TSO Program Book Winter/Spring 2015 by Traverse Symphony Orchestra

2015 WINTER - SPRING PROGRAM

Too good to miss.

SEASON SPONSOR PROGRAM BOOK SPONSOR

GUEST SOLOIST AND CHORUS SPONSOR

EXCELLENCE. MADE IN MICHIGAN.

PROUD SPONSOR OF THE TRAVERSE SYMPHONY ORCHESTRA. Chemical Bank has been part of the Michigan landscape for over 95 years. To learn more about a bank that believes in the communities we serve, stop by one of our Traverse City locations or visit ChemicalBankMI.com.

The years ahead of me will be as as the years behind me. _______________

Fill in the blank

However you choose to write the story of life’s next chapter, Cordia is committed to helping you achieve it. Cordia the recently opened Senior Residential Club at the Grand Traverse Commons, is designed to open doors, create opportunities, and support you in the lifelong pursuit of a better tomorrow. As you consider the years ahead–whatever route you choose–know that we are committed to helping you achieve your intentions. THE CLUB IS NOW OPEN 231.994.4004

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National Writers Series Writers Series of Traverse City ™

A YEAR-ROUND BOOK FESTIVAL

LOOK WHO’S BEEN HERE Thank you for a fabulous, memorable evening in Traverse City! I was so honored to be part of the National Writers Series -and the fact that it was such a good time was a bonus. ~ Emily Gifﬁn

ries

to Great S

ErsaAtioTns GCoR nve

YOU WON’T BELIEVE WHO’S COMING NEXT! The new 2014/15 Season is going to be bigger and better. Don’t miss it!

PROUD SUPPORTER OF THE

Traverse Symphony Orchestra and the Arts www.nationalwritersseries.org 6

Great Music â&#x20AC;&#x201C; Great Art Timeless

Evocative

Ageless

Sustaining

Twisted Fish

Gallery

& Sculpture Garden

Proud sponsor of the TSO "Fireworks" concert 10443 S. Bayshore Dr., Elk Rapids, MI twistedfishart.com Open Wed. - Sun., November through May 231.264.0123 8

simply beautiful

applauding great talent

Medical professional liability insurance specialists providing a single-source solution

ProAssurance.com

Helping you think outside the advertising box

Proud Supporter of Local Arts (231) 486-0072

Hands bring the music to life and we read them like a score Chopin + Mahler sponsored by Hand Surgery of Northern Michigan With 19 years experience, ours is the only medical practice in Northern Michigan devoted exclusively to the care of the wrist and hand. Mark Leslie, M.D Paul Jacobson, M.D. Danielle Conaway, M.D.

Weâ&#x20AC;&#x2122;re proud to support the musicians of the Traverse Symphony Orchestra and be able to provide services that allow their artistry to thrive.

www.hsnmi.com 13

Weâ&#x20AC;&#x2122;re in a good place.

Each time the symphony takes the stage, we feel the power and beauty that people can create by working together. Member FDIC

We are the only bank headquartered in Traverse City. 16

Table of Contents Orchestra Roster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Biography: Music Director Kevin Rhodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Annual Campaign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Civic Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 Musician Spotlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Zachary Sawyer, Bass • Sin-Young Kim, Violin PROGRAM: Sunday, January 18, 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 PROGRAM: Sunday February 15, 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 Biography - Ian Hobson, Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 PROGRAM: Sunday April 19, 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52 Biography - Jeffrey Cobb, Choir Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 PROGRAM: Saturday, May 2, 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Connect with Your Symphony Follow us on Facebook and Twitter – we’ll keep you updated with current news, photos, video and conversation. We want to hear from you! facebook.com/traversesymphonyorchestra • twitter.com/yourTSO

Traverse Symphony Orchestra 300 E. Front St., Suite 230 Traverse City, MI 49684 231-947-7120 Phone 231-947-8118 Fax www.traversesymphony.org MEDIA SPONSOR

Kevin Rhodes, Music Director

BOARD OF DIRECTORS Thomas Haase, President J. Kermit Campbell, Immediate Past President Robert B. Hetler, Vice President Patrick Kessel, Treasurer Penny Sweeney, Secretary

Marilyn Cerny E. Thomas Maguire Marlis Mann Cindy Ruzak Karen Smith Ken Weaver

TRAVERSE SYMPHONY ORCHESTRA STAFF Krista Cooper Executive Director

Lisa Schaub Bookkeeper

Gary Gatzke Annual Campaign & Operations Manager

Lynne Tobin Director, Civic Chamber & Prelude Strings

Richard Jaissle Personnel Manager & Librarian

Randy Averill Stage Manager

Kelsey Lauer Marketing Coordinator & Office Manager

MISSION A regional professional orchestra serving northern Michigan, creating educational opportunities and community enrichment through excellence in symphonic and other musical experiences.

