolique in B-Flat Minor for Violin and Orchestra, Op. 26 “Mélodie” from Souvenir d’un lieu cher, Op. 42

Mozart (1756-1791)

Violin Concerto No. 3 in G Major, K. 216 “Straussburger” I. Allegro II. Adagio III. Rondo: Allegro Pinchas Zukerman, violin Intermission

Sibelius (1865-1957)

Symphony No. 2 in D Major, Op. 43 I. Allegretto II. Tempo andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato

*This evening was generously underwritten by John D. Herrick.

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ARTIST PROFILE

PINCHAS ZUKERMAN With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought after and versatile musicians - violin and viola soloist, conductor, and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums for which he gained two Grammy® awards and 21 nominations. This season’s highlights include performances with Dallas Symphony Orchestra, English Chamber Orchestra, Deutche Radio Philharmonie, Mannheimer Philharmoniker, Adelaide Symphony, Orchestre National de Lyon and the Valencia, Sinfonia Varsovia and Castille y Leon orchestras of Spain. Chamber music concerts take place in Japan, Italy, France, Germany and the United States. He and cellist Amanda Forsyth collaborate with friends and colleagues the Jerusalem String Quartet in sextet programs offered in both Israel and the US. Highlights of the 2021-2022 season included performances with the Israel Philharmonic, Barcelona Symphony Orchestra, and Dallas Symphony Orchestra, in his inaugural season as Artistic and Principal Education Partner. With the Zukerman Trio, he visited the Ravinia, Aspen and Amelia Island Chamber Music Festivals, as well as Parlance Chamber Concerts in New Jersey, and Washington & Lee University in Lexington, Virginia. With Amanda Forsyth, he appeared with the English Chamber Orchestra, Prague Symphony Orchestra, Polish National Radio Symphony Orchestra, Reading and New Bedford Symphonies. A devoted teacher and champion of young musicians, he has served as chair of the Pinchas Zukerman Performance Program at the Manhattan School of Music for over 25 years, and has taught at prominent institutions throughout the United Kingdom, Israel, China and Canada, among others. This season, he continues his role as the Dallas Symphony Orchestra’s Artistic & Principal Education Partner, collaborating with DSO in partnership with Southern Methodist University’s Meadows School of the Arts, to provide intensive coaching and tutoring sessions for its’ music students. palmbeachsymphony.org

ARTIST PROFILES

As a mentor he has inspired generations of young musicians who have achieved prominence in performing, teaching, and leading roles with music festivals around the globe. Mr. Zukerman has received honorary doctorates from Brown University, Queen’s University in Kingston, Ontario, and the University of Calgary, as well as the National Medal of Arts from President Ronald Reagan. He is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music.

CRAIG MORRIS - TRUMPET Grammy nominated trumpet soloist, Craig Morris, is a versatile performer comfortable in all genres of music from Baroque to Contemporary. Regarded as a leading proponent for new music and original programming, Morris received a 2019 Grammy Nomination in the Best Classical Instrumental Solo category for his album Three Pieces in the Shape of a Square, released on Bridge Records and featuring the music of Philip Glass. Morris has also recently premiered major pieces by two leading American composers: a major new concerto by Joel Puckett titled The Fifteenth Night of the Moon and also The Lightning Fields, a major new work for trumpet and piano by Michael Daugherty. Mr. Morris is featured in two solo recordings on the Naxos label: Concerto for Trumpet and Winds by Thom Sleeper (also written for Morris) on the album Reflections, and his acclaimed debut solo album Permit Me Voyage, featuring his own original transcriptions of music by Debussy, Schumann, Brahms, and Barber. Mr. Morris has an active recital touring schedule, performing at universities and concert venues across the country. Morris has also been featured as a soloist with ensembles and festivals around the world, including appearances with the Vancouver Symphony Orchestra, the Cabrillo Festival of Contemporary Music, the Chicago Symphony Orchestra, the San Francisco Symphony, the Palm Beach Symphony, and the National Trumpet Competition to name a few. Morris has also appeared at leading festivals including The Seminar for Advanced Studies at Chosen Vale in New Hampshire, Instrumenta Oaxaca, in Oaxaca, Mexico, the Schagerl Brass Festival, in Melk, Austria, the Blekinge International Brass Institute, in Karlskrona, Sweden, and the Beijing Modern Music Festival in Beijing, China.

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Prior to his work as a soloist, Morris first gained an international reputation by being appointed Principal Trumpet of the Chicago Symphony Orchestra by music director Daniel Barenboim, following the legendary Adolph “Bud” Herseth in that chair. Prior to that Morris was the Associate Principal Trumpet of the San Francisco Symphony, appointed to that chair by music director Michael Tilson Thomas. Still active as an orchestral performer, Mr. Morris has served as guest principal trumpet with the St. Louis Symphony, the Swedish Radio Orchestra, the Sarasota Orchestra, the Jacksonville Symphony, the San Diego Symphony, and the Mainly Mozart Festival Orchestra in San Diego. Since 2007, Mr. Morris has been the principal trumpet of the Cabrillo Festival of Contemporary Music, the world’s leading orchestral new music festival, where he has worked closely with some of the leading composers of our time. Currently based in Miami, Florida, Craig Morris is the Trumpet Professor at the Frost School of Music at the University of Miami. He has been a Yamaha Artist since 2015.

NOTES ON THE PROGRAM By Aaron Grad

Four Hymns Without Words [2019] ADOLPHUS HAILSTORK Born April 17, 1941 in Rochester, New York Currently resides in Virginia Beach, Virginia

Adolphus Hailstork, now in his eighties, is finally enjoying the recognition he has long deserved for the half-century’s worth of exceptionally attractive compositions in his catalog. For much of that time, he was teaching at colleges in Virginia, first at Norfolk State University and then Old Dominion University, where he still holds a post as Professor of Music and Eminent Scholar. Hailstork composed the Four Hymns Without Words as functional music for trumpet and organ, to be played “for various service purposes such as processionals, recessionals, weddings or similar moments.” He went on to create an orchestral accompaniment for concert performances. Having grown up singing in a church choir, Hailstork used his familiarity with traditional hymns to fashion his own original tunes and harmonies in that church-inspired style.

Mélodie from Souvenir d’un lieu cher, Op. 42 [1878] PYOTR ILYICH TCHAIKOVSKY Born May 7, 1840 in Kamsko-Votkinsk, Russia Died November 6, 1893 in Saint Petersburg, Russia

Amid the homophobia and repression of the Russian Empire and Orthodox church, Tchaikovsky kept his attraction to men secret, and in 1877 he went so far as to marry a former student in the hopes of maintaining a respectable façade. The stress of it all triggered a suicide attempt, a nervous breakdown and two weeks in a comatose state, and he separated from his wife after just three months. palmbeachsymphony.org

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Tchaikovsky left for Switzerland to recover from the ordeal, and he found it so restorative there that he soon returned with Iosef Kotek, a violinist and former composition student. Their readings of violin repertoire inspired Tchaikovsky to write a concerto, including his first attempt at a slow movement that he later replaced. He kept the original version as a separate Méditation for violin and piano, and he added two more movements to complete a suite while staying at another oasis of luxury, the Ukrainian estate of his patron Nadezhda von Meck. In an unusual move, Tchaikovsky dedicated the suite to that Ukrainian village of Brailov. His publisher later supplied the title Souvenir d’un lieu cher (“Memory of a Dear Place”) for a posthumous publication in 1896, which also introduced an orchestral arrangement of the piano part by a younger composer, Alexander Glazunov. Tchaikovsky referred to the closing Mélodie as a “song without words,” and it is indeed one of the most singable melodies in the violin repertoire.

Violin Concerto No. 3 in G Major, K. 216 [1775] WOLFGANG AMADEUS MOZART Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria

The prodigious keyboard talents of the young Wolfgang Amadeus Mozart are the stuff of legend, overshadowing another of his considerable skills: playing the violin. His father was an influential teacher and the author of a seminal book on violin technique, so it figured that Mozart would pick up stringed instruments. He wrote five violin concertos, all during his teenage years, when his official position had him working alongside his father in the service of Salzburg’s archbishop. With no record of any other performer or commission involved, we can surmise that Mozart wrote the violin concertos with the intention of performing the solo parts himself. Such works, along with the many symphonies, serenades and divertimentos from that time, were perfect fare for the side gigs he booked entertaining Salzburg’s wealthy families. In the opening Allegro movement of the Violin Concerto No. 3, the violin parts are full of three-note chords, both for the soloist and within the orchestra. The chords give the main theme extra panache and power, and their idiomatic voicings show that Mozart knew how to achieve maximum effect on his secondary instrument. Among all of Mozart’s violin concertos, this work’s central Adagio is the only movement in which two flutes replace the oboes. (Presumably the oboists in Salzburg doubled on flute.) The solo violin’s long, arcing phrases sound like they could come from the mouth of an operatic soprano, and there is even a bit of a “diva” moment when the violin intrudes on the orchestra’s final coda to offer one last statement of the main theme. In the Rondeau finale, one of the contrasting sections borrows a folk tune from the vicinity of Strasbourg, near the border between France and Germany, leading Mozart and others to dub this the “Strassburger” Concerto. Droning double-stops and folksy fiddling contribute to the local color.

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Congratulations

To honor the 50th Anniversary of Palm Beach Symphony, Levenger is proud to create this exclusive leather music folder for its musicians.

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MASTERWORKS THREE

Symphony No. 2 in D Major, Op. 43 [1901-02] JEAN SIBELIUS Born December 8, 1865 in Hämeenlinna, Finland (Grand Duchy of Russia) Died September 20, 1957 in Järvenpää, Finland

Jean Sibelius was Finland’s first and greatest musical hero. He rose to fame at the turn of the twentieth century on the strengths of his First Symphony and the tone poem Finlandia, works that gave voice to a burgeoning national identity just when Finland began agitating for independence from Russia. It was also around 1900 that Sibelius’ music started appearing in concert halls around Europe, and he was particularly pleased in 1901 to receive a kind word from Richard Strauss, who was just a year older than Sibelius but already a star. Adopting Strauss’ preferred format, Sibelius planned a series of four tone poems related to the Don Juan legend, but the sketches he started in Italy and completed in Helsinki ultimately took an abstract form in the Symphony No. 2. Sibelius disavowed any political underpinnings in the Second Symphony, but that did not stop the Finnish people from embracing it as an anthem of their struggle after the Helsinki premiere in 1902. Much of the perceived “protest” aspect of the music traces to the second movement, with its trudging pizzicato, lugubrious bassoon melody, and impassioned climaxes. The scherzo, a blur of perpetual-motion string figures and hovering woodwind lines, continues the sense of struggle. Sibelius’ widow explained that the finale’s somber music over a spinning bass line was composed in memory of a sister-in-law who died by suicide. This unsettled material lends extra poignancy to the symphony’s ultimate resolution in a realm of uplift and triumph. © 2023 Aaron Grad.

