Sav Phil 2019-2020 Season - Volume 2 of 2 by savannahphilharmonic

SAVANNAH PHILHARMONIC

2019/2020 SEASON VOL. 2 OF 2

Meet The Artists Thomas Gansch & the “Killer Queen” pg 32

An Evening of Tango A delight for the senses pg 26

#SavPhil

JANUARY - MAY

Strings United

Savannah Arts Academy Ensemble pg 27

Season Finale

Mozart’s Requiem Maestro Harada Returns pg 48

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Welcome

SAVANNAH PHILHARMONIC BOARD OFFICERS

Rhegan White-Clemm BOARD CHAIR

Scott Lauretti VICE CHAIR

Bud Green TREASURER

Phyllis Albertson SECRETARY

Nina Eidell

EXECUTIVE COMMITTEE MEMBER

Susan Whitaker

EXECUTIVE COMMITTEE MEMBER

BOARD MEMBERS

Carol Bell Carolyn Brown Staci Donegan Rachel Fields Lyon Jemison Marek Lewanda Roger Moss Daphne Nash Kelley Parker Renee Portell Cindy Prutzman Mel Whitehead EX OFFICIO

Terri O’Neil

EXECUTIVE DIRECTOR

Keitaro Harada

MUSIC & ARTISTIC DIRECTOR DESIGNATE

Dear Friends, As we welcome 2020, I want to offer some personal reflections on the first months of my Designate season at Savannah Philharmonic. There is so much to be excited about at #savphil. There have been extraordinary experiences of community connectivity and love, starting with the sold out Season Opener in September, followed by October’s Picnic in The Park which brought more than 19,000 fans to Forsyth Park, then hearing violin soloist William Hagen’s inspiring Savannah debut in November. Our annual Holiday Spectacular concert series in December got everyone in the festive spirit! Since my arrival in July, I have enjoyed getting to know my wonderful musicians, chorus, Staff, Board, and fans. I feel so at home here in Savannah and I couldn’t be happier to be the new Music & Artistic Director starting next season. In February, we will be announcing my 2020/2021 inaugural season as Music & Artistic Director of Savannah Philharmonic. I look forward to returning to Savannah in January to host our annual fundraiser, An Evening of Tango, and then I will be returning to the stage in May to close this season with Mozart’s Requiem. Together, these and many other moments of this season remind me of the amazing power of music to inspire, educate, comfort and elevate. I am honored and thankful to have the privilege of stewarding the Savannah Philharmonic through this next exciting stage of artistic growth. I offer my sincere thanks to the Board of Directors, and the Staff for all of the great work that they do as the backbone of this organization and to the musicians, I profess my joy and appreciation of the passion you bring to each of our concerts. To our audience, our donors, our subscribers and our corporate sponsors, without your support and appreciation of the music we make, a resident orchestra could not exist in Savannah. Thank you for choosing to join us on this journey. KEITARO HARADA Music & Artistic Director Designate Savannah Philharmonic

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Table of Contents

TEAM

Terri O’Neil

EXECUTIVE DIRECTOR

Thomas Gansch pg 32

Keitaro Harada

MUSIC & ARTISTIC DIRECTOR DESIGNATE

Mel Whitehead CHORUSMASTER

Nathan Lee pg 25

Edward (E.J.) Lada

DIRECTOR OF ARTISTIC OPERATIONS

Pre-Concert Talks pg 18

Season Finale pg 48

Dr. Sinisa Ciric

CONCERTMASTER & ARTISTIC DIRECTOR OF LARSEN MUSICIAN CONCERT SERIES

Marsha Krantz LIBRARIAN

Mike Daly

ORCHESTRA PERSONNEL MANAGER

Frances C. Colón DEVELOPMENT & PATRON SERVICES ASSOCIATE

Katherine Poss

DEVELOPMENT & COMMUNICATIONS ASSOCIATE

Kristen Spiridon EDUCATION & OUTREACH COORDINATOR

An Evening of Tango pg 26 Going Green pg 7

Margaret Murphy FINANCE ASSOCIATE

Make the Most of Your Visit pg 16

4 A Message from your Maestro 8 Season at a glance 9 Larsen Spotlight Series 10 Orchestra 12 Chorus 13 Keitaro Harada 14 Concertmaster 15 Chorusmaster 16 Make the Most of Your Visit 18 Pre-Concert Talks 20 Mischievous Musicians 26 An Evening of Tango 27 Strings United 28 Modern to Majestic 34 Cinephile Du Joure 38 Sympátheia 42 Germanic Passion 47 Saturday’s Night’s Fever 48 Season Finale Mozart’s Requiem 54 Annual Fund Contributors 62 Support Your Musicians 64 Become an Annual Fund Contributor 66 Education & Outreach 71 Our Sponsors and Partners

#SAVPHIL • 5

“Music has real health benefits. It boosts dopamine, lowers cortisol and it makes us feel great. Your brain is better on music.” ALEX DOMAN, AUTHOR

SAVANNAH'S LEADING MENTAL HEALTH PROVIDERS AND PROUD SUPPORTERS OF THE SAVANNAH PHILHARMONIC

DR. CHAD BROCK DR. ALANA COX 1601 ABERCORN STREET SAVANNAH, GA 31401 912.712.2550 | SHRINKSAVANNAH.COM

MAKING THE ORDINARY, EXTRAORDINARY. SAVANNAH 27 Bull Street | 912-234-6565 2225 East Victory Drive | 912-303-9667 8201 White Bluff Road | 912-232-5884

WEâ&#x20AC;&#x2122;RE GOING GREEN! Savannah Philharmonic is proud to announce its going green initiative. In order to cut down on waste, we have chosen to print two programs per season: Volume 1 featured all orchestral and Larsen Musician Spotlight Series concerts from September through December. Volume 2 features all orchestral, chorus, and Larsen Musician Spotlight Series Concerts from January through May. Help us go green! n Keep your program and bring it with you to each concert. -Orn Recycle your program in the designated recycle bins at the end of each concert. n View the program online, including program notes, days ahead of the concert. Your participation in going green will make an impact on the Savannah community, the environment and help us allocate saved dollars to producing more music.

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Season at a glance

2019-2020 SEASON Tickets $25-$80

MISCHIEVOUS MUSICIANS January 18 7:30 pm Lucas Theatre for the Arts Janna Hymes, conductor Nathan Lee, piano MODERN TO MAJESTIC February 8 7:30 pm Johnny Mercer Theatre Enrico Lopez-Yañez, conductor Thomas Gansch, trumpet GERMANIC PASSION March 21 7:30 pm Lucas Theatre for the Arts Vlad Vizireanu, conductor Ryne Cherry, baritone

SPECIAL EVENT:

SATURDAY NIGHT’S FEVER April 18 7:30 pm Lucas Theatre for the Arts Mel Whitehead, conductor Savannah Philharmonic Chorus & Friends MOZART’S REQUIEM May 2 7:30 pm Johnny Mercer Theatre Keitaro Harada, conductor Alyssa Toepfer, soprano Zoie Reams, mezzo-soprano Omar Najmi, tenor David Cushing, bass Savannah Philharmonic Chorus

AN EVENING OF TANGO FRIDAY, JANUARY 31 6:00 pm Victory North Hosted by Maestro Keitaro Harada with Gustavo Feulien, baritone

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Larsen Musician Spotlight Series Tickets $25 Presented by Nancy & Ken Larsen

STRINGS UNITED: Savannah Arts Academy ensemble presented by Savannah Philharmonic Sunday, January 26 5:00 pm First Presbyterian Church CINEPHILE DU JOURE “Blue Heron” chamber ensemble Sunday, February 23 5:00 pm Lutheran Church of the Ascension MARTIN GENDELMAN: Sympátheia Sunday, March 8 5:00 pm Trinity United Methodist Church

To purchase tickets VISIT savannahphilharmonic.org CALL the Savannah box office at 912 525 5050, option 1 to speak with a representative STOP BY the Savannah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am – 5 pm)

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Orchestra VIOLIN

Angela Loizides

Sinisa Ciric Concertmaster

Betul Soykan

Sponsored by Marek & Pamela Lewanda

Inna Amromin This list reflects current seating order within each section. However, the seating order may change on a per concert basis.

The Savannah Philharmonic would like to thank Elizabeth Oxnard for generously refurbishing the conductor’s podium for the 2019-2020 season.

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Chorus

Mel Whitehead CHORUSMASTER

Inna Amromin

PIANO ACCOMPANIST

Thank you to our Chorus members for all of their support and dedication. SOPRANO

Rebecca Sentman (SL) Merritt Quarles Lori Bailey CHORUS MANAGER Perri Baxter Suzanne Prior Katie Beaumont CHORUS STAGE Samantha Belcher MANAGER Kelly Bell Peggy Breese Fran Conway CHORUS BOARD Christina D’Aguillo Renee Portell Caroline Downs CHAIR Grace Downs Jennifer Livingstone Cornelia Fahy SECRETARY Julia Flowers Michael Elwell Angela Hopper-Lee TREASURER Shanice Lawrence Ellen Lea Mark Berry Samantha Liang Lucas Bradley Trish McKay Fran Conway Jennifer Menken Anthony D’Aguillo Kara Mobley Gretchen Ernest Jeanne Mundy Laura Orsi Annette Podolak Suzanne Prior Howell Merritt Quarles Kenneth Rimes Alyssa Shaw Jeffrey Watson ALTO

Gretchen Ernest (SL) Flo Bryant Yelena Chernyak Madelon Curtis Diane Davis Rebecca Davis Kyrin Dunston Susan Ganas Karen Harmon Deborah Helmken Annette Howell Janet James Barbara Jenks Mimi Krupp Jennifer Livingstone

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Diane McCabe Mary Nestor Terri Norburg Joy Aune Olson Juliet Pearl Renee Portell Georgeanne Schopp Dawn Stanford Sarah Ellen Stephens Lauren Wallick TENOR

Jeff Watson (SL) Phyllis Albertson Daniel Chamberlin David Edwards Dennis Fields Bill Gardner Paulette Hosti Peter Humphrey George Longstreth David Lotz Kathleen McGuire Kathleen Moore Don Read James Sentman Chris Thompson Darren Weaver BASS

Curt Bryant (SL) Mark Berry Joel Darulla David Frothingham Larry Hyatt Brian Kenworthy Christopher Lane Tom Olson Kenneth Rimes Jack Van Eck *(SL) denotes Section Leader

Meet Your Music & Artistic Director Designate

Conductor Keitaro Harada maintains a growing, international presence throughout North America, Asia, Mexico, and Europe. Recently named Music & Artistic Director Designate of Savannah Philharmonic, he will conduct the 2019/2020 opening and closing concerts before his inaugural season in 2020/2021. Harada’s broad scope of musical interest in symphonic, opera, chamber works, pops, film scores, ballet, educational, outreach, and multi-disciplinary projects leads to diverse and eclectic programs. Recent and upcoming highlights include Houston Symphony, NHK Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Osaka Symphony, Osaka Philharmonic, Hawaii Symphony Orchestra, Kanagawa Philharmonic Orchestra, Nagoya Philharmonic Orchestra, New Japan Philharmonic, Tokyo Symphony, Tokyo Philharmonic, Fort Worth Symphony, Indianapolis Symphony, Memphis Symphony, Louisiana Philharmonic, Charlotte Symphony, West Virginia Symphony, Tucson Symphony, Phoenix Symphony, Virginia Symphony, and Orquesta Filarmónica de Sonora (México). No stranger to the operatic cannon, Harada returns this season for his debut of Leoncavallo’s Pagliacci with North Carolina Opera, for whom he has previously led productions of Carmen and Britten’s Turn of the Screw. In 2017, he conducted Mazzoli’s Song from the Uproar for Cincinnati Opera, as well as a run of Carmen for Bulgaria’s Sofia National Opera and Ballet that was reprised with a Japan tour in the fall of 2018. In past seasons and as Associate Conductor of Arizona Opera, he led productions of Don Pasquale, Le Fille du Regiment, and Tosca. As a 2010 Seiji Ozawa Fellow at Tanglewood, Harada conducted critically-acclaimed performances of Strauss’s Ariadne auf Naxos. Currently finishing his fourth season as Associate Conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops, Harada regularly assists Music Director Louis Langrée, conducts the CSO, POPS, and works with James Conlon and Juanjo Mena for the May Festival. He is a three-time recipient of The Solti Foundation U.S. Career Assistance Award (2014, 2015, 2016), Bruno Walter National Conductor Preview (2013), the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, and was a student of Lorin Maazel at Castleton Festival and Fabio Luisi at the Pacific Music Festival. In 2016 and 2018, he was invited by Valery Gergiev to serve on the faculty of the Pacific Music Festival. kharada.com | @KHconductor #SAVPHIL • 13