ORCHESTRA ROSTER

VIOLIN Paul Sonner Concertmaster Elnora Toldo Milliken Founder’s Chair Steven Leonard Associate Concertmaster Ching-Wen Tseng Assistant Concertmaster Beth Weston Principal Judith M. Loveless Principal Second Violin Chair Sin-Young Kim Associate Principal Second Violin Kyle Venlet Assistant Principal Second Violin Samvel Arakelyan Vita Cernoch Glenys Cowperthwaite Peter Hedderich Lorri Hedlund Ann Marie Jones SunYoung Kim Eric Lawson Mary Miller Jacob Olbrot Valerie Palmieri Oxana Sourine Tatiana Zueva VIOLA Renee Skerik Principal Mikhail Bugayev Associate Principal Judy Gienow Associate Principal Margaret Beck Joyce Beyette Karen Morrell Linda Puroff-Tolias Ann Schoelles

CELLO Elizabeth Bert Principal Anne Dickson Hong Hong Elizabeth Suminski Lynne Tobin BASS Gary Gatzke Principal Zachary Sawyer Associate Principal Mary Demand Richard Jaissle Noah Krzan Susan McRae FLUTE/PICCOLO Nancy Stagnitta Principal Tess Miller

TRUMPET Robert Hicks Co-Principal Kenneth Larson Co-Principal Scott Sorenson TROMBONE Thomas Riccobono Principal Kedrik Merwin BASS TROMBONE George Bliss Principal TUBA Stephen Molnar Principal TIMPANI John Alfieri Principal

OBOE/ENGLISH HORN Lynn Hansen Principal Michael Beery

PERCUSSION Robert Sagan Principal Guy Leslie

CLARINET/ BASS CLARINET Jeanmarie Riccobono Principal Charles and Dee Kelly Chair Andrew Sprung

PIANO Dorothy Vogel Principal

BASSOON Lauren Murphy Principal Genevieve Beaulieu HORN Robert Pavelek Principal Gene Berger Jeff Johnson

HARP Joan Holland Co-Principal Sylvia Norris Co-Principal CONCERTMASTER EMERITUS Jack Bert Mr. Rhodes’ podium is a gift of Mr. Fred Zwemer. After the principal player, all string players are listed alphabetically.

Kevin Rhodes

Music Director

Puccini, Massanet, Mozart, Smetena and many others to the major ballets of Prokofiev, Bartok, Stravinsky and Tchaikovsky.

American conductor Kevin Rhodes has had an exceptionally varied career spanning concerts, opera and ballet across the globe, having conducted in 15 different countries with approximately 50 different orchestras.

Since returning to the US in 2001 to take over the leadership of the Springfield Symphony Orchestra in Massachusetts and Traverse Symphony Orchestra in Michigan, he has devoted himself to the building of those two ensembles as well as attending to the many outreach and education activities of those institutions. Under his leadership those ensembles and audiences have experienced tremendous growth and enthusiasm about classical music. With the start of the 2010-2011 season, he took the reins as Conductor of the Pro Arte Chamber Orchestra of Boston and has been invigorating that ensemble with his trademark energy.

His work extends from the major opera houses of Europe to the concert stages of the United States. He has been a presence in the major musical capitols of Europe for over 20 years, with credits including The Paris Opera, The Vienna State Opera, The Berlin State Opera, La Scala of Milan, The Dutch National Ballet, The Verona Ballet, The Stuttgart Ballet and many others. Rhodes is one of the most sought after conductors by the worldâ&#x20AC;&#x2122;s major ballet companies and their orchestras. His work at many of those illustrious opera houses has been seen and heard throughout Europe in many televised appearances and all over the world with the introduction of cinema performances, in addition to a number of productions having been filmed for DVD. In the U.S, in addition to serving as the Music Director and Conductor of the Springfield Symphony (MA) and the Traverse Symphony (MI) and principal conductor of the Pro Arte Chamber Orchestra of Boston, Maestro Rhodes has conducted the Houston Symphony, the Jacksonville Symphony (FL), the Canton Symphony (OH), the Queens Symphony (NJ) and many more.