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Monday, February 5, 2024 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts

Vladimir Feltsman, Piano Gerard Schwarz, conductor Vladimir Feltsman, piano Ellen Taaffe Zwilich, composer Program Zwilich (b. 1939)

Orchestral Excursions (Inspired by Gilbert Maurer’s Art Work)* I. Hearst Tower II. Santiago de Compostela III. San Marco, Venice IV. The Rialto, Venice V. Palm Beach, Florida

Grieg (1843-1907)

Piano Concerto in A Minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato

Vladimir Feltsman, piano Intermission Scheherazade, Op. 35 I. The Sea and Sinbad’s Ship II. The Tale of Prince Kalendar III. The Young Prince and the Young Princess IV. The Festival at Bagdad - The Sea The Shipwreck on a Rock Surmounted by a Bronze Warrior Rimsky-Korsakov (1844-1908)

*This evening was generously underwritten by Gary and Linda Lachman/ The Lachman Family Foundation *Commissioned for the Palm Beach Symphony by Ambassador Bonnie McElveen-Hunter in honor of Gil Maurer

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ARTIST PROFILE

VLADIMIR FELTSMAN Pianist, conductor, and educator Vladimir Feltsman is one of the most versatile and consistently interesting musicians of our time. Born in Moscow in 1952, Mr. Feltsman debuted with the Moscow Philharmonic at the age of 11. In 1969, he entered the Moscow Conservatory to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad (now St. Petersburg) Conservatories. In 1971, Mr. Feltsman won the Grand Prix at the Marguerite Long International Piano Competition in Paris; extensive tours throughout the former Soviet Union, Europe, and Japan followed. In 1979, because of his growing discontent with the restrictions on artistic freedom under the Soviet regime, Mr. Feltsman signaled his intention to emigrate by applying for an exit visa. In response, he was immediately banned from performing in public and his recordings were suppressed. After eight years of virtual artistic exile, he was finally granted permission to leave the Soviet Union. Upon his arrival in the United States in 1987, Mr. Feltsman was warmly greeted at the White House, where he performed his first recital in North America. That same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene. Since then, Mr. Feltsman has performed with major American and European orchestras and appeared at the most prestigious concert venues and music festivals worldwide. His vast repertoire encompasses music from the Baroque to the twenty-first-century. Mr. Feltsman expressed his lifelong devotion to the music of J.S. Bach in a cycle of concerts that presented the major clavier works of the composer and spanned four consecutive seasons (1992-1996) at the 92nd Street Y in New York. His project “Masterpieces of the Russian Underground” unfolded a panorama of Russian contemporary music through an unprecedented survey of piano and chamber works by fourteen different composers from Shostakovich to the present day and was presented by the Chamber Music Society of Lincoln Center in January 2003 with great success. Mr. Feltsman served as Artistic Director for this palmbeachsymphony.org

ARTIST PROFILES

project as well as performing in most of the pieces presented during the three-concert cycle. These programs included a number of world and North American premieres and were also presented in Portland, Oregon and in Tucson, Arizona at the University of Arizona. In the fall of 2006, Mr. Feltsman performed all of Mozart’s piano sonatas in New York at the Mannes School of Music and the New School’s Tishman Auditorium on a specially built replica of an eighteenth-century Walter fortepiano. His most recent project, “Russian Experiment,” included works of lesser-known Russian composers of the first half of the twentieth century and was presented at the Aspen Music Festival in 2017. A dedicated educator of young musicians, Mr. Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City. He is the founder and Artistic Director of the International Festival-Institute, PianoSummer at New Paltz, a three-week-long intensive training program for advanced piano students that attracts major young talent from all over the world. In 2012 Vladimir and his wife Haewon established the Feltsman Piano Foundation, which helps young musicians to realize their potential and advance their careers. Since 2017 every student accepted to PianoSummer receives free tuition and housing. Released on the Sony Classical and Nimbus labels, Mr. Feltsman’s extensive discography includes more than 60 CDs and is still growing. He has recorded all of the major clavier works of J.S. Bach, the complete Schubert sonatas, major works of Beethoven, Schumann, Chopin, and Brahms, concertos by Brahms, Tchaikovsky, Rachmaninoff, and Prokofiev. He has also recorded six tribute recordings dedicated to Russian composers: Tributes to Tchaikovsky, Rachmaninoff, Scriabin, Prokofiev, Silvestrov, and “Forgotten Russians.” Mr. Feltsman is the author of Piano Lessons, a book published in 2019 that presents insights drawn from a lifetime of devotion to music and addresses such vitally important topics as practicing, performing, learning, and recording. Also included in the book are highly informative and detailed liner notes written to accompany his many recordings, and a study of the Well-Tempered Clavier by Bach.

COMPOSER PROFILE

ELLEN TAAFFE ZWILICH At a time when the musical offerings of the world are more varied than ever before, few composers have emerged with the unique personality of Ellen Taaffe Zwilich. Her music is widely known because it is performed, recorded, broadcast, and – above all – listened to and liked by all sorts of audiences the world over. Like the great masters of bygone times, Zwilich produces music “with fingerprints,” music that is immediately recognized as her own. In

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her compositions, Ms. Zwilich combines craft and inspiration, reflecting an optimistic and humanistic spirit that gives her a unique musical voice. Ellen Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague Coolidge Chamber Music Prize, the Arturo Toscanini Music Critics Award, the Ernst von Dohnányi Citation, an Academy Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, 4 Grammy nominations, the Alfred I. Dupont Award, Miami Performing Arts Center Award, the Medaglia d’oro in the G.B. Viotti Competition, and the NPR and WNYC Gotham Award for her contributions to the musical life of New York City. Among other distinctions, Ms. Zwilich has been elected to the American Classical Music Hall of Fame, the Florida Artists Hall of Fame, the American Academy of Arts and Sciences, and the American Academy of Arts and Letters. In 1995, she was named to the first Composer’s Chair in the history of Carnegie Hall, and she was designated Musical America’s Composer of the Year for 1999. Ms. Zwilich, who holds a doctorate from The Juilliard School, has received honorary doctorates from Oberlin College, Manhattanville College, Marymount Manhattan College, Mannes College/The New School, Converse College, and Michigan State University. She currently holds the Krafft Distinguished Professorship at Florida State University. A prolific composer in virtually all media, Ellen Taaffe Zwilich’s works have been performed by most of the leading American orchestras and by major ensembles abroad. Her music first came to public attention when Pierre Boulez conducted her Symposium for Orchestra at Juilliard (1975), but it was the 1983 Pulitzer Prize for the Symphony No. 1 that brought her instantly into international focus. Commissions, major performances and recordings soon followed: the Symphony No. 2 (Cello Symphony), premiered by Edo de Waart and the San Francisco Symphony; Symphony No. 3, written for the New York Philharmonic’s 150th anniversary; Symphony No. 4 “The Gardens” (with chorus), commissioned by Michigan State University and the subject of a PBS documentary seen nationally; the Juilliard-commissioned Symphony No. 5 (Concerto for Orchestra) premiered at Carnegie Hall under James Conlon’s direction; and the string of concertos commissioned and performed over the past two decades by the nation’s top orchestras — for Piano (Detroit Symphony under Günther Herbig), Trombone (Chicago Symphony Orchestra, Sir Georg Solti), Flute (Boston Symphony Orchestra, Seiji Ozawa), Oboe (Cleveland Orchestra, Christoph von Dohnányi), Violin and Cello (Louisville Orchestra, Lawrence Leighton Smith), Bass Trombone (Chicago Symphony Orchestra, Daniel Barenboim), French Horn (Rochester Philharmonic, Lawrence Leighton Smith), Bassoon (Pittsburgh Symphony Orchestra, Lorin Maazel), Trumpet (San Diego Symphony, JoAnn Falletta), Triple Concerto for Piano, Violin and Cello (Minnesota Orchestra, Zdenek Macal), Violin (Orchestra of St. Luke’s, Hugh Wolff), and Millennium Fantasy for Piano (Cincinnati Symphony Orchestra, Jesús López-Cobos). Ms. Zwilich’s most recent concertos include the Clarinet Concerto (2002-2003), written for the Chamber Music Society of Lincoln Center and the Buffalo Philharmonic, conducted by JoAnn Falletta (chamber and orchestral versions, respectively) with soloist David Shifrin; and Rituals (2004) for 5 Percussionists and Orchestra, premiered by IRIS Orchestra under Michael Stern, featuring the renowned Nexus percussion ensemble. Shadows for Piano and Orchestra, commissioned by an international consortium, was premiered by soloist Jeffrey Biegel in 2011, Commedia dell’Arte, a work for solo violin and string orchestra written for and commissioned by violinist Nadja Salerno-Sonnenberg and the New Century Chamber Orchestra of San Francisco, was premiered in 2012, and Concerto for Cello and Orchestra was premiered by soloist Zuill Bailey and the South Florida Symphony Orchestra conducted by Sebrina Maria Alfonso in 2020. palmbeachsymphony.org

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Ms. Zwilich’s orchestral essay Symbolon was commissioned by the New York Philharmonic expressly to receive its world premiere in what was then Leningrad. Conductor Zubin Mehta subsequently performed it in Europe, Asia and America and recorded it on the New World label. Carnegie Hall’s 1997 family concert series featured Peanuts® Gallery for piano and orchestra, a work based on Charles Schulz’s Peanuts® characters. Millennium Fantasy for Piano and Orchestra, a commission by a consortium of 27 orchestras, was premiered in September, 2000, by Jeffrey Biegel and the Cincinnati Symphony under Jesús López-Cobos. At the premiere, the mayor of Cincinnati issued a proclamation naming September 23, 2000 “Ellen Taaffe Zwilich Day”, and presented Ms. Zwilich with the Keys to the City. Ms. Zwilich’s chamber works have been commissioned by the Boston Musica Viva (Chamber Symphony, Passages), the Abe Fortas Memorial Fund of the John F. Kennedy Center for the Performing Arts, 92nd Street Y and San Francisco Performances (Piano Trio), the New York State Music Teachers Association (Divertimento), the McKim Fund in the Library of Congress (Romance for Violin), the Santa Fe Chamber Music Festival and Chamber Music Northwest (Clarinet Quintet), the Chamber Music Society of Lincoln Center (Double Quartet and Clarinet Concerto), Carnegie Hall (String Quartet No. 2), Ruth Eckerd Hall for Itzhak Perlman (Episodes for Violin and Piano), the Saratoga Chamber Music Festival (Oboe Quartet), and California EAR Unit (LUVN BLM). The 2007-2008 concert season saw the premiere of Quintet for Alto Saxophone and String Quartet, commissioned by a consortium comprising Arizona Friends of Chamber Music, the Chamber Music Society of Detroit, Fontana Chamber Arts, and Michigan State University; and in 20082009, her Septet, written for the Kalichstein-Laredo-Robinson (K-L-R) Trio and the Miami String Quartet, premiered with the first of a series of performances presented by the 12 co-commissioning organizations. In 2011, her Quintet for Piano, Violin, Viola, Cello and Contrabass, inspired by Schubert’s “Trout” Quintet, was performed by the K-L-R Trio across the country to a chorus of critical praise, and in 2012 the St. Lawrence String Quartet premiered Voyage, a piece commemorating the centennials of the Galimir String Quartet. In 2014, the 16 semi-finalists of the International Violin Competition of Indianapolis performed Zwilich’s Fantasy for Solo Violin in their recital programs. Zwilich has been the subject of two cartoons in the late Charles Schulz’s celebrated Peanuts® series. The first cartoon, in which the Peanuts® characters attend the premiere of Ms. Zwilich’s Concerto for Flute, set off a chain of events which led eventually to the completion of Zwilich’s Peanuts® Gallery for piano and orchestra, which was also featured in Schulz’s comic strip. Peanuts® Gallery, which Ms. Zwilich wrote for a 1997 Carnegie Hall children’s concert, went on to become the basis of the second PBS documentary to feature her music (the first, “The Gardens: Birth of a Symphony”, featured Symphony No. 4 “The Gardens”). The acclaimed “Peanuts® Gallery” special has aired hundreds of times nationwide since its 2006 PBS debut, and continues to be rebroadcast. Many of Ellen Taaffe Zwilich’s works have been issued on recordings, and Baker’s Biographical Dictionary of Musicians [8th edition] states: “There are not many composers in the modern world who possess the lucky combination of writing music of substance and at the same time exercising an immediate appeal to mixed audiences. Zwilich offers this happy combination of purely technical excellence and a distinct power of communication.” For more information visit www.zwilich.com.