Meet the Concertmaster

Dr. Sinisa Ciric is the concertmaster of Savannah Philharmonic, Gwinnett Ballet Orchestra, and a former concertmaster of New Atlanta Philharmonic, Jackson Symphony and Rome Symphony. He appeared as a soloist with Savannah Philharmonic, Rome Symphony Orchestra, Georgia Philharmonic as well as LaGrange Symphony and Bach Festival Orchestra and many other regional orchestras in the United States of America. Dr. Ciric is a founding member of the Balkan Quartet with whom he performed in many concerts promoting the rich musical heritage of his native Serbia and the countries of Balkan Peninsula. He received his undergraduate degree from the Academy of Arts, University of Novi Sad (Serbia), masters and doctoral degree in violin and viola performance at the University of Georgia in Athens where he studied with distinguished professors Levon Ambartsumian and Mark Neumann. Dr. Ciric is an Artist Affiliate with Emory University and had taught violin, viola and chamber music at Oxford College of Emory University. He also held a position of Violin and Viola Instructor at Georgia Perimeter College, Atlanta GA. Since January of 2016, Dr. Ciric is the Director of the Strings Conservatory Program at Savannah Classical Academy and the Artistic Director of Larsen Spotlight Chamber Music Series of Savannah Philharmonic.

CONNECT WITH US @SavPhilharmonic

@SavPhilharmonic

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@SavPhilharmonic

Meet the Chorusmaster

A native of California, Mel Whitehead earned his Bachelors of Music in Vocal Performance from California State Fullerton and his Masters in Vocal Performance from University of Southern California. After singing professionally for 15 years, he settled in Georgia with his wife Sally, and began teaching. In 2006, he earned a Masters of Education in Curriculum and Instruction through the Arts from Lesley University, and in 2017, his Educational Specialist degree in Educational Leadership from Georgia College. He is currently the Performing Arts Supervisor for the Savannah-Chatham County Public School System.

Support your Savannah Philharmonic Did you know that ticket sales provide only 27% of the costs to produce a concert? Please consider a gift to your Savannah Philharmonic.

Text savphil to 243725 and donate today!

#SAVPHIL • 15

Make the Most of Your Visit Savannah Philharmonic welcomes you to an exciting season! Here are answers to some

WHERE DO I BUY TICKETS?

There are a few ways you can purchase tickets for our concerts: Go online to Savannahphilharmonic.org to purchase tickets and view concert details and learn about single tickets, Multi-Concert Ticket packages and Season Subscriptions. Call the Savannah box office at 912 525 5050, option 1 to speak with a representative. Stop by the Savannah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am â&#x20AC;&#x201C; 5 pm).

WHAT SHOULD I WEAR?

Never let your wardrobe keep you from a concert! Your experience of the music is what's important, so wear whatever makes you feel comfortable. As you'll see, a lot of concertgoers wear business attire or casual business attire. We do ask that you refrain from using strong scents, as they may be distracting to other patrons and the performers.

WHEN SHOULD I ARRIVE?

We recommend 30-45 minutes prior to a performance. This allows time for you to find parking downtown, go through security, find your seat, and relax before the concert. Classical performances typically feature a pre-concert talk that starts one hour before the concert. If you wish to attend please make sure to plan accordingly.

WHY IS THERE A SECURITY CHECK-POINT?

Due to recent events, security check-points and large bag checks are in effect at both the Lucas Theatre of the Arts and the Johnny Mercer Theatre. Weapons of any kind are prohibited on the premises.

CAN I BRING MY CHILD?

Savannah Philharmonic welcomes young concertgoers aged two and above. Regardless of age, all attendees should have a ticket for entry into the hall. Looking for a more family-oriented experience? We offer our Holiday

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Spectacular Family Matinee each year. Consider attending our Larsen Musician Spotlight Series: six Sunday concerts at 5:00 pm, offering an intimate musical experience with educational components.

CAN I BRING CONCESSIONS INTO THE HALL?

Concessions are available at both the Lucas Theatre for the Arts and the Johnny Mercer Theatre. New this year: Attendees are invited to bring their beverages into the hall to enjoy the concert. To avoid unnecessary noise, drinks with ice are not allowed in the auditorium.

CAN I HAVE MY CELL PHONE OUT DURING THE CONCERT?

We ask that you turn your devices to silent mode and refrain from cell phone use during the concert. Even if you have the brightness on the lowest setting, it can still be a distraction for our musicians and other patrons. If you want to take a photo, be sure to tag #SavPhil in your pictures, but please wait until an applause break, and make sure to turn off your flash.

frequently asked questions to help you have the best experience possible. Audio and video recording is strictly prohibited.

HOW SHOULD I LISTEN?

There is no “right” way to enjoy a concert. Everyone experiences music differently. In fact, it’s completely okay not to like a piece of music! That’s part of the discovery of listening to music: expanding your horizons and learning about yourself. Music is meant to affect you, to spark reactions and feelings, to lead you to reflect on memories. It can be as exciting and energizing as it can be romantic or spiritual. Lose yourself in the music, or keep your eyes glued to the stage to capture the talent and passion of the orchestra, or simply use the time to disconnect, relax and people-watch. What you get out of a concert experience is entirely up to you.

WHEN DO I APPLAUD?

The short answer: Applaud when you feel moved to do so. The longer answer: many pieces of music are divided into sections (“movements”), so if you aren’t sure if it’s over, wait

for others to start clapping and join in. Why two pieces of advice? Well, the rituals around applause changed over time. In Mozart's day, the audience was rather rowdy— clapping, talking, and even shouting during the performance. In the 20th century, this changed, and audiences clapped only at the end of the entire piece of music and then clapped for a long time. This is still the convention today at most orchestras around the world, though our policy is if you have an emotional reaction to the music and need to express it, do it. The musicians are playing their hearts out for you, and your applause means everything to them.

WHAT IF I’M LATE?

Out of respect for our performers, we ask that you find your seat before the concert. If you are late, you will be seated at applause breaks. Please take your seat quickly and quietly. Some performances do not have many applause breaks, so please do your best to be on time.

I ATTENDED ONCE AND DIDN’T LIKE IT. WHY SHOULD I GO AGAIN?

We wish we could guarantee you would love each and every concert, but art speaks to every person differently. Consider trying a few concert experiences to see what best suits your tastes. That’s the joy of it! We hope you’ll play the field a bit and “date” a few different concert experiences—true love could be just around the corner.

HOW DO I GET MORE INVOLVED?

We’re glad you’ve enjoyed your experience with us! If this is your first time at one of our concerts, you can consider becoming a season subscriber, volunteering, or donating to our Annual Fund. Together, we can continue Savannah Philharmonic’s mission to inform, instruct and enrich the community through orchestral and choral performances, and to promote and increase community knowledge and appreciation of the arts.

Visit our website at savannahphilharmonic.org for tickets and more information. Still have more questions? Call the Savannah Philharmonic at 912 232 6002 and speak with our Development & Patron Services Associate. #SAVPHIL • 17

PRE-CONCERT TALKS Presented before each full orchestral concert 6:30 pm Hosted by Edward J. Lada, Director of Artistic Operations Designed to enhance your concert experience and better acquaint attendees with the evening’s music, the host of the pre-concert talks will deliver insightful conversation. You won’t want to miss this behind the scenes opportunity! Pre-concert talks are scheduled for the following concert dates: MISCHIEVOUS MUSICIANS January 18 7:30 pm Lucas Theatre for the Arts Janna Hymes, conductor MODERN TO MAJESTIC February 8 7:30 pm Johnny Mercer Theatre Enrico Lopez-Yañez, conductor GERMANIC PASSION March 21 7:30 pm Lucas Theatre for the Arts Vlad Vizireanu, conductor MOZART’S REQUIEM May 2 7:30 pm Johnny Mercer Theatre Keitaro Harada, conductor

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TAKE OUR SURVEY!

After each concert, ticket purchasers will receive a short electronic survey. Participants have seven days to submit their feedback. Your invaluable feedback will help shape the future of your Savannah Philharmonic. Questions? submit to info@savannahphilharmonic.org.

TRADITION never goes out of style.

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Mischievous Musicians

Saturday, January 18 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street

Mischievous Musicians Divertissement Jacques Ibert I. Introduction II. Cortège III. Nocturne

Performance length approx. 72 minutes

IV. Valse

Janna Hymes, conductor

VI. Finale

Nathan Lee, piano

V. Parade Concerto for Piano No. 12 in A major, K. 414

Wolfgang Amadeus Mozart

I. Allegro II. Andante III. Allegretto INTERMISSION Thank you to our generous sponsors

Symphony No. 8 in F major, Op. 93

Ludwig van Beethoven

I. Allegro vivace e con brio Susan & Ron Whitaker

II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace Overture to The Barber of Seville

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Gioacchino Rossini

Notes on the Program

Saturday, January 18 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 72 minutes

Janna Hymes, conductor Nathan Lee, piano

Divertissement (1929) by Jacques Ibert Savannah Philharmonic premiere Performance time: Approx. 15 minutes There’s no good way to summarize Jacques Ibert’s musical style, mainly because he steadfastly refused to limit himself to a single style during his career. Though not as well-known a name as the other composers on this program, he composed music for large orchestras, chamber ensembles, and solo instruments, ballets, operas, and even films like Orson Welles’ Macbeth and Gene Kelly’s Invitation to the Dance. Divertissement is a suite of incidental music originally for Eugene Labiche’s play “An Italian Straw Hat.” The six movements poke fun at popular music styles of the time, including a comic-opera overture, Mendelssohn’s “Wedding March,” a wrong-note waltz, and an inappropriately upbeat funeral march. Concerto for Piano No. 12 in A major, K. 414 (1782) by Wolfgang Amadeus Mozart Savannah Philharmonic premiere Performance time: Approx. 25 minutes In the spring of 1781, Mozart was in the middle of a feud with his employer, the Archbishop of Salzburg. The Archbishop had forbidden him to accept other engagements, eventually leading Mozart to offer his resignation, which the Archbishop refused. However, the feud worsened, and Mozart was eventually granted his wish and was fired with a literal “swift kick in the pants.” After moving to Vienna, Mozart’s fortunes were on the rise. His operas Idomeneo and The Abduction from the Seraglio were doing well and he was in demand as a soloist for public concerts. He wrote his piano concertos numbers 11, 12, and 13, to be performed for concerts during Lent in 1783. Lent was a popular season for such concerts at the time in Vienna. All theaters were dark during Lent, meaning more musicians were available for other work. In Mozart’s own words, these concerti were written to be “a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid.” Number 12, in particular, pays homage to Mozart’s former music teacher from London, Johann Christian Bach, who had recently died. During the second movement, Mozart reverentially adapts a melody JC Bach had composed for an opera in 1763.

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Notes on the Program cont’d

Saturday, January 18 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 72 minutes

Janna Hymes, conductor Nathan Lee, piano

Klangfarbenmelodie (German for “soundcolor melody”) is a musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument (or set of instruments), thereby adding color (timbre) and texture to the melodic line.