The 2014-2015 season sees Maestro Rhodes returning to the Paris Opera for productions of Nutcracker throughout November and December as well as Swan Lake in March and April. He then returns to the Vienna State Opera in May and June for La Sylphide and the annual Nureyev Gala, a four hour event celebrating the life and career of the famed Russian dancer and choreographer on the occasion of his birthday. Kevin will also make his debut this season with the Santa Fe Symphony in New Mexico. Having had his first positions after college in Albuquerque as the Music Director of the Civic Light Opera and professor of piano at the University of New Mexico, Maestro Rhodes is particularly looking forward to revisiting that part of the world and making music there again.

Rhodes began his European career as a house conductor at the Basel Stadtheater in Switzerland. After Basel, he moved on to the Deutsche Oper am Rhein in DĂźsseldorf/Duisburg Germany as a First Kappelmeister, leading hundreds of performances of the standard operatic repertoire from Magic Flute to Der Rosenkavelier, while at the same time serving as the principal ballet conductor of the Vienna State Opera after a very successful debut season there with Nutcracker and Romeo and Juliet. Further engagements followed at many other opera houses and orchestras throughout the continent...Berlin, Wiesbaden, Heidelberg, Naples, Verona, Milan, Paris, Stuttgart , etc. In total he worked for 10 years exclusively in Europe where he led repertoire ranging from the operas of Richard Strauss,Verdi,

Rhodes began his professional conducting career at the age of 16 in his hometown of Evansville, Indiana. He received his BM in Piano Performance from Michigan State University, where he studied conducting with Maestro Leon Gregorian and earned his MM in Orchestral Conducting at the University of Illinois under the tutelage of Paul Vermel. Find out more about Maestro Rhodes at: kevinrhodesconductor.com

• 2-year Music Major curriculum Music Theory, Sight Singing and Ear Training, Class Piano • Private study in brass, wind, string, ercussion, piano, and voice • Ensemble include Chamber Singers, Grand Traverse Chorale, Canticum Novum, Concert Band, Vocal Jazz, and Jazz Band • New Audio Tech program – Apple-accredited coursework in sound recording, music production, and live sound For More Information: www.nmc.edu/music • (231) 995-1338

Celebrating our 24th year of serving students in the Northern Michigan Community!

Children’s Choir

Come be a part of this award-winning organization! • Singers in our groups receive a rich musical education, learn proper singing techniques, and learn personal skills such as self-confidence, organization, time-management, and self-discipline. • Our 6 choirs (Prelude, Dolce, Bel Canto, Lyric, Ragazzo, and Cantus) serve students in grades K-9. For More Information: nmc.edu/childrenschoir • (231) 995-1700

ANNUAL CAMPAIGN Guide Our Momentum What you see, hear and experience from the concert stage is a professional orchestra of tremendous talent. When our audiences leave the concert hall, they are recharged and empowered. Under the masterful guidance of Maestro Kevin Rhodes, the Traverse Symphony Orchestra has become the fine and exhilarating orchestra it is todayâ&#x20AC;&#x201C; a symphonic powerhouse that is as strong as the community in which it resides. The collective support and vision of the Grand Traverse community help to ensure the orchestraâ&#x20AC;&#x2122;s fiscal strength and longevity. An orchestra that is fiscally sound is a rarity, and it is only because of the continuous generosity of our patrons, supporters and volunteers that the Traverse Symphony Orchestra can maintain a strong footing and continue to grow. Philanthropic involvement with the Symphony will help us bring acclaimed guest artists to our local stages, sustain our operations and will help us bring new and exciting performance opportunities to the Grand Traverse region.

The Symphony relies on annual financial contributions from our loyal patrons. Please help us reach our annual campaign goal of $275,000 by August 31, 2015. Pledge cards are available in the lobby, or you may donate online at www.TraverseSymphony.org. Thank you!