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NOTES ON THE PROGRAM By Aaron Grad

Piano Concerto in A Minor, Op. 16 [1868] EDVARD GRIEG Born June 15, 1843 in Bergen, Norway Died September 4, 1907 in Bergen, Norway

Edvard Grieg was the first great Scandinavian composer. His studies in Leipzig grounded him in the Germanic tradition, but upon his return to his native Norway he delved into local folk music and launched a national music academy. He was just 24 when he composed his Piano Concerto, a work in the vein of Robert Schumann’s Piano Concerto (also in the key of A-minor), which Grieg had heard Clara Schumann perform in Leipzig. Grieg’s new concerto soon attracted many noted admirers, including Franz Liszt, who sight-read the concerto in front of its young composer. Grieg continued tinkering with the score throughout his life, making the final changes a few months before his death in 1907. After a swelling measure of timpani, the soloist launches the concerto with a striking series of gestures that plummet to the very lowest note on the keyboard. An upward swoop and a dramatic chord progression usher in the movement’s primary theme, a militaristic melody built from arcing scale fragments. Upon reaching a slower and more tranquil point of arrival, the cellos counter with the lyrical second theme. This music provides only limited relief from the severity of the home key, with the melody leaving the comfort of C-major for an immediate rephrasing in C-minor. The soloist’s hefty cadenza reworks the brooding themes with dynamic piano figurations and slippery harmonies, until the final coda rounds out the movement with a return to the tumbling chords of the opening measures. The slow movement, in the distant key of D-flat major, uses muted strings to present the hushed thematic material. When the piano finally enters, it is with a new theme graced with delicate right-hand flurries. A transition, full of adventurous harmonies, leads back to the piano’s heroic restatement of the opening motive. With a little fanfare from the clarinets and bassoons and a devilish piano run, the slow movement links directly to the finale. The dancing themes of the outer sections hint at Norwegian folk music, while a contrasting section introduced by a solo flute drops into a lush, Romantic idyll.

Scheherazade, Op. 35 [1888] NIKOLAI RIMSKY-KORSAKOV Born March 18, 1844 in Tikhvin, Russia Died June 21, 1908 in Lyubensk, Russia

Nikolai Rimsky-Korsakov was a naval officer with some childhood training in piano and composition when he was introduced in 1861 to Mily Balakirev, a Russian composer and critic at the start of an influential career. Balakirev dreamed of defining an authentic Russian sound in concert music, and the young and talented semi-pro composers he gathered around

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him grew into the clique known as “The Russian Five,” including the civil servant Modest Mussorgsky and the chemist Alexander Borodin. During a three-year naval voyage, Rimsky-Korsakov took Balakirev’s advice to study Berlioz’ treatise on orchestration along with any scores he could find at ports of call (which included London, New York, and Rio de Janeiro). On the strengths of his early orchestral scores, Rimsky-Korsakov earned a faculty position at the Saint Petersburg Conservatory in 1871, and from his start as an untrained outsider he grew to become an influential teacher and trendsetter in Russia and beyond, revered above all for his kaleidoscopic sense of orchestral color. Following Borodin’s death in 1887, Rimsky-Korsakov completed and orchestrated his colleague’s unfinished opera Prince Igor, a tale of a hero defending Russia from Turkic invaders. The opera inspired Rimsky-Korsakov to embrace foreign inspiration in his own music, and he soon developed a suite based on One Thousand and One Nights (otherwise known as Arabian Nights). In a program note from the premiere performance in 1888, Rimsky-Korsakov offered this synopsis of the story within which the tales unfold: The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely. Rimsky-Korsakov designed the work as a four-movement symphonic suite, originally giving the movements the generic titles of Prelude, Ballade, Adagio and Finale, with the intention of evoking “numerous and varied fairy-tale wonders” without being too literal in the storytelling, as he explained in his memoirs. Fellow composer Anatoly Liadov suggested more descriptive titles, and Rimsky-Korsakov adopted them at first, only to change his mind later and remove them from the score. These vivid headers still tend to appear in programs and recordings. The most explicit tone painting in Scheherazade outlines the frame story, with menacing brass figures at the start evoking the Sultan, countered by a captivating violin melody representing Scheherazade herself. These motives return throughout the score, punctuating the queen’s storytelling and providing concertmasters the world over with some of their finest moments in the spotlight. The sea figures prominently in two of the movements by this former sailor, rocking gently in the first movement and crashing violently in the finale. The second movement, The Kalendar Prince, has a tone of magic and mysticism befitting the fantastical story of a nobleman disguised as a wandering beggar. The third movement is a romantic interlude that serves as a slow movement within the four-part scheme, part of what makes this massive score not just a marvel of orchestral storytelling but also a fully-integrated symphony in all but name. © 2023 Aaron Grad.

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Wednesday, March 6, 2024 7:00 PM Dreyfoos Hall The Kravis Center for the Performing Arts

Emanuel Ax, Piano Gerard Schwarz, conductor Emanuel Ax, piano Aaron Jay Kernis, composer Program Kernis (b. 1960)

World Premiere*

Mozart (1756-1791)

Piano Concerto No. 25 in C Major. K. 503 I. Allegro maestoso II. Andante III. Allegretto

Emanuel Ax, piano Intermission Tchaikovsky

Symphony No. 4 in F Minor, Op. 36

(1840-1893)

I. Andante sostenuto II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco

*This evening was generously underwritten by Patrick and Milly Park and the Park Foundation. *Commissioned for the Palm Beach Symphony by Ambassador Bonnie McElveen-Hunter in honor of Leonard and Judy Lauder

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ARTIST PROFILE

EMANUEL AX

Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Mr. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize. The 2023/24 season will focus on the world premiere of Anders Hillborg’s piano concerto, commissioned for him by the San Francisco Symphony and Esa-Pekka Salonen with subsequent performances in Stockhom and New York. A continuation of the ‘Beethoven For 3’ touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma will take them to the mid-west in January. In recital Mr. Ax can be heard on the west coast in the fall and midwest/east coast in the spring, culminating at Carnegie Hall in April. An extensive European tour will include concerts in Holland, Italy, Germany, France and the Czech Republic. Mr. Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio of which the first two discs have recently been released. He has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammywinning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/05 season Mr. Ax contributed to an International EMMY® Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano). Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University. palmbeachsymphony.org

COMPOSER PROFILE

AARON JAY KERNIS Pulitzer Prize and Grammy Award-winning composer Aaron Jay Kernis draws artistic inspiration from a vast and often surprising palette of sources, among them the limitless color spectrum and immense emotional tangle of the orchestra, cantorial music in its beauty and dark intensity, the roiling drama of world events, and the energy and drive of jazz and popular music. All are woven into the tapestry of a musical language of rich lyric splendor, vivid poetic imagery, and fierce instrumental brilliance, and he has been praised for his “fearless originality [and] powerful voice” (The New York Times). Among the most esteemed musical figures of his generation, he is dedicated to creating music which can be meaningful to other people’s lives, and extend communication among us to make an emotional connection with listeners – while frequently challenging audiences and performers alike. That connection has brought his music to major musical stages world-wide, performed and commissioned by many of America‘s foremost artists, including sopranos Renee Fleming and Dawn Upshaw, violinists Joshua Bell, Pamela Frank, Nadja SalernoSonnenberg and James Ehnes, pianist Christopher O’Riley and guitarist Sharon Isbin, and such musical institutions as the New York Philharmonic, Philadelphia Orchestra (for the inauguration of its new home at the Kimmel Center), Walt Disney Company, Rose Center for Earth and Space at New York’s American Museum of Natural History, The Knights, Ravinia Festival, San Francisco, Melbourne, Dallas, Toronto, London, and Singapore Symphonies, London Philharmonic, Lincoln Center Great Performers Series, Minnesota and Royal Scottish National Orchestras, American Public Radio; Orpheus, Los Angeles and Saint Paul Chamber Orchestras, Aspen Music Festival, beyond. Recent and upcoming commissions include his 4thSymphony for the New England Conservatory (for its 150th anniversary), Nashville Symphony and Bellingham Festival; a work for cellist Matt Haimovitz; concerti for cellist Joshua Roman, violist Paul Neubauer, flutist Marina Piccinini, and a Grammy winning concerto for violinist James Ehnes, recorded by the Seattle Symphony; a quartet for the Borromeo String Quartet; a series of works for Tippet Rise Art Center; a horn concerto for the Royal Liverpool Orchestra and Grant Park Music Festival. One of America’s most honored composers, he won a 2019 Grammy Award for Best Contemporary Classical Composition (which also won best Classical Instrumental Solo) for his violin concerto, Northwestern’s Nemmers Award and was inducted in to the Classical Music Hall of Fame. A member of the American Academy of Arts and Letters, he received the coveted Grawemeyer Award in Music Composition for the cello and orchestra version of “Colored Field;” and a Pulitzer Prize for his String Quartet No. 2 (“musica instrumentalis”). He has also been awarded the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, the Rome Prize, an NEA grant, a Bearns Prize, and a New York Foundation for the Arts Award. He is the Workshop Director of the Nashville Symphony

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Composer Lab, and for 11 years, served as New Music Adviser to the Minnesota Orchestra, with which he co-founded and directed its Composer Institute for 15 years. His works have been recorded on Nonesuch, Koch, Naxos, Onyx, Signum, Virgin and Argo, with which Mr. Kernis had an exclusive recording contract. Previously issued CDs include a widely acclaimed album with Hugh Wolff conducting the City of Birmingham Symphony Orchestra in his Symphony No. 2, “Invisible Mosaic III,” and “musica celestis” was nominated for a Grammy, and won France’s Diapason d’or Palmares for Best Contemporary Music Disc of the Year. Other recordings include a disc of his Pulitzer-Prize winning String Quartet No. 2 (“musica instrumentalis”) and Musica Celestis, both on Arabesque with the Lark Quartet; works for violinists Pamela Frank and Joshua Bell with David Zinman and the Minnesota Orchestra, and his Double Concerto with guitarist Sharon Isbin, violinist Cho-Liang Lin and Hugh Wolff leading the Saint Paul Chamber Orchestra. Originally released on Virgin/EMI was his cello version of “Colored Field” and “Air,” created for the Norwegian virtuoso Truls Mork and the Minnesota Orchestra with Eiji Oue. Several of his important works recorded on Argo have been re-released by Phoenix, including his Second Symphony, “Musica Celestis” for String Orchestra, “Invisible Moasic III, and “Symphony in Waves,” with Gerard Schwarz and the New York Chamber Symphony. Other critically acclaimed recordings include his “Goblin Market,” and “Invisible Mosaic II,” on Signum with The New Professionals, Rebecca Miller conductor, and Mary King narrator; “Three Flavors,” featuring pianist Andrew Russo, violinist James Ehnes and the Albany Symphony under David Alan Miller’s direction, and a disc of his solo and chamber music, “On Distant Shores,” (Phoenix); vocal music with soprano Talise Travigne and the Albany Symphony; his third string quartet (“River”) as part of The Kernis Project, a complete cycle of his quartets with the Jasper Quartet, and a concerti disc with cellist Joshua Roman and violist Paul Neubauer with conductor Rebecca Miller (Signum); his Grammy winning violin concerto for James Ehnes (Onyx) and a disc with his new flute concerto and Air for flute and orchestra with flutist Marina Piccinini and Leonard Slatkin/ Marin Alsop and the Peabody Symphony (Naxos). Kernis first came to national attention in 1983 with the acclaimed premiere of his first orchestral work, “dream of the morning sky,” by the New York Philharmonic at its Horizons Festival. He was born in Philadelphia on January 15, 1960 and began his musical studies on the violin; at age 12 he began teaching himself piano and, the following year, composition. He attended the San Francisco Conservatory of Music, and Manhattan and Yale Schools of Music. Leta Miller’s book-length portrait of Kernis and his work was published in 2014 by University of Illinois Press as part of its American Composer series. He has taught composition at Yale School of Music since 2003.