Symphony No. 8 in F major, Op. 93 (1812) by Ludwig von Beethoven Savannah Philharmonic premiere Performance time: Approx. 23 minutes The summer of 1812 was an eventful period for Beethoven. His health was poor, so his doctor ordered him to spend the summer at the spa town of Teplitz (modern-day Teplice, in the Czech Republic). While there, Beethoven was worried about his finances, worried about his brother Johann’s love life (Johann was scandalously co-habitating with a woman who already had an out-of-wedlock child; the couple would marry by November of that year), and worried about his own love life (his infamous ten-page letter to his “Immortal Beloved” was written during this summer). Sometime that summer Beethoven met his idol, the author Goethe, and the meeting went poorly enough it was immortalized in a painting known as “The Incident in Teplitz.” And yet, Beethoven managed to write his shortest, most light-hearted, and most subversive symphony in 1812. Though it received a lukewarm reception at its premiere, Beethoven felt the Eighth Symphony was superior to the Seventh in every way. The first movement’s form is deceptive, opening with a passage that sounds like a grand finale, only to launch into an opening melody. The symphony strangely has no “slow” movement. Instead, the second movement is a rhythm-obsessed intermezzo – long thought to be inspired by Johann Maelzel’s recently-invented metronome – that almost foreshadows neoclassical composers like Stravinsky. The third movement, Beethoven’s only symphonic minuet, is a surprisingly lyric change of pace. And in the final movement, Beethoven occasionally creates quasi-melodies by altering the instrumental colors of repeated chords – a technique nearly a century ahead of Schoenberg and Webern’s concept of “Klangfarbenmelodie.” Taken as a whole, it’s no surprise that a symphony so far ahead of its time went largely unappreciated by contemporary audiences. Overture to The Barber of Seville (1791) by Gioacchino Rossini First performed by SPO: 2012 Performance time: Approx. 7 minutes Rossini is still, at least in this writer’s opinion, one of the greatest composers ever to write for the opera stage. His talents were such that he wrote his greatest masterpiece (the first true French Grand Opera) William Tell, at the age of 38 and promptly retired. Upon hearing “William Tell,” Donizetti - the greatest living opera composer at the time - declared that although Rossini wrote Tell’s first and last acts, the middle act

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Saturday, January 18

had been written by God. Although Rossini lived another 39 years, he would never write another opera.

7:30 pm

However, William Tell was Rossini’s only truly successful serious opera. His talents lent themselves much more easily to comedy, and in fact Rossini once said he would be just as happy setting laundry lists to music. But out of all his operas, he found no greater “laundry list” than Beaumarchais’ wildly popular play The Barber of Seville. The overture to The Barber of Seville is perhaps best known from the classic Bugs Bunny cartoon, “The Rabbit of Seville.” Rossini’s comedic overtures were often afterthoughts, composed at the last minute. Much of the musical material for the Barber’s overture was in fact recycled from his earlier, relatively unsuccessful dramatic operas Aureliano in Palmira and Elisabeth, Queen of England. Fortunately, necessity is the mother of invention, and in this case Rossini’s self-plagiarized, hastily thrown-together afterthought of an overture became one of the most beloved pieces of music ever written.

Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 72 minutes

Janna Hymes, conductor Nathan Lee, piano

#SAVPHIL • 23

Meet the Conductor

Saturday, January 18 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 72 minutes

Janna Hymes, conductor Nathan Lee, piano

Versatility, passion and innovation are the hallmarks of American conductor Janna Hymes. Renowned for her inspiring performances, musical depth and energetic presence both on and off the podium, she has developed a reputation as an exciting, detailed communicator. Praised by the press as “an architect, a builder in sound, a conductor with an overall view who never misses details”, Ms. Hymes is Music Director of Indiana’s Carmel Symphony Orchestra (CSO) since 2017. A popular guest conductor, Hymes continues to expand her relationships with orchestras nationwide. Ms. Hymes' previous posts include Music Director of the Williamsburg Symphony Orchestra and Maine Grand Opera, Associate Conductor of the Indianapolis Symphony, Resident Conductor of the Charlotte Symphony and Music Director of the Columbus Women’s Orchestra, the Cincinnati Composers’ Guild and the I Solisti Cincinnati Chamber Orchestra. She has served as Assistant Conductor of the Canton Symphony Orchestra (Ohio) and the Teatro Massimo Opera House in Palermo, Italy, and as a frequent guest of the Messiaen Academy in Zwolle, Holland. Ms. Hymes also founded and served as Music Director of the Maine Pro Musica Orchestra, a professional orchestra in Mid Coast Maine she launched in 2008. Born in New York City, Janna Hymes is a Fulbright scholar, recipient of a 1999 Geraldine C. and Emory M. Ford Foundation Grant, and a prizewinner of the 1998 International Conducting Competition in Besancon, France. She studied under such prominent conductors as Leonard Bernstein, Gustav Meier, Otto Werner-Mueller and Gunther Schuller, and holds degrees from the University of Wisconsin-Madison and the College-Conservatory of Music of the University of Cincinnati. She also studied at the Tanglewood Music Center, Aspen Music Festival, the Festival at Sandpoint (Idaho), and the Conductor’s Guild Institute.

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Meet the Artist

Saturday, January 18 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 72 minutes

Janna Hymes, conductor Nathan Lee, piano

At the age of fifteen, Nathan Lee won First Prize in the 2016 Young Concert Artists International Auditions, and was also awarded no less than fourteen special Concert Prizes. He currently holds the Mortimer Levitt Piano Chair of Young Concert Artists. Mr. Lee made his New York debut at sixteen in the Peter Marino Concert, opening the Young Concert Artists Series at Carnegie Hall. The Korean Concert Society Prize sponsored Mr. Lee’s sold-out, critically-acclaimed Kennedy Center debut in Washington, DC, a co-presentation of YCA with Washington Performing Arts. Mr. Lee was selected to share the stage with pianists Jean-Yves Thibaudet (YCA alumnus) and Lang Lang on Gala Evening for the Seattle Symphony, and with pianists Ilana Vered (YCA alumna) and Sasha Starcevich in a “Three Generations Concert” in Perugia, Italy. In May 2019, Nathan Lee gave his New York concerto debut at Lincoln Center’s Alice Tully Hall, performing the Mendelssohn Piano Concerto No. 1 with the Orchestra of St. Luke’s conducted by Teddy Abrams. He has also appeared as soloist with the Cleveland Orchestra, Minnesota Orchestra, Seattle Symphony, Buffalo Philharmonic on NPR’s From the Top, Chamber Orchestra of the Triangle (North Carolina), Orquesta Filarmónica de Boca del Río in Mexico and Daejeon Philharmonic in Korea. Nathan Lee, who lives just outside Seattle, Washington, began playing the piano at the age of six and made his orchestral debut at the age of nine. He studies with Sasha Starcevich.

#SAVPHIL • 25

Savannah Philharmonic Presents

AN EVENING OF

Tango

Hosted by Maestro Keitaro Harada

FRIDAY, JANUARY 31 6:00 pm $150 Victory North 2603 Whitaker St Cocktails, tapas, and an evening of tango music and dance Special guest Gustavo Feulien, Argentinian-American Baritone All proceeds support Savannah Philharmonic’s mission

#savphil 26 • SAVANNAHPHILHARMONIC.ORG

TICKETS: SAVANNAHPHILHARMONIC.ORG

Strings United

Larsen Musician Spotlight Series Sunday, January 26 5:00 pm First Presbyterian Church 520 Washington Avenue Performance length approx. 65 minutes

Strings United String Quartet No. 4 in C, K. 157

WolfgangAmadeus Mozart

String Quartet in F Major, Op. 74, No. 2 101 I. Allegro spiritoso

Joseph Haydn

String Quartet in C Minor, Op. 18, No. 4 III. Scherzo

Ludwig van Beethoven

String Quartet No.13, D 804 “Rosamunde” I. Allegro ma non troppo

Franz Schubert

Quartet No. 2 in D major for Strings Alexander Borodin I. Allegro moderato

Thank you to our generous sponsors Nancy & Ken Larsen

String Quartet No.1 in D II. Andante cantabile

Pytor Tchaikovsky

Concerto grosso for strings ‘Palladio’ I. Allegretto

Karl Jenkins

Violin

Cello

Adrienne Caravan

Erin Cassel

Sinisa Ciric

Peter Gardner

Elizabeth Jones

Allegra Luna

Frances Prager

Fayha Polite

Emily Primmer

Sarah Povie

Tiana Ruden

Bass

Jamsine Sams Mina Smith

Sydnie Roberds

Matthew Yeo VIOLA

Jalin Graham Yvonne Johnson Ariana Kalantari Alden Kidane Nehemiah Turner

#SAVPHIL • 27

Modern to Majestic

Saturday, February 8 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue

Modern to Majestic Danzón No. 2

Arturo Márquez

Dreaming of the Masters III

Allan Gilliland

I. 101 Damnations II. Prayer III. Lower Neighbours

Performance length approx. 66 minutes

INTERMISSION

Enrico Lopez-Yañez, conductor

Symphony No. 4 in F minor, Op. 36

Thomas Gansch, trumpet

Pyotr Ilyich Tchaikovsky

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

Thank you to our generous sponsors Charles C. Taylor & Samir Nikocevic Charitable Foundation Bob Faircloth

28 • SAVANNAHPHILHARMONIC.ORG

Notes on the Program

Saturday, February 8 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 66 minutes

Enrico Lopez-Yañez, conductor Thomas Gansch, trumpet

Danzón No. 2 (1994) by Arturo Márquez Savannah Philharmonic premiere Performance time: Approx. 9 minutes The danzón is the official dance of Cuba, but it is also an important dance both in Puerto Rico and in the Mexican state of Veracruz. In its earliest form, the danzón is a relatively slow, formal couples dance that evolved from the French contredanse style by way of Spain. As time has gone on, the danzón has incorporated Cuban montuno and son, and eventually grew into styles like the cha-cha-cha and the mambo. Arturo Márquez’s piece - commissioned in 1994 by the National Autonomous University of Mexico - is definitely inspired by the more virtuosic and energetic varieties of the danzón. The work was popularized by Gustavo Dudamel and the Simón Bolivar Youth Orchestra of Venezuela. Dreaming of the Masters III (2010) by Allan Gilliland Savannah Philharmonic premiere Performance time: Approx. 15 minutes Commissioned by the Edmonton Symphony Orchestra. Written for Jens Lindemann, trumpet. Notes by the composer: “My Dreaming of the Masters series arose from a desire to combine my experience as an orchestral composer with my background as a jazz composer and performer. I wanted to write a series of concerti for soloists who were comfortable in both classical and jazz idioms. Each concerto would find inspiration in the jazz greats of the instrument I was writing for and, though fully notated, would allow the player the option to improvise. Dreaming of the Masters I was a clarinet concerto written for James Campbell and Dreaming of the Masters II was a piano concerto written for William Eddins. “Dreaming of the Masters III is more an homage to the trumpet in popular music rather than any real individuals. The obvious choices would have been Louis Armstrong, Miles Davis and Dizzy Gillespie but I think, because I'm a trumpet player myself, this seemed too obvious. Also, because I know Jens so well, I really wanted to write a piece that was tailor-made to his incredible virtuosic skills. “The three movements are titled; 101 Damnations, Prayer, and Lower Neighbours. 101 Damnations pays homage to the trumpet in jazz starting with a slow New Orleans style blues that moves into 1940’s big band swing. The title comes from when I was a young child struggling to pronounce my “L’s” properly. So I was always asking to see my favorite Disney movie “101 Damnations”. The inspiration for Prayer came from wanting to showcase Jens’ beautiful flugelhorn playing. It starts and