Thank You! We applaud the commitment of our financial supporters who have made contributions to the Traverse Symphony Orchestra since September 1, 2013. Consider joining our list of supporters with a contribution to the Symphony. Ticket sales provide only 40% of the cost of putting on a concert. Your gift will help ensure the continuation of quality orchestral and educational programming in the Grand Traverse region. Guide our momentum! The following gifts of $100 or more were received between September 1, 2013 and December 18, 2014.

MILLIKEN SOCIETY

$20,000+

Elaine Amacker Bridges Mr. Casey Cowell

MAESTRO SOCIETY

$10,000-19,999

Marlis Mann & Tom Skinner

SONATA SOCIETY Bruce Barnes The Les & Anne Biederman Foundation Al & Susan Cogswell Foster Family Foundation Mrs. C. L. Harrison III Mrs. Agnes R. Hayden

$5,000-9,999 Gail & Bob Hetler Nancy & David Hunter Dr. Charles & Dolores Kelly Joyce & George Kempton Tom & Gladys Maguire Ms. Pauline C. Pittinos

GOLDEN BATON CLUB

$2,500-4,999

Dick and Sherry Koenig Molly and John Lien Bill & Susanne Meserve Aaron & Anna Price Mark & Wendy Stackable Robert & Charlotte Streit Mr. & Mrs. Ronald H. Yocum

Richard & Susan Bingham Jere & Gail Brown Howard & Mary Cook Karin Flint Dick & Marion Grout Thomas & Deborah Haase George & Barbara Kausler Mr. & Mrs. Pat Kessel 23

CRESCENDO CLUB ANONYMOUS Blair and Deb Anderson Philip & May-Lis Andrus Ed & Mary Arbut Rev. Ted Beiderwieden Otto and Kathy Belovich Mr. & Mrs. Ross Biederman Kenneth & Ann Bloomquist Ms. Ellen Breining Norton & Mary Lee Bretz Ken & Marilyn Cerny Steve & Sheri Constantin Gene Cortwright Sandra & Gary Drew Mackenzie & Marcia Endo Mr. & Mrs. Parker Field Moonyeen & Roger Fitch Mrs. R. C. Foster Miles & Joan Gerberding Robert & Joyce Gingras

Jeffrey Goldman, MD Mr. and Mrs. Patrick J. Griffin Tim & Sally Hanley Patti & Donald Hayden, Jr. Jim & Diana Huckle T. Michael & Joan Jackson Janet M. Kerr Carla & Ward Lamphere Carrol & Bonnie Lock Marin Community Foundation Karl & Barbara Marsh Felix T. Casillas & Charlotte M. Marx Mrs. John G. Milliken Samuel & Karen Mitchell Anne & Bill Montgomery Eric & Amy Mueller Al & Maxi Neugebauer Francis & Joell Newton Clarine Olson Robert and Jacqueline Pool

SYMPHONY FRIENDS $500 - 999 ANONYMOUS ANONYMOUS Anna's Creations and Collectibles Sharon Bartone George and Sue Basta Ruth Bay Don & Carole Bell Kerm & Sallie Campbell Judith Clark Ellen & Frank Clements Barbara Cochrane Mr. & Mrs. E. J. Collins Barbara Collins Comfort Keepers Krista Cooper Richard E. Dancer Edward and Joyce Downing Maggie Duncan Harry & Sally Eick Mr. & Mrs. Gordon Evans Erika & Dennis Ferguson Michael and Mary Fleishman Len & Karen Franseen Gary Gatzke, Jr. Mr. & Mrs. Thomas J. Gross Lynn Hansen Susanne & William Janis Jeffrey & Julie Kimpton Dr. & Mrs. Robert Knode Mark and Roberta Lakin Seymour Lipschutz David & Julie Maxson Eric Maxson K.C. & Louise McAlpin Ms. Penny Milliken Berta M. Molasky

$1,000-2,499

Morgan Stanley Mr. James Myles & Deb Quinn Bob and Diantha Naftali Mr. & Mrs. Edward J. Neithercut Jim Niessink Linda Pittinos Pepe Heather & Roger Perry Jack & Sue Putnam Sandy & Jim Richardson James C. Smith Judy & Bob Steiner Alice & Tom Streeter Chuck and Judy Stuart Sara & David Taft Patricia Terhune Mr. and Mrs. William Timmins Mr. & Mrs. John Tobin Mr. & Mrs. Robert E. Tucker, Jr. Harvey & Marilyn Warburton JoAnn Weirich Helen & William Wells Jean Yeager R. M. Young Company