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NOTES ON THE PROGRAM By Aaron Grad

Piano Concerto No. 25 in C Major, K. 503 [1786] WOLFGANG AMADEUS MOZART Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria

Mozart completed a piano concerto on December 4, 1786, and he probably premiered it the following day at a concert held in a Viennese casino. It turned out to be the end of the remarkable run in which he produced twelve new piano concertos in not quite three years, during his peak as a freelance performer. Demand for Mozart’s self-produced concerts dried up in that time when a protracted war with the Ottoman Empire scattered Vienna’s ruling class, and he only added two more concertos in his five remaining years. From the beginning of the Piano Concerto No. 25, motives circulate with obsessive focus, foreshadowing the single-minded ruminations from Beethoven, the composer/performer who arrived in Vienna just a few years later to fill the late Mozart’s shoes. That comparison is all the more relevant given the striking similarity between Mozart’s five-note rhythmic stamp (short-short-short-LONG-LONG) and the hook of Beethoven’s Fifth Symphony (shortshort-short-LONG). The central Andante movement establishes a veiled language of arpeggios and limited harmonies. Sporadic flurries of faster music arise like stifled giggles, counteracting the sanctity of the primary material. Coming after two high-minded movements, the Allegretto finale opts for carefree dancing. Mozart derived the opening theme from his 1781 opera Idomeneo, retaining the characteristic two-note lead-in of a gavotte dance.

Symphony No. 4 in F minor, Op. 36 [1878] PYOTR IL’YICH TCHAIKOVSKY Born May 7, 1840 in Kamsko-Votkinsk, Russia Died November 6, 1893 in Saint Petersburg, Russia

In July of 1877, Tchaikovsky hastily married a former student who had professed her love in a letter and threatened suicide if spurned. He must have hoped marriage would mitigate the risks of being gay and closeted in an inhospitable society, but after an alarming series of mental health crises, and on the advice of friends and doctors, Tchaikovsky separated permanently from his wife after just three months. Another woman entered Tchaikovsky’s life around the same time as his wife, and this relationship proved much healthier. The wealthy widow Nadezhda von Meck paid Tchaikovsky a generous stipend from 1877 to 1890, during which time the two engaged in a legendary correspondence. In fact, letters were their only mode of contact, since she stipulated that they never meet in person. Through this unusual relationship, Tchaikovsky came to consider her “my dearest friend,” as he expressed in the dedication of his Fourth Symphony. Tchaikovsky began the symphony in the spring of 1877, during the bizarre buildup to

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his marriage, and he finished the work while recuperating in Italy and Switzerland over the winter. In a letter to Meck, Tchaikovsky outlined the symphony’s underlying program, especially the central importance of “Fate, the inexorable power that hampers our search for happiness.” Following the model of Beethoven’s Fifth Symphony, Tchaikovsky’s “fate” motto announces itself at the outset. Whereas Beethoven subjected his initial kernel to continual variation, Tchaikovsky reserved his motto for carefully timed reprisals, snapping listeners back to awareness of fate’s inescapable force. After the slow introduction, the substantial first movement takes up a searing new melody full of tense descents. Tchaikovsky’s Italian tempo heading for the second movement indicates that this music, moving at a gentle walking pace, is constructed in the manner of a song. A solo oboe delivers the first statement of the innocent, folk-like theme. The Scherzo third movement follows as a kinetic study on the string technique of plucking, or pizzicato. Again observing the model of Beethoven’s Fifth, Tchaikovsky’s minor-key “fate” symphony closes with a finale in the affirmative major key. The movement quotes a Russian folk song, “In the Meadow there Stood a Birch Tree,” building increasing urgency until a return of the dramatic “fate” theme. A return of the fiery music from the start of the movement burns away any lingering uncertainty, and the symphony ends triumphantly. © 2023 Aaron Grad.

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Thursday, April 25, 2024 7:30 PM Dreyfoos Hall The Kravis Center for the Performing Arts

Ignat Solzhenitsyn, Piano

Gerard Schwarz, conductor Ignat Solzhenitsyn, piano Hayley Lipke, soprano Robynne Redman, mezzo-soprano Joseph McBrayer, tenor Keith Klein, bass-baritone Frost Chorale, Frost Bella Voce, Frost Symphonic Choir, Frost Chamber Singers Dr. Amanda Quist, Director of Choral Activities at Frost School of Music, University of Miami Program Piano Concerto No. 2 in B-Flat Major, Op. 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro

Beethoven (1770-1827)

Ignat Solzhenitsyn, piano Intermission Beethoven

Symphony No. 9 in D Minor, Op. 125 “Choral”

(1770-1827)

I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Finale: An die Freude (Ode to Joy)

*This evening was generously underwritten by Patricia Lambrecht/The Lambrecht Family Foundation.

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IGNAT SOLZHENITSYN Recognized as one of today’s most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn’s lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. An avid chamber musician, Mr. Solzhenitsyn has collaborated with the Emerson, Borodin, Brentano, and St. Petersburg String Quartets, and in four-hand recital with Mitsuko Uchida. He has frequently appeared at international festivals, including Salzburg, Evian, Ludwigsburg, Caramoor, Ojai, Marlboro, Nizhniy Novgorod and Moscow’s famed December Evenings. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. Born in Moscow, Mr. Solzhenitsyn resides in New York City.

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MASTERWORKS SIX

FROST CHORAL & DR. AMANDA QUIST The premier choral ensemble at the Frost School of Music, the Frost Chorale performs the entire canon of choral music, gives world premieres, makes acclaimed recordings, and travels both nationally and abroad. The Chorale has appeared at regional and national conventions and regularly joins professional orchestras to perform the great choral-orchestral repertoire. Frost Bella Voce: Frost Bella Voce includes sopranos and altos who are from Frost School of Music and other departments at the University of Miami. Bella Voce sings a variety of repertoire that balances composers from all musical periods in exciting and creative performances. Open by audition only. Frost Symphonic Choir: The Symphonic Choir, open to all majors, is dedicated to the distinctive and varied repertoire for a large choir. The Symphonic Choir performs as a part of Frost Choral Studies concerts, Winter Wonderful, and other collaborative events at the Frost School of Music. Frost Chamber Singers: The Frost Chamber Singers ensemble performs multiple times each semester, each concert with new music and graduate conductors. The repertoire spans from early music to contemporary compositions. Dr. Amanda Quist is the Director of Choral Activities for the Frost School of Music at the University of Miami. She directs the graduate program in Choral Conducting and is conductor of the award-winning Frost Chorale. Under her direction, Frost Chorale has been invited to perform with the New World

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Symphony and Michael Tilson Thomas, with the Martha Mary Concert Series, in collaboration with professional ensembles Voces8 and Seraphic Fire, and has been featured on wwfm.org, The Classical Network. Dr. Quist created the Seraphic Fire Scholars program, and conducting internship partnerships with the South Florida Master Chorale, and the Miami Children’s Chorus. Dr. Quist has served as Chorus Master for the Philadelphia Orchestra and Spoleto Festival. Her choral preparations have been highly praised by the New York Times, Charleston City Paper, the Philadelphia Inquirer, and New York Classical Review. Under Quist’s direction, “The Philadelphia Symphonic Choir acquitted itself admirably in the fiendishly difficult music. The chorus’ energy never flagged in the great fugues, which conclude both the Gloria and the Credo. The latter, so fast and furious, that it left the audience breathless.” Dr. Quist was previously Chair of the Conducting, Organ, and Sacred Music Department, and Associate Professor of Conducting at Westminster Choir College. She is the recipient of Westminster Choir College of Rider University’s 2014 Distinguished Teaching Award, the 2018 Mazzotti Award for Women’s Leadership, and the Carol F. Spinelli Conducting Fellowship. Her ensemble, Westminster Kantorei, won first place in the 2018 American Prize for College & University Choral Performance, has performed at the American Choral Directors Association’s (ACDA) Eastern Division Conference, Boston Early Music Festival, American Handel Festival, and Interkultur. The choir released its first commercial recording in 2017, Lumina, distributed by Naxos. During her work with the Westminster Symphonic Choir, Dr. Quist collaborated with the New York Philharmonic, Philadelphia Orchestra, and the Dresden Staatskapelle. Dr. Quist was Director of the Westminster Vocal Institute, a highly regarded summer program for talented high school students, and Director of Choral Activities at San José State University. Dr. Quist’s other honors include the James Mulholland National Choral Award and the Audrey Davidson Early Music Award. She regularly conducts high school and collegiate honor choirs across the United States, and Dr. Quist is invited to headline conferences and serve as a guest lecturer in the United States and abroad. She was invited to be a conductor for the ACDA International Exchange Program, clinician for the 2019 ASPIRE International Youth Music Festival in Australia, juror for the Penabur International Choir Festival in Indonesia, and clinician for the Interkultur International Choral Festival. She was also a founding member of the committee for the National ACDA Student Mentor program, and serves as the National ACDA Repertoire & Resources Coordinator for Collegiate Activities, and her choral series are published through Walton Music and Gentry Publications.