#SAVPHIL • 29

Notes on the Program cont’d

Saturday, February 8 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 66 minutes

Enrico Lopez-Yañez, conductor Thomas Gansch, trumpet

ends with short cadenzas surrounded by ethereal orchestration. The middle section has a slow groove that allows Jens a chance to improvise. Lower Neighbours pays homage to 20th century cornet virtuosos and the great Latin tradition of the trumpet. I like to think of it as Herbert L. Clarke meets Tito Puente. The title refers to both the melodic gestures played by the cornet - the opening virtuosic section contains many upper and lower neighbor notes - as well as the fact that Latin music comes from our neighbors to the south.” Symphony No. 4 in F minor, Op. 36 (1878) by Pyotr Ilyich Tchaikovsky Savannah Philharmonic premiere Performance time: Approx. 42 minutes Tchaikovsky’s Fourth Symphony is one of the great pillars of the symphonic repertoire but, like many great works, it was not appreciated when it was first composed. Tchaikovsky was an unusual figure in Russian music in the late 1800s. He distanced himself from The Five (Mussorgsky, Borodin, Rimsky-Korsakov, Cui, and Balakirev) who felt that Russian music needed to have a distinctly Russian identity. It should be noted that none of The Five were conservatory-trained, and Balakirev even considered “academicism” to be a threat to Russian music. Tchaikovsky, though conservatory-trained under Anton Rubinstein, also refused to fully ally himself with the westernized music conservatories that felt Russian music needed to be “refined” to meet the standards of the West. Instead, Tchaikovsky felt there should be a way to write music that would exemplify Russian musical traditions, but with a technical quality that would stand up to any criticism and transcend national borders. The end result was that Tchaikovsky’s centrism left him out of favor with both major camps in Russian music at the time. At its premiere, critics called the Fourth Symphony an “overlong tone-poem” with three extra movements tacked on to justify calling it a symphony. Its American premiere went no better, with the New York Post calling it “semi-barbaric.” As late as 1897, German reviewers still complained of the “confusion in brass and the abuse of the kettledrums.” Despite the cool initial reception, the Fourth Symphony is widely regarded to be Tchaikovsky’s best contribution to the genre.

30 • SAVANNAHPHILHARMONIC.ORG

Meet the Conductor

Saturday, February 8 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 66 minutes

Enrico Lopez-Yañez, conductor Thomas Gansch, trumpet

Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony. Appointed in 2019, he leads the Symphony’s Pops Series and Family Series. Since working with the Nashville Symphony, Lopez-Yañez has conducted concerts with a broad spectrum of artists including Toby Keith, Trisha Yearwood, Richard Marx, Jennifer Nettles, Hanson, Kenny Loggins and more. During the 2019/20 season, Lopez-Yañez will make appearances with the San Diego Symphony, Edmonton Symphony, and return performances with the Detroit Symphony, Rochester Philharmonic, and Sarasota Orchestra. Lopez-Yañez has appeared with orchestras throughout the United States including the Utah Symphony, Omaha Symphony, and Oklahoma City Philharmonic. Sharing an equal love for opera, Lopez-Yañez served as Assistant Conductor and Chorus Master for the Berkshire Opera Festival, where his work was met with rave reviews. He has led opera gala concerts in San Diego and Aguascalientes, Mexico, as well as a production of Madama Butterfly with Main Street Opera in Chicago. An active producer, composer and arranger, Lopez-Yañez has contributed to numerous albums, including the UNESCO benefit Action Moves People United and the children’s music album The Spaceship That Fell in My Backyard, winner of the John Lennon Songwriting Contest, Global Music Awards, Hollywood Music and Media Awards and more. Lopez-Yañez previously held the position of Assistant Conductor with the Omaha Symphony. He holds a Master’s in Music from the University of Maryland and received a Master’s in Music and his Baccalaureate from UCLA, where he graduated summa cum laude.

#SAVPHIL • 31

Meet the Artist

Saturday, February 8 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 66 minutes

Enrico Lopez-Yañez, conductor Thomas Gansch, trumpet

Thomas Gansch was born on December 31st 1975 in St Pölten, Lower Austria. He was raised in Melk, where he first learned to play the trumpet from his father Johann Gansch. In his attempt to follow the footsteps of his half-brother Hans, who, at the time, occupied the solo trumpet chair in the Vienna Philharmonic Orchestra, he studied classical trumpet in Vienna for 6 years with two different teachers. After having subbed in all opera houses, classical orchestras and contemporary ensembles in Vienna, he came to the most important conclusion in 1997: to do his own thing. He dropped out of music university and went on to become a freelance player with “Mnozil Brass,” which he founded in 1992 and “Gansch and Roses” in 2000 and is a regular composer for these bands. Gansch also was a member of the famous “Vienna Art Orchestra” for eight years. Together with Austrian manufacturer Schagerl, he designed a special rotary trumpet called the “Ganschhorn” and a Flugelhorn of the same kind called “Killer Queen”. The “Killer Queen” Flugelhorn Introduced in 1989, Schagerl Meister Series Rotary Trumpets are world renown for being the highest quality handmade orchestral instruments available. Schagerl Meister instruments are also custom made to serve the needs and desires of the most discerning musicians in the world. Like the “Ganschhorn”, the Schagerl Killer Queen Flugelhorn is a kind of symbiosis of a rotary and a piston-valve instrument. In comparison with other flugelhorns, the response of the Schagerl Killer Queen Flugelhorn is easier and more precise. It has a smooth sound with a solid core.

32 • SAVANNAHPHILHARMONIC.ORG

ANNOUNCING THE 2020/2021 SEASON FEBRUARY 24, 2020 Stay tuned for details

SAVANNAHPHILHARMONIC.ORG

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CINEPHILE DU JOURE: Blue Heron chamber ensemble

Sunday, February 23 5:00 pm Lutheran Church of the Ascension 120 Bull Street Performance length approx. 65 minutes

CINEPHILE DU JOURE Blue Heron chamber ensemble Oboe Sonata in D Major, Op. 166, Andantino Ad libitum - Allegretto - Ad libitum Molto Allegro

Camille Saint-Saens

Duo for Cello and Piano, Op. 8, Allegro Risoluto et Energico

Miklós Rózsa

Jeana Melilli, flute

The Music of Rachel Portman Rachel Portman Selections from Emma and Chocolat

Jessica Messere, cello

Duo for Flute and Piano, Flowing Poetic, somewhat mournful Lively, with bounce

Aaron Copland

Gabriel’s Oboe Arr. for oboe, cello and piano by Yo-Yo Ma

Ennio Morricone

Le Charmeur for piccolo, piano, and silent film

Nicole Randall Chamberlain

Andrew Jay Ripley, oboe Dr. Benjamin Warsaw, piano

Thank you to our generous sponsors Nancy & Ken Larsen

34 • SAVANNAHPHILHARMONIC.ORG

Meet the Artists

Jeana Melilli, flute

Sunday, February 23 5:00 pm Lutheran Church of the Ascension 120 Bull Street Performance length approx. 65 minutes

Jeana Melilli, flute Jessica Messere, cello Andrew Jay Ripley, oboe Dr. Benjamin Warsaw, piano

Jessica Messere, cello

Jeana Melilli is Principal Flute of the Savannah Philharmonic and piccolo/third flute for the Greenville Symphony, the Columbus (Georgia) Symphony, and the South Carolina Philharmonic. She is an extra musician for the Atlanta Opera, the Atlanta Symphony Orchestra, the Atlanta Ballet, the Coastal Symphony of Georgia, and the Charleston Symphony. She has appeared on recordings with the Atlanta Chamber Winds, the Sequence Ensemble, and the Atlanta Opera. An avid chamber and baroque musician, she is a founding member of the Hamsa Trio and the Five Points Quintet, as well as the historic performance groups Savannah Baroque and the Columbia, South Carolina based Vista Ensemble. Jeana’s traverso is a copy of a Robbert Wijne flute from 1698 made by Jessica Messere lives in Atlanta and Savannah with her partner Ethan, two children Taylor and Claire, and two furry children. Jessica takes her cello named Penelope to teach and play in symphonies, small ensembles, recitals, weddings, and in Celli. When not chauffeuring Penelope or her family between Atlanta and Savannah she enjoys CrossFit, practices Olympic Lifts & Powerlifts, reading, meditating, yoga, drinking a Kombucha while watching Star Trek movies and Dr. Who episodes. Jessica chose to play the cello at 9 years old because she liked the low sounding instrument. She studied with the late Wolfgang Laufer at University of Wisconsin-Milwaukee and earned her Master's degree with Martha Gerschefski at Georgia State University. She has participated in various recording projects, professional symphonies, international music festivals, and performed solo in masterclasses for famous cellists such as Norman Fisher, Evan Drachman, Hans Jorgen-Jensen, Darrett Adkins, Timothy Eddy, Andres Diaz, and Yo-Yo Ma. #SAVPHIL • 35

Meet the Artists

Andrew Jay Ripley, clarinet

Benjamin Warsaw, piano

Sunday, February 23

Andrew Jay Ripleyis a firm believer that quality live music should be a daily part of life in Savannah.

5:00 pm

As principal oboist of the Savannah Philharmonic, and formerly a member of the Savannah Symphony, Andrew received his formal training at The Juilliard School and Indiana University’s Jacobs School of Music. The fifth child of two bagpipers, Andrew grew up on a sheep farm in rural Minnesota, and currently shares his time between music and crafting drinks at his bar the Lone Wolf Lounge.

Lutheran Church of the Ascension 120 Bull Street Performance length approx. 65 minutes

Jeana Melilli, flute Jessica Messere, cello Andrew Jay Ripley, oboe Dr. Benjamin Warsaw, piano

American pianist, Benjamin Warsaw is a classical pianist, teacher, accompanist, and composer, and has performed numerous solo and ensemble concerts throughout North America and Europe. A native of Atlanta, Georgia, Benjamin holds a Bachelor’s degree and Master’s degree from the Eastman School of Music, Rochester, New York. He completed his Doctorate of Musical Arts in Piano Performance at Boston University in May 2011. Currently Benjamin is on the faculty at Georgia Southern University as Assistant Professor where he teaches piano and theory and is Artistic Director of Piano in the Arts. In 2015, Benjamin released his debut recording, “Warsaw plays Warsaw” featuring a cycle of 24 Preludes for piano solo. Benjamin frequently performs in Savannah and Atlanta.

36 • SAVANNAHPHILHARMONIC.ORG

Annual Goal $2,000,000

Your contribution matters!

It costs nearly $2 million to produce a full season of programs. Ticket sales only cover 27% of that cost. Savannah Philharmonic relies on your generous support of our annual fund to raise the remaining 73% to cover 100% of the cost of a season.

Subsidized Annual Support needed $1,455,000 Ticket Sales $545,000

Give today!