$250 - 499 ANONYMOUS Mr. & Mrs. Edward Albert Mr. & Mrs. William Alldredge Jackie Anderson Mr. & Mrs. Tom Angus Greg Armstrong Alison B. Arthur William & Mary Bantle Doug & Mary Barker Mr. Paul Bauducci Ms. Margaret Bennett

June Rengo Sherry Milliken Reum & Robert Reum Mr. James Roe Craig & Mary Rosenberg Louis & Nancy Sanford Bob & Elaine Schafer Eleanor L. Shaw Ann E. Skory Louis A. & Karen E. Smith Ms. Joanne Sprouse Drs. Jerry and Elizabeth Suminski Jim Tarr Marjorie & Svend Teglhoj Herman & Laurie Thomas Judith & Kennard Weaver Donald & Marilyn Wilson Nancy & Woody Wright Robert & Pauline Young

$100-999 Liz Bert Ann Beuerle Mr. & Mrs. U. Binkert Gil & Anne Bogley Judith Bosma Jerry Beasley & Fleda Brown Clyde & Dawn Buchanan Ms. Ruth Bernache Ms. Linda Butka James D. Campbell Bill & Sandy Cartwright Angela & Donna Chartier Mrs. Virginia Claudepierre Ed and Char Coquillard Mr. Bryan Coughlin Sherri & Graydon DeCamp Rita Dick Christine Casassa & Michael Dixon Todd & Amy Endresen Michael & Rhonda Estes Hugh and Betty Farber Marjorie and Walt Farrell Bob and Sandy Foote Dr. & Mrs. N.Curtis Force Harry & Rosemary Friend Jim & Mary Fuscaldo Jim & Betsy Gardiner Ellie & Gus Garrett Gary & Teresa Gatzke William W. Giegerich Stephen & Lauran Gilbreath Mr. Nate Glidden Clarence and Marlene Habermann Mr. & Mrs. E.N. Hadjisky Sondra Hardy Janet C. Hartesvelt John & Judith Herr

Walter D. Herrick Ms. Connie Hoffman Margaret Hollyday Ms. Arline L. Howe Rick and Monica Jaissle Dan & Peg Jonkhoff David Kaplan Joseph and Karen Kimmell Howard King & Liz Sayre-King Dr. & Mrs. Jonathan H. Kinne Donna & Jerry Klinefelter Dr. Ann Kuenker Dennis Lauterbach Stanley & Margaret Leonard Richard & Sally Lewis Lindsay Mang P. Michael & Kathryn May Eric & Estelle McCarthy Ms. Mary Merwin Delbert & Sally Michel Dr. & Mrs. James Milliken Richard and Diana Milock James & Donna Moore John & Nancy Morris Harold & Gwen Muenchow Mr. John & Sandra O'Neal David & Joan Robinson Mr. & Mrs. W. Bruce Rogers Mrs. Barbara Sander Mr. and Mrs. E.J. Sauter Mrs. Rebecca Schaafsma Mr. & Mrs. Neill Schmeichel Wally & Pat Schroth Donald & Barbara Schwendemann John & Mary Scott John H. & Gerri Shook Ms. Evi Sickinger Mrs. W.A. Siebenthaler Frank & Barbara Siepker Catherine Sivits Brad & Cathy Spanski Mr. & Mrs. Kevin Steen Elfie Steigerwald Dennis K. & Sandra Stockemer Bruce Summers Albert J. Svec Mr. & Mrs. James Sweeney Emilee Syrewicze Arthur & Beatrice Van Eck Bruce & Betsy Wagner Taffy and Bob Walker Mr. & Mrs. Thomas J. Wall Dr. & Mrs. Theodore R. Watson Jeffrey A. & Martha Watts Shirley Whall Clyde & Sonja Whipple Bruce Beebe & Nancy Yarbrough Dr. Louis & Mary Jane Zako Mark & Mary Zook

$100 - 249 ANONYMOUS ANONYMOUS ANONYMOUS Ronnie Alff Mike & Jo Ann Allen Mr. & Mrs. Tom Allison Pamela & Gordon Amidon