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NOTES ON THE PROGRAM By Aaron Grad

Piano Concerto No. 2 in B-flat Major, Op. 19 [1794, rev. 1798 and 1808] LUDWIG VAN BEETHOVEN Born December 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria

When the 21-year-old Beethoven arrived in Vienna in 1792, he was following in the footsteps of his hero Mozart, whose death a year earlier left an opening for a hotshot keyboard player that the young Beethoven eagerly filled. In those early years, before his reputation earned him a measure of artistic independence (and before his deafness cut him off from the world), Beethoven hustled for all sorts of paying gigs around town—teaching lessons, performing public and private concerts, and writing accessible music that could be published and sold to amateurs. And just as Mozart wowed Vienna with self-produced concerts centered on a stream of new piano concertos, Beethoven took up the concerto as an ideal vehicle for self-promotion. The earliest piano concerto that Beethoven completed was this one in B-flat, although it became known as No. 2, since the later C-major concerto was published first. Initial sketches of the B-flat concerto date back as far as 1788, when Beethoven was still a teenaged viola player in the court orchestra in his hometown of Bonn, and then he reworked it substantially in 1794 to prepare for his first Mozart-style concert the following spring. Beethoven made additional revisions in 1798, and a decade later he wrote out cadenzas, for the benefit of other performers less gifted than he was in the art of improvisation. Demonstrating just how well Beethoven had internalized the refined craft of Mozart and Haydn, this concerto’s opening measures exhibit textbook contrast and balance between the two offsetting phrases. The first is loud, rhythmically robust, scored for the whole orchestra, and in the home key of B-flat; the second is soft, rhythmically smooth, scored just for strings, and in the contrasting key of F. These motives develop through a high-energy movement of brilliant piano figurations, surprising harmonic shifts, and galloping rhythms. With the insertion of the cadenza that Beethoven added in the heart of his “middle period,” stark counterpoint and insistent rhythmic repetitions introduce an extra note of firmness and drama. The central Adagio, after elaborating a gentle theme, adds its most striking detail at the point when the cadenza would normally appear. Instead of inserting a virtuosic flourish, Beethoven gives the soloist a single melodic line to convey “with great expression,” alternating with comments from the orchestra as the movement draws to a close. The Rondo finale especially benefited from the 1798 revision, which transformed the square rhythm of the original main theme to the punchy, syncopated motive we know today.

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Symphony No. 9 in D Minor, Op. 125 [1824] LUDWIG VAN BEETHOVEN

In the face of poor health, continued hearing loss, and family troubles related to the care of his nephew, Beethoven’s output as a composer slowed to a trickle. He was reenergized in part by an invitation, received in 1817, to compose two new symphonies for the Philharmonic Society of London, although several years passed before he took up the project. In that time he produced a series of monumental works, including the “Hammerklavier” Piano Sonata, the Diabelli Variations and his enormous Missa solemnis. With that Mass mostly complete in 1823, he finally turned to the symphonic commission. Plans for what might have been two distinct symphonies merged into one massive composition, capped by an unprecedented finale featuring chorus and vocal soloists. Beethoven completed that Symphony No. 9 in 1824, and he introduced it in Vienna on the same program that featured the first public hearing of selections from Missa solemnis. Beethoven was by that point as deaf as he was stubborn; he insisted on “conducting” the symphony’s premiere, even though the performers knew to ignore him. Beethoven’s Ninth pushed the limits of the symphony even further than his heroic Symphony No. 3 or the fateful Symphony No. 5. Like the Third, it stretched symphonic proportions to unimaginable size and breadth, and like the Fifth, it unified all components in a sweeping journey from a conflicted minor key to a triumphant major key. The most striking departure from convention came in the finale, which added voices to a symphony for the first time to deliver the immortal “Ode to Joy.” Beethoven had been contemplating setting those verses by Friedrich Schiller for more than 30 years, and in the Ninth Symphony he finally found a vehicle to express all the rapture and exuberance of the text. With a message and impact that is deeply personal and in no small part spiritual, the Ninth Symphony is a quintessential product of Beethoven’s transcendent “late” period. But the musical methods still reflect the great advancements of his “middle” period, when he learned to strip his motives down to the utmost clarity and to assemble those building blocks into structures of uncanny precision and cohesion. That elemental quality announces itself from the outset of the Ninth Symphony, with an opening movement that fixates on the resonant intervals of perfect fifths and fourths. Relief might seem imminent after that movement settles sternly on the home key of D-minor, but then the Scherzo dives right back in with obsessive leaps in the same key, this time pounding on the motive of a descending octave. The spacious third movement outlines two main themes, the first in B-flat major in a fourbeat tempo, and the second shifting to a 3/4 pulse and reaching the significant key of D-major. These two themes develop in turn through a series of warm, patient variations. All the preceding music serves to set up the epic finale of the Ninth Symphony, a single movement that lasts about as long as Beethoven’s entire First Symphony. In case we have lost track of the journey that has led to this juncture, a tense introduction gives us flashbacks of the three preceding movements and tantalizing hints of the way forward. Only then do we land definitively in the redemptive key of D-major, and the cellos and basses issue the first full statement of that simple, stepwise melody that so thoroughly changed the course of music. Finally the “Ode to Joy” can begin its epic rise, a rich interweaving of soloists, chorus and worldly orchestration (including a raucous march in the “Turkish” style) that delivers astounding new delights with every turn. © 2023 Aaron Grad.

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INSTRUMENT DONATION PROGRAM Help make a difference by donating used or new instruments, accessories, or monetary gifts to help music students in need.

Palm Beach Symphony happily accepts donations of professional or amateur quality band and orchestral instruments. We ensure instruments meet performance standards through an evaluation, repair, and sterilization process. They are then donated to underserved schools within the School District of Palm Beach County as well as individual students in need. FOR MORE INFORMATION, VISIT www.palmbeachsymphony.org or call 561.655.2657

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Members at Palm Beach Symphony take an active role in enriching our community with world-class music and educational experiences - allowing the Symphony to reach new artistic heights. In return, we provide an elite, luxury experience to rival any in the region: premium seats at every performance, exclusive VIP events like pre/post-concert dinners, the annual gala, and more.

JOIN TODAY Visit www.palmbeachsymphony.org or call 561.655.2657

On Display Through April 14th, 2024

Cox Science Center and Aquarium 4801 Dreher Tr N, WPB, FL 33405 | (561) 832-1988 | CoxScienceCenter.org

LADIES GUILD The Palm Beach Symphony Ladies Guild was formed to assist the Board of Directors in developing ideas related to Symphony programs and membership. As ambassadors of the Symphony, Ladies Guild members are “friend-raisers” who share their enthusiasm for the organization and work together to invite and encourage membership.

Mrs. James N. Bay

Mara Schainuck Benjamin

Sheryne Brekus~

Sophia H. Burnichon

Nannette Cassidy~

Amy Collins

Alexandra Cook

Julie Dahlstrom

Mary Demory

Margaret C. Donnelley

Sandra Goldner+*

Arlette Gordon+

Carol S. Hays

Ann Johnson*

Linda Fellner Lachman

Marilyn Macron

Marietta Muiña McNulty+

Dawn Galvin Meiners*

Sally Ohrstrom+

Ruby Rinker*

Karen Rogers

Jody Schwarz

Mary Thompson+

Sieglinde Wikstrom+

Judy Woods

Heather McNulty Wyser-Pratte+*

+Founding Member *Honorary Member ~Legacy Member

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A TRIBUTE OF LOVE FROM OUR LADIES GUILD IN MEMORIAM Dora Bak: Dora Bak, born in Germany in 1914, developed a love for music and the arts. Her father was a violinist for the town orchestra. She grew up in a home that was always filled with music. She loved the culture of Palm Beach and was a supporter of many charities. Dora Bak was a longtime supporter of Palm Beach Symphony. In 2002, she donated a $1 million gift to the Symphony. Her generosity has provided the Symphony with a “bridge” to where we are today. Dora Bak will always be an honored member of our legacy society, which is named after her. Helen Alstadler Bernstein: Helen was a longtime friend, board member, and supporter of Palm Beach Symphony. In 2005, she joined the board of directors and also held the position of chair for the Symphony’s annual dinner and dance for over 10 years. A native of Stamford, CT, Helen was active in philanthropy, especially relating to the arts. She was a founding member of the Kravis Center for the Performing Arts, a supporter of The Society of the Four Arts, and a member of the Patrons of the Arts and Vatican Museum. An incredibly staunch Symphony supporter, but also a gentlewoman, she is sorely missed by all. David C. Bigelow: Mr. David C. Bigelow was a cherished and long-time supporter of Palm Beach Symphony for over 37 years and an extraordinary leader of Bigelow Tea. Mr. Bigelow’s unwavering dedication to the Symphony was truly heartwarming. For 17 years, he and his wife Eunice served as co-hosts for our annual member dinner cruise. He was not only a valued member but also a dear friend to many. His presence will be greatly missed, and his legacy of generosity will forever remain in our hearts. Harry B. Bissell: Mr. Bissell was our beloved longtime Board member. For more than 12 years, he faithfully served as a Palm Beach Symphony benefactor and member of the Board of Directors from 2005 to 2018. Mr. Bissell and Dr. Ray Robinson had known each other for a long time. We will miss our dear friend and mentor. His unwavering commitment to Palm Beach Symphony, incredible wisdom and loyal friendship helped us grow tremendously. He and his surviving wife, Marie, always positively influenced Symphony’s mission. Dr. Elizabeth M. Bowden: Dr. Bowden was not only a dedicated supporter of the Symphony but also a cherished founding member of our Ladies Guild. As a member of the Ladies Guild, she played a pivotal role, offering her expertise, guidance, and unwavering support. In recognition of her steadfast contributions and service, she was honored as an Honorary Ladies Guild member in 2020. Her co-chairing of the successful event “Midnight Reveries, Age of Elegance” alongside our esteemed member, Arlette Gordon, exemplified her

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commitment to our cause. Furthermore, Dr. Bowden actively participated in philanthropic and social organizations in both Philadelphia and Palm Beach. In Palm Beach, she was involved with various clubs and charities, leaving a lasting impact on the community. Beyond her professional achievements, Dr. Bowden was a remarkable individual whose passion for education, music, and community impact was truly inspiring. She will be greatly missed. Trudy Brekus: Trudy was a longtime Symphony friend and member. SHe was an Honorary Member of our Ladies Guild. Trudy was the loving mother of our Board Member Richard Brekus and Ladies Guild Member, daughter-inlaw Sheryne Brekus. She and her late husband, Gordon, had three children, six grandchildren, and two great-grandchildren. After moving to Palm Beach in 1976, Trudy devoted her time to volunteering for numerous charities, cultivating numerous friendships that meant the world to her. She was a kind, philanthropic person in our community. In addition to Palm Beach Symphony Ladies Guild, she served on numerous nonprofit organizations and committees. She was an active member of Palm Beach Symphony Ladies Guild, helped us create Holly Jolly Symphony Fête, and sponsored hosting Holly Jolly at the Sailfish Club of Florida and The Beach Club. Trudy also hosted the first Holly Jolly Symphonye Fête Gift Gathering Party at the Sailfish Club of Florida in 2017. Trudy touched our hearts and left her mark on this world. She will be truly missed. Mercedes Quevedo Cassidy: Mercedes was well-loved by everyone who knew her. She was involved in many charities in Palm Beach. One of her favorites was Palm Beach Symphony, where she had been a faithful supporter for many years. She was one of the founding members of the Ladies Guild and a great ambassador for introducing classical music to the community. Barbara Lauman Claeys: Barbara first attended a Palm Beach Symphony concert in 2013 and immediately became a friend and strong supporter. As a member of the Symphony’s Ladies Guild and Development Committee, Barbara was very passionate about the music and mission of the Symphony. She was a very loving woman with a glowing smile. Felicia Taylor Gottsegen: will be remembered for her unwavering dedication to young artists—a legacy that will resonate for generations. A graduate of Milton Academy and Northwestern University with a bachelor’s degree in English, she transitioned from her career as a business correspondent for CNN and CNBC to become a respected film producer. Best known for her documentary, “Far From Home,” exploring the impact of climate change on Senegal’s children, Ms. Taylor was also a generous supporter and former Board member of Palm Beach Symphony. Her contributions included funding the annual Mary Hilem Taylor Music Scholarship Competition, benefiting promising young artists in South Florida with financial needs. We will forever cherish her positive impact on young artists and unwavering support for the arts. palmbeachsymphony.org