Visit Savannahphilharmonic.org

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Sympรกtheia

Sunday, March 8 5:00 pm Trinity United Methodist Church 225 W. President Street

Sympรกtheia Cool of the Day

John Ratledge

Sing Me to Heaven

Daniel Gawthrop

Set Me as a Seal

Rene Clausen

How Can I Keep from Singing

Robert Wadsworth Lowry / arr. Sarah Quartel

Performance length approx. 60 minutes

Percussion Ensemble selections to be announced from stage

Musicians of the Savannah Philharmonic Orchestra and Chorus

Sympรกtheia

Mel Whitehead, conductor

Thank you to our generous sponsors Nancy & Ken Larsen

38 โ ข SAVANNAHPHILHARMONIC.ORG

Martin Gendelman (world premiere)

Notes on the Program

Sunday, March 8 5:00 pm Trinity United Methodist Church 225 W. President Street Performance length approx. 60 minutes

Musicians of the Savannah Philharmonic Orchestra and Chorus Mel Whitehead, conductor

World Premiere: Sympátheia by Martin Gendelman Performance time: Approx. 15 minutes Sympátheia, for voices, percussion, and electronics, is an abstract reflection on our modern interactions and the concepts of sympathetic resonance, deep listening, interconnectedness, and empathy. Our twentieth-first century world is a loud, noisy one. Information of all sorts lands in our ears and in front of our eyes all the time, every day, and the internet, with its far reaching possibilities, has become a major channel for social interactions. Perhaps its most significant advantage, the immediateness in the response, has also created a problem as there seems to be no time, in our modern interactions, for thoughtful communication. No time for reflecting on ideas of our own and others; not time for meditation. No time for listening. Really listening. Listening to others. Listening to ourselves. Sympátheia, a Latin word evolved from Greek, was the term used in Ancient Greece to describe several different phenomena. In the realm of Acoustics, the word described what we now know as “sympathetic resonance,” or how a vibratory body may respond to external vibrations. We normally use this concept in regards to sounds, but one could also think of it in relation to our current social interactions. Interestingly, the term was also used by the Stoic philosophers to describe a “belief in mutual interdependence among everything in the universe, that we are all one,” as Marcus Aurelius wrote in his personal reflections. And yet another meaning of the term evolved over the centuries to become what we know today as empathy.

#SAVPHIL • 39

Meet the Composer

Sunday, March 8 5:00 pm Trinity United Methodist Church 225 W. President Street Performance length approx. 60 minutes

Musicians of the Savannah Philharmonic Orchestra and Chorus Mel Whitehead, conductor

The creative work of Martín Gendelman (b.1976) touches on both the acoustic and electronic domains and includes compositions for solo performer, chamber groups, and orchestra, as well as many cross-disciplinary works and installations (primarily with dance, video, and theatre). Over the past decade, his music has been performed across the Americas, Europe, and the Middle East by ensembles such as the New York-based Da Capo Chamber Players, the Boston New Music Initiative, the Meitar Ensemble (Israel), and the Orquesta Sinfónica del Neuquén (Argentina), to name a few. Some of the events in which he has taken part, either as a guest composer or lecturer, include the Festival Forfest in the Czech Republic, CEME New Music Festival in Israel, the Visiones Sonoras International Festival of Musics and New Technologies in Mexico, the New Music Greensboro Festival, Parma Music Festival, and many national and regional conferences of the Society of Composers and the College Music Society. Gendelman is a graduate of Universidad Nacional de La Plata in Argentina (where he studied with Mariano Etkin, among others), California State University Northridge (Liviu Marinescu and Daniel Kessner), and the University of Maryland (Lawrence Moss and Thomas Delio). Currently, he is Associate Professor of Music and Head of Music Theory and Composition at Georgia Southern University. For more information, visit www.martingendelman.com

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#SAVPHIL â&#x20AC;¢ 41

Germanic Passion

Saturday, March 21 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 81 minutes

Vladimir Vizireanu, conductor Ryne Cherry, baritone

Germanic Passion Leonore Overture No. 2, Op. 72a

Ludwig van Beethoven

Ruckert-Lieder

Gustav Mahler

I. Liebst du um Schönheit II. Blicke mir nicht in die Lieder! III. Ich atmet’ einen linden Duft IV. Um Mitternacht V. Ich bin der Welt abhanden gekommen INTERMISSION Symphony No. 9 in C major, D 944, “The Great”

Franz Schubert

I. Andante – Allegro non troppo II. Andante con moto III. Scherzo. Allegro vivace IV. Finale. Allegro vivace

Thank you to our generous sponsors

42 • SAVANNAHPHILHARMONIC.ORG

Notes on the Program

Saturday, March 21 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 81 minutes

Vladimir Vizireanu, conductor Ryne Cherry, baritone

Lenore Overture No. 2, Op. 72a (1805) by Ludwig van Beethoven Savannah Philharmonic premiere Performance time: Approx. 15 minutes Fidelio is the one and only opera Beethoven ever wrote. It was not an easy compositional process, undergoing multiple revisions from its earliest stages in 1803 to its final version in 1814. When it premiered, the opera was titled Leonore – named after a woman who disguises herself as a prison guard (using the name Fidelio) to rescue her husband from political imprisonment. The theater in Vienna changed the title to Fidelio to avoid confusion with two other operas – based on different stories – already titled Léonore and Leonora. The first overture Beethoven wrote for Fidelio’s 1805 premiere is the one being performed tonight, now confusingly referred to as the Leonore Overture No. 2. It is a symphonic masterpiece, overflowing with Beethoven’s dramatic intensity, but Beethoven decided it was much too lengthy for the theater, overshadowing the intimate opening scenes of the opera. He wrote a somewhat revised version (now helpfully called No. 3) for performances in 1806 which shaved about 2 minutes of music off the original. Still not satisfied, Beethoven made a third attempt (now perplexingly known as No. 1) for 1808 performances in Prague that clocks in at a mere 9 minutes of music. However, by the 1814 premiere of Beethoven’s final, revised version of Fidelio, he decided to re-do the overture yet again. Beethoven threw out everything he had written and, using entirely new musical materials, wrote a fourth version just over six minutes long, which is now maddeningly referred to as the Overture to Fidelio. Rückert-Lieder (1901) by Gustav Mahler text by Friedrich Rückert Savannah Philharmonic premiere Performance time: Approx. 18 minutes Friedrich Rückert was an extraordinarily popular poet in the first half of the 19th century. He was fluent in thirty languages, and specialized in translating poetry from Asia, India, and the Middle East. He also wrote German poetry in the styles and poetic structures of the Eastern poetry he translated. Numerous musical composers found inspiration in his poetry, including Schubert, Brahms, Richard Strauss, Bartók and, of course, Mahler. Five of Rückert’s poems were the basis for Mahler’s Kindertotenlieder, and another five were adapted to become this collection. The challenge in presenting the Rückert-Lieder is the wide ranging topics, moods, and instrumentations of the #SAVPHIL • 43

Notes on the Program cont’d

Saturday, March 21 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 81 minutes

Vladimir Vizireanu, conductor Ryne Cherry, baritone

five poems selected by Mahler. The settings are not designed as a unified song cycle, so each poem has a distinctly different character. To reflect the changing mood, each song calls for a different set of instruments in the orchestra, from the harp, strings, and solo winds of Blicke mir nicht… to the full winds, brasses, harp, and piano (without the strings) of Um Mitternacht. Symphony No. 9 in C major, D 944, “The Great” (1826) by Franz Schubert Savannah Philharmonic premiere Performance time: Approx. 48 minutes Schubert is more often thought of as a composer of lieder, piano works, and chamber music, but his orchestral music is equally compelling. Though Beethoven was one of his great heroes, Schubert’s own style does not incorporate the same sort of bombastic drama. Even a casual listener will hear Schubert’s gift for melody and his lyrical shaping of phrases, and the care taken to maintain a clarity of structure throughout the orchestra that could easily vanish in a violent outburst in a Beethoven symphony. Schubert’s ninth symphony, his “Great” C-major, almost went unperformed. For its time it was an astonishingly long symphony, taking around 50 minutes to perform in its entirety. Beethoven’s ninth, premiering just two years before Schubert wrote his ninth, was slightly longer at an hour in length. However, audiences were inclined to indulge Beethoven as a fifty-year-old renowned master, while Schubert was barely 30 years old and just starting to gain some renown. By 1826 Schubert had sent his new symphony to some friends at Vienna’s Musikverein, and the symphony was given a test reading where it was deemed much too difficult to perform. The extreme length of the symphony combined with the taxing nature of the individual instruments’ parts meant no orchestra was willing to tackle the piece for a premiere. After Schubert’s death in 1828, his brother Ferdinand wound up in possession of all his manuscripts and unpublished works. Many of those were slowly sold off to publishers, but there were no takers for the symphonies, operas, and masses. At least, that was the case until Robert Schumann decided to pay an unexpected visit to Ferdinand nearly ten years later. During that chance visit in 1837, Schumann happened to glance through the piles of music still in Ferdinand’s possession, and a large manuscript caught his eye. Recognizing this as an unperformed – and inspired – symphony in Schubert’s hand, Schumann rushed the manuscript to Leipzig, where Felix Mendelssohn and the Gewandhaus orchestra gave Schubert’s final symphony the premiere it deserved.

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Meet the Conductor

Saturday, March 21 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 81 minutes

Vladimir Vizireanu, conductor Ryne Cherry, baritone

Described as a conductor with “ample gestures, clarity, precision, and genuine passion,” Vlad Vizireanu made his debut with the London Symphony Orchestra at Barbican Hall as the Second Prize Winner in the 2016 Donatella Flick Competition. He was most recently invited to the 2018 Malko Competition with the Danish National Symphony Orchestra in Copenhagen. In 2019, he was confirmed to the Music Directorship of Knox-Galesburg Symphony. He has worked with a number of orchestras including the Tonhalle-Orchester, Lucerne Festival Strings, New World Symphony, Manhattan School of Music Symphony, and has served as cover conductor for the Los Angeles Philharmonic, Naples Philharmonic, and Sarasota Orchestra. He has also been invited to conduct at the Gstaad Festival, Castleton Festival, and Chautauqua Music Festival. Vizireanu has personally studied with some of the finest conductors of our generation, including Bernard Haitink, Kurt Masur, David Zinman, Michael Tilson Thomas, Neeme Jarvi, and as one of the last students of the late Lorin Maazel under full fellowship at the 2014 Castleton Festival. An ardent advocate of new music, Vizireanu is the Founder & Executive Director of Impulse New Music Festival, a two-week summer program in Santa Barbara, California which brings together young composers and performers to discover new compositions and develop practical skills for the demanding career of music. Vizireanu made his operatic debut in 2013 with Arizona State University Opera and Die Fledermaus. He served as assistant conductor to Lorin Maazel and Timothy Muffitt with productions of Les Dialogues des Carmelites, Madama Butterfly, and Don Giovanni. Vizireanu recently served as Music Director of the North Shore Symphony Orchestra in Long Island, New York and Assistant Conductor for the Thousand Oaks Philharmonic in Thousand Oaks, California. #SAVPHIL • 45

Meet the Artist

Saturday, March 21 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 81 minutes

Vladimir Vizireanu, conductor Ryne Cherry, baritone

Baritone Ryne Cherry is an opera, oratorio, and ensemble singer based in Boston, Massachussets. Ryne's opera roles include Forester in Janáček’s The Cunning Little Vixen, Mustafa in Rossini's L'italiana in Algeri, Pirate King in The Pirates of Penzance, Tomsky in The Queen of Spades, Belcore in L’elisir d’amore, Olin Blitch in Susanna, and Mr. Ford in The Merry Wives of Windsor. His recent oratorio performances include Mozart's Requiem, Durufle's Requiem, Rossini's Petite messe solennelle, and Carissimi’s Jepthe. Ryne has premiered numerous new works by acclaimed composers such as Dominick DiOrio's opera The Little Blue One, Keith Kusterer's chamber piece Echelon, Nazaykinskaya's opera The Magic Mirror, and Kallembach's oratorio The Tryal of Father Christmas. In the summer of 2017, Ryne enjoyed his second season as a vocal fellow at Tanglewood, the Boston Symphony Orchestra's summer home, working and performing with such acclaimed artists as Lucy Shelton, Stephanie Blythe, Sanford Sylvan, and Dawn Upshaw. In the 2017-2018 season, Ryne had performances of Handel's The Messiah with Boston Baroque and The Handel & Haydn Society, portrayed multiple supporting characters in Weill's Threepenny Opera with the Boston Lyric Opera, had his role debut as Second Prisoner in Beethoven's Fidelio with Boston Baroque, and returned to Tanglewood as a guest artist to portray Sam in Bernstein's A Quiet Place.