Erin Anderson Ardell Arthur Arthur Engineering, Inc. Bob & Jean Aukerman Neil & Carol Baerman Joyce Bahle Michael and Diane Bair Mr. & Mrs. Gary A. Bardenhagen John & Dorothy Barker Bob & Anna R. Barron Ms. Edith Beck Mr. & Mrs. Robert Beidler Ms. Ruth Bernache Marjorie S. Bernstein Elizabeth Bernstein Dr. J. G. Marc Bertrand Garth & Joyce Beyette Dr. & Mrs. Harry Blount Dale & Joan Blount Ms. Christine Boesen Jim & Joan Bowser Shaunna Bradford Jerry & Evelyn Brandt Marcine Branski Jim Brazda Robert & Mary Ann Brinklow Dr. Robert Brown Donna Brunsma Anthony & Helen Buday Linda Buist Dr. and Mrs. David E Burke Keith & Joanne Burnham Polly Cairns Jean & Dwight Campbell Mr. & Mrs. Jerry Carlson Monica Carman Mr. and Mrs. Robert Charlton Mary & Tim Clulo Cathy Colburn Mr. Kyle Colley Dr. & Mrs. Michael Collins Ralph & Charlotte Collyer Ms. Karen Comell Jane Conard Mrs. Judith Conn Susan S. Coulter Deborah Dacey John & Ann Davey Mr. Gerald DeGrazia John DeKorne Mr. & Mrs. Robert M. DeLonge Sue & Jock Denio Jim Dole Cheryl Donakowski & Frank Misplon Tim and Katharine Dougherty Robert & Nancy Doughty Downtown Traverse City Association Jim Dulzo Connie Eisenhart John & Gina Erb Ms. Colleen Etue Mr. Albert A. Evans Bob & Sherri Fenton Lee Finkel Bruce & Sue Finlayson Ms. Jill Foerster Ms. Karin Foster Larry & Mary Frank

Jim and Susan Frye Anne & Adam Gahn Martha and Lawrence Garber Gene Garthe Mr. Branko Gegich Doug & Shirley Gembis Carmela & Gerard Gianfrancesco & Maria Kissinger Marsha Gilispie Bob & Carol Goff George A. Goldberg, MD Arthur & Joan Goldman Mike & Angela Goodall Robert Gould Christopher A. Gruits Paul Grunberger & Charlotte Rev. & Mrs. Thomas Guback Lou and Joan Gurthet Mr. Luke Haase Mr. & Mrs. Dale Haddon Anne Haines Valarie Handy Nancy & Dale Hanson Don & Jeanne Harbold Cynthia W. Harrington John C. & F. Susan Harrison Patrick & Leslee Heintz Jeff and Theresa Hickman Teresa Hittner Drs. John and Judy Hoeffler Jane E. Hunter Bob Hood & Pat Gorney William Hosner Allison Hubley & Jim Patterson Karen & Milt Jacobi Anthony Jankowiak Delores A. & Roy E. Keefe Louis Kemnitz and Pamela Whynot Dick & Nana Kennedy Dr. Steven & Jane Klegman Bill & Barb Klein Ms Helen Knapp Tom and Joan Knighton Ms. Betty Koons Mr. & Mrs. John Kostrzewa Mr. & Mrs. Richard Krupka Mr. & Mrs. Ward Kuhn Bruce and Maurine Kuiken Susan Kuras Michael and Margaret Kurta Stephanie A. & Benjamin G. Lamphere James & Suzanne Landes Kelsey Lauer Dr. Jim & Jenny Lawrence Mrs. Judie Leece Ruth L. Leonard Steven and Kathleen Leonard Jan & Bill Lewis John and Betty Lewis Richard & Colleen Lewis Julianna Lipschutz Laurie L. Lisuk Mr. & Mrs. Wayne Lobdell Lyn Loveless Karen Ludwig Charles and Evelyn Mack Peter R. & Anne H. Magoun Terry & Sarah Malone