LADIES GUILD

Doris L. Hastings: Doris was a loyal Palm Beach Symphony Benefactor, member of the board of directors (2002-2016), and founding member of the Ladies Guild. Doris will forever be remembered for her many years of dedicated service. Her memory lives on in our hearts. William W. Karatz, Esq.: William was a Grand Impresario in Palm Beach Symphony’s 2022-23 season. He had a great passion for the arts, which his constant companion Joan G. Smith continues in his memory. He had a great love for the music of violinist Sarah Chang. The first concert of the season, featuring this esteemed violinist, is dedicated to his memory. Helene C. Karp: Helene was an esteemed Symphony Society and Ladies Guild member. Helene, a long-time Palm Beach resident, dedicated her time and energy to numerous charitable organizations and clubs, leaving a legacy of kindness and generosity that will be remembered and cherished by all who had the privilege of knowing her. We will dearly miss our cherished friend with her beautiful smile and her boundless kindness. Patricia B. Lester: Palm Beach Symphony will lovingly remember Patricia B. Lester and her predeceased husband, Howard Lester, for their genuine and thoughtful friendship over the years. They shared a passion for community and music education, enriching the lives of talented young musicians and a worldclass orchestra. They have been incredibly instrumental in Palm Beach Symphony, and we are profoundly grateful for their love and support. Jeannine Merrien: Jeannine will always be remembered for her years of dedicated service as a Palm Beach Symphony benefactor and secretary of the board of directors. Her enthusiasm and passion for the arts were seen by everyone she met. She was a true ambassador of the Symphony and her legacy remains with all of us. Bernadene Rand Mileti: Bernadene Rand Mileti was a renowned interior designer. An avid and dedicated Palm Beach Symphony supporter, Bernadene enjoyed volunteering for the Symphony. She used her creativity and expertise to help decorate several events, especially the galas. She co-chaired several Symphony galas at the Henry Morrison Flagler Museum. Her passion and dedication provided the Symphony with a new artistic side to all events and her hard work will forever be appreciated. Sarah Pietrafesa: Sarah Pietrafesa, a dedicated member and supporter of Palm Beach Symphony and its annual event, the Holly Jolly Symphony Fête, has left an indelible mark. A child prodigy, she began her musical journey at age 5, mastering the accordion and captivating local radio audiences. By age 10, she was already impressing with her piano performances for Civic Morning Musicals and the Syracuse Symphony. Educated at Goodyear-Burlingame School and Georgian Court College, she graduated from the New England Conservatory of Music. Her talents earned her a Fulbright Scholarship

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LADIES GUILD

to study piano in Paris, launching a career as a piano virtuoso, including performances with the renowned Boston Pops. Beyond music, she embraced life with enthusiasm, enjoying boating, bowling, golfing, and card games. Yet, music remained her enduring joy, a talent passed down to her children and grandchildren. Her legacy lives on through the Sarah Pietrafesa Scholarship, honoring her musical journey. We deeply miss her. Steven C. Pinard: Steven Pinard was an influential and active member of the Symphony. In addition to his deep passion for symphonic music and music education, he found joy in gardening, biking, skiing, boating, and the art of repairing and restoring various items. Steve held the distinguished role of Vice President at Dunkin Donuts, dedicating 25 years of his career to the company. Above all, Steve was a devoted husband. Alongside his wife Katherine, he wholeheartedly committed to advancing the mission of Palm Beach Symphony. In addition to enjoying quality time with his friends at Palm Beach Symphony, he had an avid love for boating, with his favorite moments being on the water, cruising along. Steve held a special place in his heart for his children and grandchildren, wishing for more time to be with them and deeply cherishing their abundant love. He was a true friend of the Symphony, and his absence will leave a void felt by all of his friends at Palm Beach Symphony. He will be profoundly missed. Kenneth Rogers: Kenneth Rogers, fondly known as “Ken,” was an esteemed member of our Symphony family and the broader community, a dedicated advocate for the arts and music, particularly Palm Beach Symphony. Since 2016, Ken’s unwavering commitment shone through his active participation in our Symphony’s Development Committee and his role as Chair alongside his beloved wife, Karen Rogers, for our Sixth Annual Holly Jolly Symphony Fête, where they were honored as this year’s Honorary Chairs. Ken’s passion for music and his remarkable generosity have made a lasting impact on our Symphony and the countless lives we touch through our music education programs. His legacy will forever echo through the notes of the music we create and the lives we inspire. Leslie Rose: Palm Beach Symphony joins the Greater Palm Beach Community in mourning the loss of our former Chairman of the Board of Directors, Leslie Rose. From 2010 to 2021, Leslie provided his guidance and leadership helping us develop and achieve our mission to engage, educate, and entertain our community of the Palm Beaches. Leslie led by example, extending his hand of friendship, by welcoming visitors to Palm Beach Symphony and engaging them to become involved. He took every opportunity to show the positive impact the arts can have throughout people’s lives. As Chairman Emeritus, Leslie continued to show his leadership and support as a Grand Benefactor and Golden Baton Society Member. We are forever indebted to Leslie for his generous leadership and support.

palmbeachsymphony.org

P relude S ociety Celebrate our 50th Anniversary Season by becoming a part of the new and exciting membership level in support of the Symphony. Join Today! Contact Renee LaBonte, Community Advancement Coordinator, at rlabonte@palmbeachsymphony.org or call 561.655.2657

LADIES GUILD

Marguerite Rosner: Marguerite was a grand benefactor and Palm Beach Symphony member for more than 40 years. With her passion for classical music, she was an outstanding benefactor of the Symphony, a dedicated member of the Ladies Guild, and co-founder of the Palm Beach Symphony Sunset Dinner Cruise. She was a much-loved friend and an incredible ambassador for Palm Beach Symphony’s mission. She is greatly missed by those who knew her. Joan G. Smith: Along with her longtime companion, William Karatz (2022), generously supported our mission and outreach, enabling us to serve our community. We will deeply miss Ms. Smith. George Robert (Bobby) Spencer: George Robert Spencer, affectionately known as Bobby, was a beloved individual with royal connections, having served as an usher at Queen Elizabeth II’s Coronation in 1953. He wholeheartedly embraced Palm Beach, Florida, and became an active member of the community starting in 1975. We fondly remember Bobby with profound gratitude for his generosity and thoughtfulness, which played a pivotal role in ensuring the Palm Beach Symphony’s enduring mission of sharing world-class music and fostering music education. His generous spirit continues to inspire us to carry forward his legacy of music and kindness. Ethel S. Stone: In our earliest days, the orchestra performed only a few concerts a year with a part-time conductor and a volunteer staff. It was not until Ethel S. Stone became the Symphony’s board chair, a position she held for 23 years, that the Palm Beach Symphony orchestra began establishing itself as a cultural force in the community. She was a visionary leader with a love of music that she inherited from her family and a love of the Palm Beach community with which she shared her musical interests. Ethel S. Stone left an undeniable legacy as one who played a key role in nurturing an interest in classical music in this community. Sandie Tuschak: Sandie Tuschak was one of the early Symphony supporters. She became Secretary & Treasurer and served as an Executive Vice President from 2003 to 2010 at Palm Beach Symphony. We always remember Sandie as one of the most dedicated and active members of the Board of Directors with strong organizational skills. She and former Palm Beach Symphony board chairman Bruce Bent made a great team organizing the first Season Opening Cocktail Party at Club Colette following an intimate dinner with major donors.

palmbeachsymphony.org

THANK YOU Palm Beach Symphony extends sincere appreciation to the businesses and government agencies whose generous partnership allows us to enrich and expand our world-class music, education, and community outreach programs.

SPONSORS AND CORPORATE PARTNERS

GOVERNMENT PARTNERS

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PLANNED GIFTS & ENDOWMENT Palm Beach Symphony is grateful to those who have made the commitment – through a planned gift or bequest – to help ensure the continuation of our world-class orchestra, music education, and outreach programs to enrich the community for generations to come.

Dora Bak Society Dora Bak* Doris Hastings* John Herrick Gary and Linda Lachman Philip Reagan Leslie Rose* Marguerite Rosner* George Robert Spencer*

Ray Robinson Endowment

We are grateful to Palm Beach Symphony’s Ladies Guild for their support in establishing the Ray Robinson Endowment Fund. David Albenda David C.* and Eunice Bigelow Leslie Rogers Blum Trudy B. Brekus* Margaret C. Donnelley Jose and Lurana Figueroa Paul and Sandra Goldner Carol and Joseph Andrew Hays JoAnne and Lowell Jaeger Helene Karp* Leonard and Norma Klorfine Foundation Dale* and Marietta McNulty Barbara Rentschler Ruth A. Robinson Marguerite Rosner* Robin B. Smith Don and Mary Thompson

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INDIVIDUAL DONORS Palm Beach Symphony gratefully recognizes the individuals listed here for their generous financial support, which makes our season of life-enriching programs for the community possible. Received as of October 1, 2023

Diamond Grand Benefactor $1,000,000 and more

Patricia Lambrecht

Foundation

Ronald Rosenfeld

Dora Bak*

David Schafer

Tina and Jeffrey Bolton Family Fund

Golden Baton Society Patrick and Milly Park, Honorary Chairs Leonard and Norma Klorfine Foundation The McNulty Charitable Foundation

Dodie and Manley Thaler and the Thaler Howell Foundation Contributing Impresarios Cynthia Anderson Canty and Jerome Canty Mrs. James N. Bay Alan Benaroya

Lois Pope

JoAnne Berkow

Leslie Rose*

Kathy Lee Bickham and John Bickham

Impresario Society Grand Impresarios James R. Borynack and Adolfo Zaralegui / FINDLAY Galleries Barbara and William Karatz Fund/William Karatz* and Joan G. Smith Leonard and Norma Klorfine Foundation Patrick and Milly Park

Willard & Mary Demory Willard “Hank” Dow and Kelly Winter Dr. Richard and Diane Farber Cindy & Rob Friezo Foundation Inc.

Douglas and Jo Gressette

George and Lisa Hines

Irwin and Janet Gusman

The Kovner Foundation

Henry & Elaine Kaufman Foundation, Inc.

The Honorable Bonnie McElveen-Hunter The McNulty Charitable Foundation Ari Rifkin / The Len-Ari Foundation

Bill and Kem Frick / The Frick Foundation Inc.