46 • SAVANNAHPHILHARMONIC.ORG

Saturday Night’s Fever

Saturday, April 18 7:30 pm Lucas Theatre for the Arts 32 Abercorn Street Performance length approx. 60 minutes

Saturday Night’s Fever 1920s: I’ve Got a Crush On You

George Gershwin / arr. Jay Althouse

1930s: I Got Rhythm

George Gershwin / arr. Mark Hayes

1940s: Peroxide Swing

Andrew T. van Slee / arr. Steve Zegree

1950s: When I Fall In Love Savannah Philharmonic Chorus Mel Whitehead, chorusmaster

Thank you to our generous sponsors

Victor Young & Edward Heyman / arr. Kirby Shaw

1960s: Blackbird

Lennon-McCartney / arr. Mark Brymer

1970s: Somebody to Love

Freddie Mercury / arr. Roger Emerson

1980s: Africa

David Paich & Jeff Porcaro / arr. Phillip Lawson

1990s: And So It Goes

Billy Joel / arr. Kirby Shaw

2000s: Viva La Vida

Berryman, Buckland, Champion & Martin / arr. Mark Brymer

2010s: Sing

Hoying, Grassi, Olusola, Johnson & Hollander / arr. Mark Brymer

Taylor the Latte Boy

Marcy Heisler & Zina Goldrich / arr. Mac Huff

#SAVPHIL • 47

Mozart’s Requiem

Saturday, May 2 7:30 pm

JOIN MAESTRO HARADA FOR THE SEASON FINALE

Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 74 minutes

Savannah Philharmonic Orchestra and Chorus Keitaro Harada, conductor Mel Whitehead, chorusmaster Alyssa Toepfer, soprano Stephanie Foley Davis, mezzosoprano Omar Najmi, tenor David Cushing, bass Thank you to our generous sponsors

Charles C. Taylor & Samir Nikocevic Charitable Foundation Rhegan White-Clemm & Timothy Clemm Michael & Catherine Thames

River Rouge Transfiguration

Missy Mazzoli

Four Norwegian Dances, Op. 35

Edvard Grieg / Hans Sitt

I. II. III. IV.

Allegro marcato Allegretto tranquillo e grazioso Allegro moderato alla Marcia Allegro molto

INTERMISSION Requiem I. Introitus II. Kyrie III. Sequentia a. Dies irae b. Tuba mirum c. Rex tremendae d. Recordare e. Confutatis f. Lacrimosa IV. Offertorium a. Domine Jesu b. Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio

48 • SAVANNAHPHILHARMONIC.ORG

Wolfgang Amadeus Mozart / Franz Süssmayr

Notes on the Program

Saturday, May 2 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 74 minutes

Savannah Philharmonic Orchestra and Chorus Keitaro Harada, conductor Mel Whitehead, chorusmaster Alyssa Toepfer, soprano Stephanie Foley Davis, mezzosoprano Omar Najmi, tenor

River Rouge Transfiguration (2013) by Missy Mazzoli Savannah Philharmonic premiere Performance time: Approx. 10 minutes Missy Mazzoli’s “River Rouge Transfiguration,” premiered by the Detroit Symphony in 2013, is based on a vision of the century-old Ford Motors plant in Detroit, MI. The composer was inspired by a 1927 photograph of the plant by the modernist American photographer Charles Sheeler, “Criss-Crossed Conveyors,” which was described as evoking “an almost tabernacular grace. The smokestacks in the background look like the pipes of a massive church organ, the titular conveyor belts forming the shape of what is unmistakably a giant cross.” When the photo first appeared in Vanity Fair in 1928, it was given the evocative title “By Their Works Shall Ye Know Them.” The composer explains, “This is music about the transformation of grit and noise (here represented by the percussion, piano, harp and pizzicato strings) into something massive, resonant and unexpected. The ‘grit’ is again and again folded into string and brass chorales that collide with each other, collapse, and rise over and over again.” The sonic landscape of the work is drawn from the transformation of mundane, discordant sounds into a reverential, contemplative whole.

Missy Mazzoli is a Grammy-nominated composer, and is David Cushing, bass currently the Mead Composer-in-Residence with the Chicago Symphony. She also made history in 2018 as one of the first two women to be commissioned to compose a new opera for the Metropolitan Opera. Her works have been performed by the Los Angeles Philharmonic, Opera Philadelphia, the Kronos Quartet, and pianist Emanuel Ax. Four Norwegian Dances, Op. 35 (1888) by Edvard Grieg orchestrated by Hans Sitt Savannah Philharmonic premiere Performance time: Approx. 16 minutes As a composer, Edvard Grieg was never comfortable with longer symphonic forms, or even with orchestras in general. He wrote only 15 pieces for orchestra, and even then they were usually suites composed of many short movements, such as his Holberg Suite, or the incidental music to Ibsen’s play Peer Gynt. Four Norwegian Dances is no exception, originally written for piano duet and later orchestrated by Hans Sitt. The dances are based on Norwegian folk melodies collected by Ludvig Lindeman. Though light-hearted, the dances still overflow with Grieg’s rhythmic energy, rich harmony, and dramatic flair for unexpected twists and turns.

#SAVPHIL • 49

Notes on the Program cont’d

Saturday, May 2 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 74 minutes

Savannah Philharmonic Orchestra and Chorus Keitaro Harada, conductor Mel Whitehead, chorusmaster Alyssa Toepfer, soprano Stephanie Foley Davis, mezzosoprano

Requiem in D minor, K. 626 (1791) by Wolfgang Amadeus Mozart completed by Franz Xaver Süssmayr First performed by SPO: 2008 Last performed by SPO: 2016 Performance time: Approx. 48 minutes Mozart’s “Requiem” is possibly the most famous unfinished work in existence, and is undeniably one of the greatest choral masterpieces ever written. Many people will likely be familiar with the version of events surrounding the creation of the Requiem as presented in Miloš Forman’s multiple Oscar-winning film Amadeus, but perhaps we should separate fact from fiction. The mystery surrounding the Requiem is due in some part to Mozart’s widow, Constanze. A highly intelligent and savvy businesswoman, Constanze was left responsible for herself, two children, and Mozart’s significant debts after he died in late 1791. She embarked upon a busy campaign organizing memorial concerts, having his compositions published, and writing a biography of Mozart in order to pay off the debts and secure her own financial future. As such, many of the accounts in the biography were subject to fantastical embellishments that would hopefully increase sales of the book.

It’s true that the Requiem was commissioned by an unknown party. Far from a masked or disguised Antonio Salieri, though, David Cushing, bass the transaction was handled by intermediaries on behalf of Count Franz von Walsegg. The Count had a habit of commissioning works by other composers and presenting them as his own compositions. In this case, the count wanted a requiem mass to honor the passing of his late wife. Omar Najmi, tenor

When Mozart died with only half of his Requiem completed, Constanze was desperate for the income from the commission, so she turned to Franz Süssmayr, a friend and composer who had assisted Mozart in work on The Magic Flute and La clemenza di Tito, to complete the Requiem in secret. Even through Süssmayr’s rendering of Mozart’s sketches, a listener can hear the remarkable innovation in Mozart’s final work. He broke ground by mixing new instruments (such as basset horns and trombones) with baroque-style continuo playing from organ and low strings. Mozart was a keen student of older works by Handel and Bach – to a much greater extent than most composers of his day – and he managed to combine their contrapuntal and stylistic forms with his own lyrical and harmonic innovations into a nearly forty years ahead-of-its-time foreshadowing of the Romantic style.

50 • SAVANNAHPHILHARMONIC.ORG

Meet the Artists

Alyssa Toepfer, soprano

Saturday, May 2 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 74 minutes

Stephanie Foley Davis, mezzo-soprano

Soprano Alyssa Toepfer has been praised as a performer with "unbridled dexterity" (Kansas CityStar) and a "marvelous, soaring tone" (KC Metropolis). Stage credits include Littler Daughter in Missy Mazzoli’s Proving Up with Ad Astra Music Festival, Musetta (La bohéme) with Opera180, Zerlina (Don Giovanni) with Lawrence Opera Theatre, Adele (Die Fledermaus) with Opera South Dakota, Jemmy (Guillaume Tell) with Wichita Grand Opera, Pamina (Die Zauberflöte) with the South Dakota Symphony, Lauretta (Gianni Schicchi) with Opera South Dakota, and Gretel (Hansel und Gretel) with Opera Omaha. She currently sings with the Grammy award winning Kansas City Chorale. Alyssa was a Nebraska district winner in the Metropolitan Opera National Council Auditions in 2010. Born and raised in Sioux Falls, SD, she completed a Bachelor of Arts in Music at Augustana University and a Master of Music in Voice at UMKC. For more information, please visit alyssatoepfer.com. Stephanie Foley Davis was praised by the New York Times in her Glimmerglass Festival debut in The Tender Land as “a poised, touching Ma Moss” and Opera News said she was “a loving, careworn Ma, warm of voice and presence.” Ms. Davis has appeared in leading roles throughout the US with companies such as Glimmerglass Festival, Arizona Opera, Nashville Opera, Opera Roanoke, Orlando Philharmonic and almost every professional opera company in North Carolina, including Opera Carolina, Piedmont Opera, North Carolina Opera, and Greensboro Opera. Stephanie makes her company debut with Vero Beach Opera, singing Rosina in Il Barbiere di Siviglia in January 2020. Also, this season will see her with North Carolina Opera as 2nd Lady in The Magic Flute. Ms. Davis is Chair of the Voice Faculty at The Music Academy of North Carolina, where she has been teaching voice since 2011.

#SAVPHIL • 51

Meet the Artists

Omar Najmi, tenor

Saturday, May 2 7:30 pm Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 74 minutes

David Cushing, bass

Tenor Omar Najmi is a familiar face on the stages of Boston, where he makes his home. As an Emerging Artist with Boston Lyric Opera, Omar has appeared in over ten productions, including his critically acclaimed performances as Vanya Kudrjas in Katya Kabanova. Omar is a recent recipient of the Harold Norblom Award from Opera Colorado, where his appearances include Joe in La Fanciulla del West, and Normanno and Edgardo in Lucia di Lammermoor. Off the operatic stage, Omar has maintained an active concert career. Most recently, he collaborated with soprano Laura Intravia and pianist Brendon Shapiro in the creation and performance of "An American Timeline," a multimedia recital program exclusively featuring works by American composers. Omar has been a Young Artist with Chautauqua Opera, Opera Saratoga, Opera North, and Opera NEO. He holds a M.M. from Boston University, and a B.M. from Ithaca College. David Cushing’s versatile bass-baritone range is effortlessly demonstrated in a variety of roles including recent appearances in the title roles of Don Pasquale and Le nozze di Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. Of a recent performance, the Boston Herald exclaimed, “his portrayal of hoodwinked old Pasquale… was a revelation. He could easily specialize in Italian opera’s wealth of foolish-old-man roles and become the basso buffo of his generation.” Mr. Cushing’s recent engagements have included Sparafucile/Monterone in Rigoletto and Leporello in Don Giovanni with Opera Tampa; Sarastro in Die Zauberflöte with Florentine Opera; Leporello with Syracuse Opera; Dr. Dulcamara in L’elisir d’amore and Figaro in Le nozze di Figaro with Opera North; and the leading role of Maometto in Rossini’s rarely performed opera L’assedio di corinto alongside renowned soprano Elizabeth Futral with Baltimore Opera.

52 • SAVANNAHPHILHARMONIC.ORG

Proud Supporter of the Savannah Philharmonic

Give while you shop! AmazonSmile is a program that donates 0.5% of your eligible purchase on Amazon to a charity of your choice. All you need to do is start your shopping at smile.amazon.com. Select Savannah Philharmonic Corporation as your preferred charitable organization, and the donation will be made at no extra cost to you.

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Celebrating the genius of J S Bach by offering FREE, outstanding concerts of his music alongside other unique performances that capture his creative spirit.

BACH AND ESSENTIALS

FROM BACH TO WARSAW

THE BEATLES AND BACH

SUNDAY, FEBRUARY 9

SUNDAY, APRIL 26

THURSDAY, MAY 21

Craig Price, bass-baritone Bach Cantata Ich habe genug (BWV 82), Psalm 30 by White, and selected Spirituals

Benjamin Warsaw, pianist Keyboard music beginning with Bach and continuing through three centuries of invention. Played on the newly acquired Steinway piano

Laura Ball, soprano Bach Cantata Jauchzet Gott in allen Landen (BWV 51) and music by The Beatles

All performances 7:30 PM Lutheran Church of the Ascension, 120 Bull Street, Savannah

BACHASCENDING.COM

#SAVPHIL • 53

Contributors The Savannah Philharmonic Orchestra is very grateful to the individuals, organizations and corporations who support us. Donations listed are Annual Fund, Corporate, Event Patrons, and Foundation and Government Grantor Contributors as of January 13, 2020. The Legacy Society recognizes donors who provide support through planned giving.

54 â&#x20AC;˘ SAVANNAHPHILHARMONIC.ORG

LEGACY SOCIETY: $100,000 - $999,999 E. Austin Hill Revocable Trust Rhegan White-Clemm CONCERTMASTER CIRCLE: $50,000 - $99,999 Mr. & Mrs. Robert Demere Nancy & Ken Larsen Susan & Ron Whitaker SOLOISTS’ CIRCLE: $15,000 - $49,999 Rhegan White-Clemm & Timothy Clemm Charles C. Taylor & Samir Nikocevic Charitable Foundation PRINCIPALS’ CIRCLE: $7,500 - $14,999 Peter & Camille Edwards Robert Faircloth Lynn Weddle & Bud Green Mr. Joseph L. Herring Lyon D. Jemison Diana Langer Joan & Herb McKenzie Peg & Ron Morris Original Hippie LLC Mrs. David N. Sovchen Michael & Catherine Thames MUSICIANS’ CIRCLE: $3,500 - $7,499 Anonymous Betsey Andersen Gus & Jan Bell Dr. & Mrs. Sidney Jefferson Bolch, III Kathleen & Steve Brenneman Carolyn & Darryl Brown Dorothea & Tim Coy Jo & Will Crake Chris & Staci Donegan Dick & Judy Eckburg Nina & Ron Eidell

Richard Foster Cynthia Heil The Lauretti Family Pamela & Marek Lewanda Ann Lytle Kathryn & Mike McLearn Thomas & Ruth McMullin Dave & Sylvaine Neises Kelley B. Parker Greg & Margo Plaunt Drs. Heather Simon & Stephen Pohl Jackie & Stephen Rabinowitz Georgine & Jim Scott Dr. & Mrs. J. Wayne Sheridan Fran & Hue Thomas Mr. & Mrs. R.E. Thorpe Michael W. & Peggy Towson Diane Tracy Ed & Mary Tritch Erin & James Waterman Chris Poe & David Zyla ALLEGRO CIRCLE: $2,500 - $3,499 Phyllis E. Albertson Kathryn & Michael Bryson Harold W. Bulman Mimi Cay David Goslin & Nancy McGirr Dr. & Mrs. Joel A. Greenberg Annette B. Hartley Mrs. Toby Hollenberg Joan & Jack Kaster Mrs. Robert O. Levitt Venessa Lott Joann McElravy & Fred Wolf Cindy & Richard Moore Daphne Nash Mr. & Mrs. J.R. Paddison George & Ellen Powers Sue & Dick Prior Mrs. Frank L. Wooten Jr.

#SAVPHIL • 55

Contributors cont’d PATRON LEVELS COMPOSERS’ CIRCLE: $1,000 - $2,499 Anonymous Judy & Shelly Barquist Kelley & Neil Berman Gary & Sandy Bocard Mr. & Mrs. Daniel H. Bradley Joan & Gary Capen Betsy & Bob Contino Thomas L. Curless Lynne & Charles Davis Cheri Sheridan & Joe Drake Karl & Sandy Dreisbach Shaun & Rachel Fields Dr. Richard F. Leighton & Dr. Sylvia K. Fields David & Patty Frothingham Johnny & Susan Ganas Morris & Marla Geffen Dr. John Bryan & Dr. Donna Graham Dr. Alex C. & Ann Guira Marie Simmons & Tom Hairston The Rev'd J. Patrick Hunt SSC Scott & Pat James Rodger Johnson Patricia & Frank Kabela Fran & Bob Kelly John G. Kennedy Foundation Mimi & Joe Krupp Richard K. Lane Aaron & Dayle Levy Bruce & Dorothy Maston Kathleen McGuire & Robert Jones Sam & Barb McLaughlin Ann Yingling & Charles Morrow Bill & Jane Peterson John Porter Ronald Pratt Mary Raines 56 • SAVANNAHPHILHARMONIC.ORG

Ann & Tom Ramee Rosalie S. Morris Foundation William & Margaret Rousseau Johno Morisano & Carol Sawdye Christine B. Aiken Sickles Michael & Gail Siegel Philip & Cathy Solomons Mary & Ned Sommer Priscilla & Ronald Stahl Dr. Susan Timna Bill Udry Patty & Bill Ulmer Robert & Frances Vinyard Brianna & O.C. Welch Alice & Howard Welt Don & Beverly White Ray Williams Charles & Sally Yarber PATRON: $500 - $999 Anonymous Margaret Betz & John Chropovka Diane & Jim Bradshaw Maureen Craig Margot Cutting Carol D'Cruz D. Morgan Derst Leda Chong & Kevin Dewalt Dr. & Mrs. H. Emerson Thomas, Jr. Roger & Karen Foulkes John & Anne Gardner Gurdon & Kathy Wattles David & Gail Kerr J. Del & Jeanine Lamb Bert & Carol Larsson Dick & Mary Molnar Mr. & Mrs. John Kleine Betsy & John Rabun Melissa & John Paul Rowan Peter & Christine Rives Marie Scheuermann

Ralph & Peggy Schilly Bob & Marilyn Slagel Donna & Edwin Slappey Brent Taylor John & Penny Telgener Haydee & Jim Toedtman Louise & Tom Wagner Judy & Phil Walters Mr. & Mrs. Pendleton P. White Mr. & Mrs. David A. Young SUPPORTER: $250 - $499 Betty & Walker Beeson Vic & Jean Bell JP & Eva Blachere Andrew & Kim Boguszewski Sue & Bill Bouton Mr. & Mrs. Claude R. Breese David & Maynett Breithaupt Anne W. Dauray Ralph & Linda Davis George & Martha Fawcett Sheila & Martin Grossman Lynn P. Harrington Janet H. Hietbrink Dick & Joanne Hochman Jeff & Kathy Ignatoff Myron & Fran Kaminsky Brenda & Brian Kenworthy Don & Kay Kole Marie & Bob Kraft Walter & Christina Lehneis Carol & Robert Lestina Marjorie & B. H. Levy, Jr. Dr. & Mrs. George B. Longstreth Don & Margaret McCulloch Ashby & Annie Moncure James & Kathleen Moore Lawrence M. & Arlene C. Oberdank Mrs. Jane Paterno Susannah & Jason Pedigo Kris Brenard & Barbara Powers

Merritt Quarles Col. & Mrs. Henry M. Reed II Maria Roelle Joan Ross Joseph & Marie Rozman Michael & Kat Scandura Mrs. Jan Schendorf Christopher & Cristina Senkowski Andrew & Alicia Shillington William P. Simmelink Cindy & Steve Szczecinski Cindy & Will Telljohann Barby & Al Townsend Mr. & Mrs. John Tucker Dan & Carol Walsh Melvin Hutcheson & Billy Wooten Richard & Jan Wright SUSTAINER: $100 - $249 Nancy & Ned Almy Laura Baker Brad & Gail Beaman B. G. Bowers David Buchanan Joan D. Burns Mr. & Mrs. Bernard Y. Conyers John Cork Stacie Court Harriett DeLong Richard & Jeanne Dent Celia Dunn Ruth E. Fenster Jeff & Lynn Franklin Jeffrey and Lynn Franklin Skip & Peggy Gillenwater Dr. & Mrs. Ronald Grimm Verne & Lynnetta Hartson Peggy Hedeman Howard & Deborah Helmken Carolyn Hultman James Johnson Nancy Lazard #SAVPHIL â&#x20AC;˘ 57

Contributors cont’d

Ellen Lenart Spiridon Karen & Cliff Lindholm Harvey & Cathy Lynn Sal & Karen Martorelli Monica McGoldrick Jack & Barbara McMaken Ron Melander & Jordan Gray Biff & Jerry Montana R. Valerie Osborn Sandra & Bill Parrott Robert Perkins Barbara Pilzer Thomas V. & Susan G. Reilly Guy & Carole Renfer Kristin Russell Corrine & Jeffrey Samuels Erich & Anneliese Schweistris Maurice & Nancy Sheppard Carol & Mike Spahn Catherine Spruill & Thomas Shinnick Marilyn S. & Stephen J. Sztuk Nancy K. Thompson Gerald Thorne Joan & Stuart Weiner Dr. & Mrs. John West Dr. & Mrs. Les L. Wilkes Carmen A. Young Dr. & Mrs. Michael Zoller CORPORATE SPONSORS Audiology & Hearing Aid Services Brasseler USA Cabretta Capital CIBC Private Wealth Management Charles Schwab Colonial Group Inc. Cordasco & Company, PC. Critz Auto Group The Eichholz Law Firm

58 • SAVANNAHPHILHARMONIC.ORG

Enmarket ENT Associates of Savannah, P.C. Georgia Power Globe Shoe Company Gulfstream Aerospace Corporation Habersham Beverage HunterMaclean The Kennickell Group Old Town Trolley Paris Market The Perry Lane Hotel Ranco Event Rentals Savannah Coca-Cola Savannah Coffee Roasters Shrink Savannah Staci Donegan Real Estate Group Stage Front Tourism Leadership Council Turn It Pink, Inc. United Community Bank Victory North Visit Savannah Wells Fargo Wet Willie’s World Trade Center Savannah FOUNDATION & GOVERNMENT GRANTORS Investment is provided by the City of Savannah Georgia Council for the Arts Georgia Music Foundation The Hodge Foundation Johanna Anderson Trueblood Foundation Savannah Friends of Music Savannah Orchestral Music Fund

IN MEMORY OF CHARLES & GRACE TUTEN Sandra & Bill Parrott

Corrine & Jeffrey Samuels Greg & Marcia Stinson Gerald Thorne Susan & Ron Whitaker

IN HONOR OF TERRI O’NEIL Anonymous Myron & Fran Kaminsky

INTEGRATIVE MEDICINE DONORS Joseph & Marie Rozman St. Joseph’s/Candler Foundations The One Hundred Children’s Foundation

GIVE THE OF MUSIC DONORS Anonymous Betsy & Bob Contino Ralph & Linda Davis Dick & Judy Eckburg Matt & Ellen Grill Lynn P. Harrington Mr. & Mrs. John Kleine Aaron & Dayle Levy Sue & Dick Prior

MEDIA SPONSORS WTOC 11 Savannah Morning News Lesley Francis PR Connect Savannah GPB 91.1

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SUPPORT YOUR MUSICIANS

Cynthia Heil with Cellist Erin Cassel

Kelley Parker with Violinist David Song and Pierce Jemison

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Rhegan White-Clemm and Tim Clemm with Violinist Danijela Zezelj-Gualdi

Peg and Ron Morris with Principal Clarinetist Kristen Spiridon

BECOME A MUSICIAN HOST

The Savannah Philharmonic draws world-class talent well beyond Savannah. Savannah Philharmonic has a long history offering musicians The opportunity to stay in the private homes of our supporters during concert cycles. Hosting responsibilities are minimal-a private bedroom and bath and perhaps a refreshment. Musicians provide their own transportation and meals. BENEFITS TO HOSTING INCLUDE:

n Developing great and lasting friendships. n Bringing the sound of music to your home and providing a sneak

peek of the concert to come.