Karen and Kenneth* Rogers

Charles and Ann Johnson / The C and A Johnson Family Foundation

Kimberly Strauss

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Suzanne Mott Dansby

Walter Harper

Lois Pope

Gary and Linda Lachman/The Lachman Family Foundation

Jerome Claeys

Gerry Gibian and Marjorie Yashar

Associate Impresarios

John D. Herrick

Amy and John Collins

Leslie Rogers Blum

Nancy and Ellis J. Parker, III

Thomas E. Harvey & Cathleen P. Black Foundation

Carol and Thomas Bruce

Robin B. Smith Sieglinde Wikstrom Assistant Impresarios Christine and Max Ansbacher Arthur & Mara Benjamin

Elaine Kay Tova Leidesdorf David Moscow Dr. Martha Rodriguez and Dr. Jesus Perez-Mendez Carol and Jerome Trautschold Grand Benefactors $100,000 and more James R. Borynack and Adolfo Zaralegui/FINDLAY Galleries Board of County Commissioners Palm Beach County, the Tourist Development Council, and the Cultural Council of Palm Beach County

INDIVIDUAL DONORS Department of State, Division of Cultural Affairs, and the Florida Council of Arts and Culture

Mrs. James N. Bay JoAnne Berkow

Thomas E. Harvey & Cathleen P. Black Foundation

Yvonne S. Boice Trust and Alfred Zucaro

Kathy Lee Bickham and John Bickham

The Doris Hastings Foundation

Gifts from $10,000 to $19,999

Leslie Rogers Blum Amy and John Collins

Carol and Harold Baxter/ Baxter Family Foundation

CORPGOV – Mr. & Mrs. John Jannarone

C. Kenneth & Laura Baxter Foundation, Inc.

Todd and Julie Dahlstrom

Richard and Lon Behr

Mary and Will Demory

Arthur & Mara Benjamin Foundation

Charles and Ann Johnson Leonard and Norma Klorfine Foundation The Park Foundation / Patrick and Milly Park George Robert Spencer*

Alan Benaroya

Paul and Sandra Goldner Douglas and Jo Gressette

Benefactors Gifts from $50,000 to $99,999

Addison Hines Charitable Trust

Bill and Kem Frick / The Frick Foundation Inc.

Y. Michele Kang

Paul and Sandra Goldner Walter Harper John D. Herrick The Kessler Family Foundation / Michele and Howard Kessler Patricia Lambrecht Lugano Diamonds & Jewelry Inc. The Honorable Bonnie McElveen-Hunter Ronald Rosenfeld

George and Lisa Hines The Kovner Foundation

Sieglinde Wikstrom / The Wikstrom Foundation

Arlene Blau Tina and Jeffrey Bolton Family Fund Braman Motor Cars Richard and Sheryne Brekus Carol and Thomas Bruce

Gary and Linda Lachman

Manny and Sophia Burnichon / Private Cask Imports

McNulty Charitable Foundation

CIBC Private Wealth

David Minkin Foundation, Prescott and Pamela Lester Nancy and Ellis J. Parker, III PNC Wealth Management Lois Pope / Leaders in Furthering Education, Inc. Annette Urso Rickel Foundation

The Colony Hotel Thomas D’Agostino and Danielle Rollins Mary and Willard Demory Scott Diament / Provident Jewelry Willard “Hank” Dow and Kelly Winter

Karen and Kenneth Rogers*

Prof. and Mrs. Paul du Quenoy / Common Sense Society and the Palm Beach Freedom Institute

Seth Sprague Foundation

Dr. Richard and Diane Farber

Robin B. Smith

Jacqueline and Ray Farris

Gifts from $20,000 to $49,999

Kimberly V. Strauss / The Strauss Foundation

Rob and Cindy Friezo

Carol S. and Joseph Andrew Hays

The Mary Hilem Taylor Foundation

Gerry Gibian and Marjorie Yashar

Cynthia Anderson Canty and Jerome Canty

Don and Mary Thompson

Irwin and Janet Gusman

WPEC CBS 12 – Sinclair Broadcast Group

Dr. Jose and Lurana Figueroa

David Schafer Dodie and Manley Thaler and the Thaler / Howell Foundation

Christine and Max Ansbacher

Ari Rifkin / The Len-Ari Foundation

Dr. Robin Ganzert

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INDIVIDUAL DONORS Nathan Frank and Krystian von Speidel Eric Friedheim Foundation, Inc. John F. Hendrickson Charitable Foundation

Hans and Barbara Bergstrom

Lisa Huertas

Kathy and Gene Bernstein

The International Society of Palm Beach

Mr. and Mrs. Howard Cox Edith Bjork

Marsha and Carl Hewitt

Thomas Boland

Hospital for Special Surgery

Camille and Anthony Branca

Henry & Elaine Kaufman Foundation, Inc.

Paul Broder & Kimberly Griffiths

Mrs. James Kay

William H. Brown Jr. & Vanessa J. Vinci

Tova Leidesdorf

Martin and Mary Jacobson David Jaye Lawrence Kaplan Kenneth F. Kielbania and Gary L. Kielbania, Trustees of The John R. Mertz and Harriet G. Mertz Trust Stephanie Lefes

Nancy M. Brown

Levenger

Nannette Cassidy

Karen and Paul Levy

Marianne and John Castle

Robert M. Lichten

Denise McCann

Vera Chapman

David Moscow

Deutsche Bank Wealth Management

The Lunder Foundation / Peter and Paula Lunder

Syndie Levien Doug Marty / Wellington National Golf Club

Suzanne Mott Dansby

Marilyn Macron

Norman and Susan Oblon

Anthony DiResta and Terrance Mason

Harry T. Mangurian, Jr. Foundation

Palm Beach Design Masters

Margaret Donnelley

Michael McCafferty

Robertson Family Fund / William Robertson

Michael Egren and Cyndi Rosellini

Mary Bryant McCourt

Dr. Marth Rodriguez

Janet L. Ellis

Anne E. and David R. Sauber

Florida Power & Light Company

Sherri Stephenson Jerome and Carol Trautschold The Ann Eden Woodward Foundation / James and Judy Woods, trustees

Fox Rothschild LLP Audrey Friedner David Genser Barbara Gilbert

David and Millie McCoy McEntire Charitable Family Fund / J. Andrew McEntire Marietta Muiña McNulty Michael and Shari Meltzer Metals Mint / Eric Malcolmson William A. Meyer Foundation

Arlette Gordon

David E. Weisman and Jacqueline E. Michel

Michael M. Gottsegen

Judith Miller

Leonard Ackerman and Patricia Silver

Ann R. Grimm

Dr. Marjorie Miller-Kihn

Patrick Gross

Richard Allen

Frank and Geri Morrow

Charles* and Karmita Gusmano

Sharon and Joseph Muscarelle

Gifts from $4,000 to $9,999

James H. and Marta T. Batmasian Family Foundation

Ursula Gwynne

Hans and Sigrid Baumann

Monique and TJ Nelligan

Cynthia Hampton

Josephine Linder duPont Bayard

Kitty and Dudley Omura

Caroline Harless

James DiPaula

Priscilla Harding Heublein

Katherine Pinard

Dr. Peter Heydon / The Mosaic Foundation

Tammy and Charlie Pompea

C Gordon Beck III Danny and Talia Bejarano

104 Palm Beach Symphony

INDIVIDUAL DONORS Lady Susan Willis-Reickert and Erick A. Reickert

Alfonso Fanjul / Florida Crystals Corporation

Esther Rosenberg Simon and David Simon

Morgan Glazar / Tom James Company

David T. Sarama

Elana Glinert

Juan and Shanon Pretel

Jordan Saunders

Elise and Israel Gotay

Gudrun Sawerthal

Mrs. Robert Grace / Mae Cadwell Rovensky Foundation

Publix Super Markets Charities

Nancy and Dr. William Schneider Steel Grove Capital Advisors Nancy Stone Dr. Arthur and Jane Tiger Bruce Trent Dr. Harris Vernick James J. Verrant Mary Lou Wagner Gil Walsh Camilla Webster Gifts from $2,000 to $3,999

Burton Rocks

James Hawkins

Susan and Elihu Rose

The Edward & Patricia McLaughlin Foundation / Patricia McLaughlin

Dr. Lawrence and Lana Rouff

iTHINK Financial Robert and Ann Jaeder Joanna and Joseph Jiampietro Judith A. Jokiel Evan Jones Mary and Richard Kazares

The Honorable Sarmite D. Bulte and Dr. Steven Treiber

Arsine and Taniel Koushakjian

Nannette Cassidy

Jim and Renee LaBonte

PJ Callahan Foundation, Inc.

Ellen Levy

Jay Michael and Mary Anne Cook

Aida and Stephen Lovas

Tracie Elliott Schulman and Eli Wachtel Donald M. Ephraim Family Foundation Linda and Stephen Epstein Charitable Fund

Dr. Lawrence and Marlene Rocks

Pamela Howard and Wynn Laffey

Patricia Kennedy

Dale Coudert

Risk Strategies Company

Theresa and Michael Hammond

Wendy Block

Mr. and Mrs. David Dillard

Ross and Nicole Pitcoff

Dr. Philip Robinson

Allan A Kennedy

Angela Cortesio

Martin Payson

Charles J. Gradante

Lexye Aversa

Maude Cook

Anka K. Palitz

Sankar and Susan Krishnan

Sura Malaga Cecilia Martinez Kevin and Sarah McCaffrey

Lawrence Rosenthal Michael Rourke and Michele Schimmel Sara Shake, The MRKT Co. Ryan Swenson Jessica and Trent Swift The Boca Raton TD Bank William H. and Jane Told Suzanne L. Webster Wellington Bay Wellington International Gifts from $1,000 to $1,999 David Albenda and Graham Watkins* Vini Antonacci / Compass Realty

Thomas McDermott

Dr. Melanie Altizer and Patricia Conner

Joseph and Max McNamara

Brielle Appelbaum

Modestus Bauer Foundation / Lawrence and Carol Reich

Ann Bach

NFP

Randee Bank

Linda Olsson

Benzaiten Center for Creative Arts

Kathleen Pace

Susan Bigsby

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INDIVIDUAL DONORS Big Time Restaurant Group

Malinda and Jim Hlavenka

William Blundin and Kyle Kahriman

Sabra lngeman

Martha and Joseph Pietrafesa II Virginia Pope

William and Carol Browne

Iovino Family Fund / Thomas Iovino

Cary Stamp & Co.

Stanley Jacobson

Chervo

William and Peggy Johnson

Consulting Technology Solutions

Evan Kass

The Sandi and Barry Schwartz Family Foundation

Dr. Joel Kassimir

Jean and Martin Shafiroff

Patricia Kennedy

E. A. Sheslow Philanthropic Fund of the Jewish Communal Fund

Cox Science Center and Aquarium

Marjorie Potter-Kolb The Raymond F. Kravis Center for the Performing Arts

Karen and Michael Crane

Nouna Kettaneh

Carla Crawley

Susanna Koning

Cummings & Lockwood LLC

Dr. and Mrs. Howard B. Krone

Dr. Daniela Dadurian

Christina and Jason Lamport

Charles Dale

Larmoyeux & Bone, P.L.