n Offering an important avenue of support to the Philharmonic

(beyond your subscription and annual fund support).

n It’s fun! BECOME A MUSICIAN SPONSOR

Becoming a musician sponsor is an excellent way to enhance your Philharmonic experience and make a positive impact through giving. As a sponsor, the Philharmonic office will pair you with a musician based on similar interests and passions, with the hope that you’ll develop a long-lasting friendship. Our musicians are talented, intelligent, share a love of Savannah and are looking for ways to connect with members of our community. Musician sponsorship starts at $3,500 per section chair and is $7,500 for a principal player. (See page 10 for a full listing of musicians and their sponsors.) A SPECIAL THANK YOU TO OUR HOST FAMILIES THIS SEASON:

Mrs. C. Scott Bartlett Kathleen & Stephen Brenneman Angel Everidge & Marc Chesanow Rhegan White-Clemm & Tim Clemm Kathy & Sam Collura Jo & Will Crake Richard Foster Lynn Weddle & Bud Green Cynthia Heil

Bettina & Kim Huffman Carol Kirchner Ruth & Thomas McMullin Diane & Tom Oxnard Kelley B. Parker Dr. & Mrs. Peter Rives Georgine & Jim Scott Kristen Spiridon Dr. & Mrs. Jules Victor, III Erin & Jim Waterman Brooke & Andrew Wilford

Susan and Ron Whitaker with Concertmaster Sinisa Ciric #SAVPHIL • 63

Become an Annual Fund Contributor

Become a Savannah Philharmonic annual fund contributor and join a community of committed orchestral and choral music enthusiasts. The benefits listed here are our way of expressing our gratitude for your commitment to great music all season long. Be sure to visit savannahphilharmonic.org for a full listing of benefits.

LEGACY SOCIETY

The Legacy Society recognizes those who support Savannah Philharmonic’s mission through the following: Estate commitments, Life-Income gifts, Trusts, Life Insurance and Retirement Plans. Supporters receive recognition in perpetuity. Levels of commitment: $1 million or more $100,000 - $999,999 $25,000 - $99,999 Under $25,000 Federal Tax ID for the Savannah Philharmonic is 26-4016312. CRESCENDO SOCIETY: $2500+

We invite you to join the Crescendo Society! Supporters of the Savannah Philharmonic Annual Fund at the $2,500 level or greater are members of the Crescendo Society—our inner circle of supporters who share our pride and passion for our orchestra and chorus. Members of the Crescendo Society enjoy exclusive benefits designed to enhance your musical experience, including the opportunity to engage with the conductor and musicians in private settings. In recognition of extraordinary generosity and commitment, donors at the Soloists’ Circle level and above receive customized attention and benefits designed to show our appreciation and grow their connection to the Savannah Philharmonic. The Development Department at 912 232 6002 for more information. CONDUCTOR’S CIRCLE: $100,000+ CONCERTMASTER’S CIRCLE: $50,000+ SOLOISTS’ CIRCLE: $15,000+ PRINCIPAL CIRCLE: $7,500 - $14,999 The opportunity to sponsor a Savannah Philharmonic principal musician’s chair for the full season. MUSICIAN CIRCLE: $3,500 - $7,499

The opportunity to sponsor a Savannah Philharmonic musician’s chair for the full season, excluding principal musicians. ALLEGRO CIRCLE: $2500- $3,499

Invitation to Crescendo Society events, including the Season Finale Celebration PATRON LEVELS

We welcome donations at all levels. All annual donors giving at the Patron Levels receive recognition in all season concert programs and listing on our website. For donors at the Composers’ Circle and above we offer protected seat holds for Subscribers and Multi-Ticket holders during the subscription renewal period.

64 • SAVANNAHPHILHARMONIC.ORG

COMPOSER: $1,000 - $2,499 PATRON: $500 - $999 SUPPORTER: $250 - $499 SUSTAINER: $100 - $249 DONATION OPTIONS

Contributions can be made online at Savannahphilharmonic. org, or through the Development Department at 912 232 6002. MEMORIAL/HONORIA GIFTS

You may make gifts to the Savannah Philharmonic in memory of, or to honor individuals. CORPORATE MATCHING GIFTS

With a corporate matching gift, you can double your donation, resulting in greater benefits to you and Savannah Philharmonic. Consult with your current, or past employer for details on their matching gift program for charitable organizations. DEFERRED/PLANNED GIVING THROUGH THE LEGACY SOCIETY

You can support Savannah Philharmonic with planned and deferred gifts through your estate in the form of bequests, life income gifts, a charitable lead trust, or life insurance policies. FLEXIBLE PAYMENT OPTIONS

Donations to the Savannah Philharmonic can be made in incremental monthly, quarterly, or semi-annual payments. CORPORATE PARTNERSHIPS

Savannah Philharmonic corporate partners receive valuable benefits, including; brand visibility brand alignment with meaningful education and outreach programs, community development and corporate hospitality opportunities. CORPORATE SPONSORSHIP OPPORTUNITIES

n Sponsoring a concert n Sponsoring a guest conductor n Sponsoring a guest soloist n Sponsoring a Savannah Philharmonic musician n Sponsoring a special event n Sponsoring one of the Savannah Philharmonic’s education

or integrative medicine programs.

The Savannah Philharmonic team can assist you in creating a customized sponsorship program that suits your company’s needs and helps you achieve your goals and objectives. For information about corporate sponsorship packages, please contact the Development Department at 912 232 6002.

#SAVPHIL • 65

Education and Outreach

In partnership with

Investment is provided by the City of Savannah

The Hodge Foundation, Inc

In partnership with

Investment is provided by the City of Savannah

Greg & Margo Plaunt

LINK UP YOUNG PERSON’S CONCERTS

Each February, the Savannah Philharmonic offers two Young Person’s concerts for area students in collaboration with Carnegie Hall’s Weill Music Institute. The Link Up Young Person’s Concerts are presented after students study a three-month curriculum provided by Carnegie Hall in their music classes. This curriculum includes learning the recorder flute, singing an array of melodies and songs, composing musical works, and learning music history and biographical information about various composers. After the curriculum is fulfilled, students get to join the Savannah Philharmonic for their “debut” performance, playing their recorder flutes and singing alongside our very own Philharmonic musicians! ORCHESTRA LAB

Savannah Philharmonic is excited to continue Orchestra Lab for area students throughout the City of Savannah, Chatham County, and surrounding areas. Orchestra Lab consists of in-school education and outreach programs during the entire school year. Philharmonic musicians, in partnership with music teachers and band directors, provide in-school sectionals, helping the students to achieve their personal and academic music goals. Soloists performing with the orchestra are invited to give masterclasses to groups of students who are studying the same instrument as the soloist. Philharmonic musicians also perform in small chamber groups at area schools to introduce students to different forms and genres of chamber music. Lastly, the Philharmonic partners with Friends of Ben Tucker to produce three “Keep the Music Playing” workshops where students that have been given a donated instrument through Friends of Ben Tucker’s instrument donation program learn how to care and maintain their instruments.

66 • SAVANNAHPHILHARMONIC.ORG

In partnership with

Stacie Court Joseph & Marie Rozman

INTEGRATIVE MEDICINE

Integrative medicine, the practice of treating the patient holistically: combining mind, body and spirit, is an often-overlooked aspect of patient care. Music can play an important role in this holistic healing process. The Magic Flute. Monthly, members of the Savannah Philharmonic Orchestra and Chorus present a rendition of Mozart’s Magic Flute for children receiving care in the Memorial Health Dwaine and Cynthia Willett Children’s Hospital of Savannah. The twenty-minute comedic performance brings smiles and laughter to the young patients, their families and caregivers. Our musicians perform, sing, dance, and frolic in professionally-designed costumes to create a truly authentic production. Savannah Philharmonic works with both the Curtis and Elizabeth Anderson Cancer Institute and the Nancy and J.C. Lewis Cancer and Research Pavilion to provide professional musicians who interact and perform live music for patients waiting to receive or while receiving cancer treatments.

In partnership with

Investment is provided by the City of Savannah

PHILHARMONIC IN THE STREETZ

Developed to take orchestral music into neighborhoods around the city, “Philharmonic in the Streetz” is a casual afternoon gathering aimed at bringing live music to members of our community who would likely not attend an orchestral concert. “Philharmonic in the Streetz” brings together neighbors, students, and civic leaders, giving us the chance to celebrate music with both new and familiar faces. Free and open to the general public, Savannah Philharmonic presents this bi-annual event to share music and the arts with the entire City of Savannah. #SAVPHIL • 67

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SKIDAWAY ISLAND

307 E. President at Lincoln | 912.236.7122

Dinner & Cocktails When the music is over the night doesnâ&#x20AC;&#x2122;t have to end...

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CHANGE YOUR LATITUDE

Your New Home in Paradise It’s always been that happy place in your mind, and the spirit of adventure in your soul. It’s the state of mind when it all comes together in one of life’s perfect moments. When your mind wanders to this paradise, why not follow it home? We have heard your call… Minto Communities and Margaritaville welcome you to Latitude Margaritaville! Inspired by the legendary music and lifestyle of singer, songwriter and best-selling author Jimmy Buffett, your new home in paradise features exciting recreation, unmatched dining and FINtastic nightlife. With Minto’s 40 years of experience developing award-winning, master-planned communities and building quality homes for over 25,000 families, innovative new homes are a given. Escape to the place where fun and relaxation meet. Escape to island-inspired living as you grow older, but not up. Escape to Latitude Margaritaville.

Latitude margaritaville Hilton Head New homes from the mid $200s 9 Model Homes Open Daily! 356 Latitude Blvd., Hardeeville, SC 29927 Mon-Sat: 9:00am-5:00pm | Sun: 11:00am-5:00pm

(843) 755-4637 Visit online for more information LatitudeMargaritaville.com

2019

Obtain the Property Report required by Federal law and read it before signing anything. No Federal agency has judged the merits or value, if any, of this property. WARNING: THE CALIFORNIA BUREAU OF REAL ESTATE HAS NOT INSPECTED, EXAMINED, OR QUALIFIED THE OFFERINGS. Pennsylvania Registration Numbers OL00169 (Latitude Margaritaville at Daytona Beach) and OL001170 (Latitude Margaritaville at Hilton Head). Latitude Margaritaville at Daytona Beach and Latitude Margaritaville at Hilton Head are registered with the Massachusetts Board of Registration of Real Estate Brokers and Salesmen, 1000 Washington Street, Suite 710, Boston, MA 02118 and with the Consumer Financial Protection Bureau, 1700 G Street, NW, Washington, D.C. 20552. This material shall not constitute a valid offer in any state where prior registration is required and has not been completed. The facilities and amenities described and depicted are proposed but not yet constructed. Photographs are for illustrative purposes only and are merely representative of current development plans. Development plans, amenities, facilities, dimensions, specifications, prices and features depicted by artists renderings or otherwise described herein are approximate and subject to change without notice. ©Minto Communities, LLC 2020. All rights reserved. Content may not be reproduced, copied, altered, distributed, stored, or transferred in any form or by any means without express written permission. Latitude Margaritaville and the Latitude Margaritaville logo are trademarks of Margaritaville Enterprises, LLC and are used under license. Minto and the Minto logo are trademarks of Minto Communities, LLC and/or its affiliates. CGC 1519880/CGC 120919. 2020

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Thank You to Our Corporate and Community Partners for their Generous Support

Investment is provided by the City of Savannah

Charles C. Taylor & Samir Nikocevic Charitable Foundation

The Hodge Foundation, Inc.

Nancy & Ken Larsen Susan & Ron Whitaker

HunterMaclean A T T O R N E Y S

Media Sponsors

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