Dr. Richard and Mrs. Arlene Florence Siudek

Katherine and William J. Devers

Scott and Monica Lauranx

South Florida PBS

Noah Lewis

Eliane Strosberg

Dex Imaging, LLC

Ann Liguori

Anna and Peter Tcherepnine

David C. Dunlap

Lytal, Reiter, Smith, Ivey & Fronrath

Tortoise Properties / Clayton Idle

Lynn and Robert Francis Mackle

Tricia and Tom Trimble

Alex Mandaro

Veronica Whitlock

Barbara and John J. McDonald

James Williford Sheryl Wood

Andrew Filauro

Frank E. Morgan and Brent Feigenbaum

Joseph P. Flanagan

Morse Life Health System

Elizabeth Floyd

Georgia Mouzakis and Michael Wise

Dr. Stewart Eidelson EisnerAmper Donald M. Ephraim Family Foundation Dolores (Sukhdeo) Fernandez Alonso

Kurt and Rackel Gehlsen

R. P. Simmons Family Foundation

Sigrid Van Eck

Gifts up to $999 Ana (Kyra) Aguilera

Arnold Moss

Adrienne and Matt Allen

Suzanne & Terry Murray

Kelli Alvord

Alexander ‘Sandy’ Myers, Esq.

Julia Amadio

Jennifer and Tony Nawrocki

Jonathan Andrews

Catherine and Nicholas Noviello

Mason Anthony

Sally Ohrstrom

Hector Arcia

Roger Osborne

Barbara S. Aschheim

Harlan Capital

Ximena Pacheco-Veliz

John T. Avellino

Harvey Capital Management

Elaine and Simon Parisier Fund

Stephanie Bacharach

Susan Gibson Carole Gigliotti Bunny Golde Peter Gottsegen Rachel CW Gwinn Private Foundation Michael and Theresa Hammond

Hive Home, Gift & Garden

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Wesley Coggins Pennington

Wallace Aptman

Todd and Debra Barron

INDIVIDUAL DONORS Kirill Basov

Fund / Ken and Sarah Davidoff in honor of Dr. Lawrence Rocks

Earl Goldberg

Irene P. Dechman in honor of Sara Deichman

Suzi Goldsmith

Amanda Bjornson Lori Black

Michael J Dixon

Randy Gray

Margaret Blake

Leslie Dobbin

The Avrum Gray Family Fund

Elizabeth Bonan

Christa Dombraski

Toni Handegard

Nancy Boyle

Sy Donner

Stephanie L. Branscomb

Pat D’Orazio

Yuliya Harris and Alexander Kappaz

Aaron Brask

Amy Dowds

Philip Hayden

Matthew J. Brinzo, Billie & Bennett Brinzo

Dave Duebendorfer

Jeffrey P Hemmings

Ronald Early

Stephanie Hill

Adrienne Broch

Jordan Elsen

Justin Hoogendoorn

Lorraine Bruno and Edward Bruno

Nancy Erlick

Kimberly Hooks

Mary Ernst

Avraham Horowitz

Elizabeth Eugenio

Robert and Barbara Hurwit

John and Sandi Failla

Michael Hyett

Antonella Farro

Gloria Jacob

Steve and Ann Feiertag

Dale Jenkins

Sue Feldman

Lori Jenner

Kamille Caufield

Rachael Flanagan, Esq.

Cfayla Johnson

Jack Chadam

Lynley Ford

Aramas Kaloustian

Constance Chan

Alyssa Forster

Bill & Susan Kelley-Roy

Rita Chanfrau

Sharon Forster

Lawrence Kleinberg

Sylvia B. Chilli

Justin William Frobose

Lori Kollmeyer

Guy Clakr and Harrison Morgan

Joseph and Judy Fusco

Andrea Kozlowsky

Brent Fykes

Richard Kozlowsky

Richard and Ellen Galkin Foundation

Todd Kozlowsky

Gregory Connelly Maureen Conte

Bryan and Christina Garces

Herbert Krauss

Dr. Alexandra C. Cook

Stephanie Gates

Andrew Kwan

John Corey III

Robert Gebbia

Alfred Lavker

Ann Corwell

Caroline Geerling

Bella Ledda

Jan Courte

Kelli Gibbons

Myriam Leibowitz

Justis Cousins

Carole Gigliotti

Laurence Levy

Stephanie Dagher

Robert Glass

Darius Liktorius

Ian Danic

Letizia Gnazzo

Thomas Lindley

Davidoff Family Charitable

Lisa Eva Gold

Kay List

Barry Bekkedam Beliza Bermudez

Carl Buchheister Ann Burchill Dr. Robert Buzzetti Stephanie Cahill Christina Calderaio and Bryan Garces

Brandy Collot

Ludmilla Goldberg Shelley Goodman

Barry Kramer

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INDIVIDUAL DONORS Henry Loeb

Patricia Pape

Joan Simpson

Asa Lena Loof

Patricia Pellegrino

Ann and John Slyh

Shelley Lovitz

Virginia Pellitieri

Courtney Smith

Arnold Lurie

Linda Phillips

The Honorable Lesly S. Smith

Nancy Mandell

Scott Popilek

Pamela Smith

Louis Mark

Suzanne Porter

Kate Stamm

Susan Mark

Lolly Prince

Barbara Stein

Marjorie J Marks

Quantum Foundation Inc.

Gary Stein

George Matsoukas

Maria Recondo

William Straith

John McCullough

Karen Restaino

Rachel Stockton

Matthew McGeever

Dr. C. Michael Ridgdill

Olga and Serge Strosberg

Terrence and Cindy McGeever

Ruby Rinker

David and Rita Sullivan

Wendy McIlvain

Thomas Riso

Steven Tobin

Suzanne McKenna

Dr. Marcia Robbins-Wilf & Dr. Perry Robbins

Danica L Treadwell

Dr. Paul Melchiorre Ginny Millner Gloria Milner The Glen and Caramel Mitchell Foundation

Arthur Roffey Mary Lynn Rogers Jane Rose Jill Hall Rose

Frederick and Joan Van Poznak in honor of David Prensky Mercedes Unda Ellen Vaughan Dr. and Mrs. Dennis Vollman

Ashley Montgomery

Gloria Rothstein

Marion Montgomery

Mark and Lauren Rubin

David Mortman in memory of Doris Mortman

Michael Russell in honor of Dr. Lawrence Rocks

Xiomi Murray

Pilar Ruiz

Bruce Warshal

Hank Narrow

Camille Russo

Jeff Weiss

Robert Nass

David and Frumet Sachs

Alexandria Welsh

Archabbot Douglas Nowick

Mike Savage

Ava Wilder

Kip O’Brien

Cindy Sayroo

Adam and Erika Wolek

Sally O’Connor

Dionne Schneider/Coastal Girls Co.

Joelle Wyser-Pratte

Leonard Olds David Olian AlexAnndra Ontra Xiomara Ordoñez Anthony Ortiz Bob and Cathy Ostellino OZO2 Cleaners Carol Padron Palm Beach Yacht Club

Elisabeth Schuler Susan Schwartz Kendra Scott Sandra Sexton Jerry Shaw Isora and Steve Sherman

Linda Vorhies Michael Walsh Myrteel Ward

Olena Yerokhina Michael Zaslavsky Sarah Zhao Fred S. Zrinscak *Deceased

Jeanette Sievers Leon Silverman

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Cummings & Lockwood Proudly Supports the Palm Beach Symphony

For over 100 years, Cummings & Lockwood has been building meaningful and lasting relationships with out private clients, their family offices, businesses and charitable entities, serving as trusted advisors throughout their lifetimes and providing sophisticated legal counsel at every important stage of their lives. Our core services include: Estate planning and administration Estate, income and gift tax planning Wealth protection planning Trust formation and management Philanthropic giving Generational wealth transfer Probate and estate settlement International estate and tax planning

Executor and trustee services  Business succession planning Residential and commercial real estate services Corporate and finance services Trusts and estates litigation and tax controversy Business litigation, arbitration and dispute resolution

For a private consultation, please contact our Palm Beach Gardens office at 561.214.8500.

YOUNG FRIENDS OF PALM BEACH SYMPHONY is an active group of young professionals in their 20s, 30s, and 40s who have an appreciation for classical music and are committed to supporting Palm Beach Symphony’s impactful education and outreach programs.

JOIN TODAY! Contact Felix Rivera, Patron Advancement Coordinator, at frivera@palmbeachsymphony.org or call 561-655-2657

An Iconic Club, A New Perspective Tucked beneath the palms, discover a members club like no other. A private golden beach, world-class dining, a sublime spa – your home from sunrise to sunset and for generations to come.

To inquire about Membership call 561.447.3100 or visit TheBocaRatonClub.com

MORGSUITSYOUU Morgan Glazar is not only a proud sponsor of Palm Beach Symphony but also an Executive Clothier at Tom James Custom Clothing Company. Her passion for all things fashion, coupled with her dedication to helping others, has driven Morgan to excel in her career. She specializes in dressing influential busy professionals in South Florida. Tom James Custom Clothing is the worlds largest manufacturer of custom clothing. With a strong emphasis on sustainability, quality, and service, Tom James has adapted to the changing times while maintaining it’s status as a household name in the suiting industry. To connect with Morgan directly, use these channels: Instagram: @morgsuitsyouu Email: m.glazar@tomjames.com Phone: 302.898.2770 LinkedIn: Morgan Glazar Website: Tomjames.com (to learn more)

LOVE LIFE

MORSELIFE. MORE LIFE. Stunning interiors, curated art, five-star kosher and non-kosher dining, concierge services, first-class amenities, cultural programs, and activities all included in your monthly rent.

ALL-INCLUSIVE INDEPENDENT LIVING

(561) 220-5063 Morselife.org Stephen A. Levin Palace at MorseLife Marilyn & Stanley M. Katz Seniors Campus, 4850 Ryna Greenbaum Dr., West Palm Beach, FL 33417

20230808 Palm Beach Symphony MorseLife Print Ad 5.5x8.5in.indd 1

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“

Voted Top 3 Hotels

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in Palm Beach County

Muse Award

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for Best U.S. Boutique Hotel

Downtown Boutique Hotel that will be Music to Your Ears! 208 Guest Rooms including 12 Suites Gorgeous Views of the Palm Harbor Marina and Palm Beach Island

Rooftop Saltwater Pool 24 Hour Fitness Center “Puppy Brunch” each Saturday Beautiful Executive Boardroom

Rooftop Ballroom with 3788 sq ft Views of Island and Atlantic Ocean Hosting corporate and social events

Two Signature Restaurants: Spruzzo on the Waterfront and Proper Grit (with all New Happy Hour!)

The Studio 1800 sq ft gallery inspired space Perfect for Wedding Ceremonies

thebenwestpalm.com | 251 N. Narcissus Ave West Palm Beach, FL | Phone: (561) 655-4001

IN HONOR OF THE 50TH ANNIVERSARY SEASON OF THE PALM BEACH SYMPHONY

From SOUTH BEACH

To PALM BEACH YOUR REAL ESTATE PROFESSIONAL

LINDA FELLNER LACHMAN REALTOR-ASSOCIATE ®

954.270.3451

fellner.l@ewm.com

419 West 41 st Street Miami Beach, FL 33140 ©2019 BHH Affiliates, LLC. An independently owned and operated franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.® Equal Housing Opportunity.

86 Palm Beach Symphony

WHERE IS THE FUTURE OF TRAVEL AND TOURISM? Become a partner at uftourism.org/our-partners

Proud Sponsor of the Palm Beach Symphony.