Debra Finkelstein & Dana Maxson Mrs. Beverly McCamman Gloria McClay Ellen & Jim McLean Betty & Alan McColl Debra & David McKeon Todd McMillen John & Nancy McNamara Mr. & Mrs. Russell McNamara Kathryn A. Mead Joshua Meyerson David L. Miles Dr. & Mrs. J. P. Milliken Ray and Marsha Minervini Jim & Amy Moore Dorothy Moroff Fran Mumma Mr. and Mrs. Larry Nelson Pat & Bob Nelson Jane E. Nichols Ann Nichols Mary & Bruce Nieuwenhuis L. J. Noling Dr. and Mrs. Patrick Oriel Carl & Josephine Pace Jerry & Rita Palmer Andrew Pappalardo Amy Parker Paulette & Grant Parsons Elmer & Ruth Peterman Erik L. Peterson Dr. & Mrs. William Phenix Lori Piggott Audrey Pittinos Mr. & Mrs. David M. Pohlod Cynthia & Roger Postmus Julie A. Povolo Ms. Dana Powell William Premo & Pam Prairie

Sue & Dave Reck David Reimer Dr. Nancy Reye & Rob Dolinka Ms. Ruth R. Richards Ms. Sandy Richardson Deborah Rough & Gerald Pierce Cindy & Jay Ruzak Bill & Madelyn Ryan Ms. Mary Salo Barbara Taylor Sandys Erik & Angela Saxon Dr. Frank Sayre Stan & Martha Scarborough Ms. Debbie Schab Gary Schilkey & Lisa Raymo Don Schmuckal Sue Schuler Robert & Lorraine Schwarz Jack & Karen Segal Patricia Shea Edson & June Sheppard Jackie Shinners Dr. & Mrs. Laurence Skendzel Dee & Gregg Smith Mark & Ann Smith William & Mary Smith Mark Smith Ms. Melissa Sole Larry & Linda Sommerville Scott Sorenson Mrs. Angeline Sorenson Carol Spaulding Barbara Stark-Nemon Mr. & Mrs. John Steed Robert & Kay Stehouwer Bruce G. Stevens Dr. & Mrs. Mack Stirling Paul Sutherland Mr. & Mrs. James B. Sweeney William & Mary Swift

John Thomas Cliff & Mollie Thompson John & Sandra Thorne Jill Tobin Lynne Tobin Richard & Charlene Tobin Louis P. Tocco Mrs. Emily G. Todd Amy Tongue Jeanne G. Townsend Tom & Sue Trumbull Richard and Anne Tryon Cynthia Cherie Van Maanen Dorothy R. VanderKlipp Ben & Ellen Vanderkolk Dan & Marcia Varble Ralph & Margaret von Walthausen Ms. Shirley Wagner Pam Wakefield Richard & Patsy Wakulat Dick & Mary Walker Harriet Wall & Vance Marshall James and Sandra Wall Richard W. & Christine T. Walter Kent and Nancy Walton Price & Jane Watts Dr. C. Russ & Carolyn Wentworth Ann F. Wettlaufer Barbara J. White David E. Whitestone Mr. & Mrs. Harold Wiberg Robert Wilcox Mr. & Mrs. Randy Williams Bonnie Willings & Lou Colombo Shirley Wolfe Barbara B. York Young, Graham, Elsenheimer & Wendling, PC Muriel Zandstra Patricia L. Zoyhofski

Memorial Gifts Made between September 1, 2013 and December 18, 2014 In memory of Paul Alff Ronnie Alff In memory of George Anderson Al & Susan Cogswell Janet M. Kerr Dr. & Mrs. Robert Knode In memory of Lee & Trudy Anderson Jacquelyn Anderson In memory of Tom Bernache Ms. Ruth Bernache In memory of Donna Chartier Angela Verbrugge In memory of Bryan Crough Richard & Colleen Lewis

In memory of Cynthia Fox Dancer Richard E. Dancer In memory of Helen Getty The Les & Anne Biederman Foundation In memory of Suzanne T. Giegerich William W. Giegerich In memory of Diane Granthen Molly and John Lien In memory of Michalina Gurdak Barbara Cochrane In memory of Marvin C. Howe Ms. Arline L. Howe In memory of Mrs. Joseph (Almeda) Hunter Marguerite K. Meeker

In memory of Carla Lamphere Don & Carole Bell Thomas and Mary Brown Mr. & Mrs. Jerry Carlson Dennis & Ann Couturier Jim and Susan Frye Marsha Gilispie Betsy & Larry Hanson Jack & Davetta Horner Tom & Gladys Maguire Marlis Mann John & Angela Macnowski Mr. and Mrs. Larry Nelson Michele Olind Mary G. Peters Mr. & Mrs. Wm. Saunders Larry & Linda Sommerville Sally Van Vleck Bruce and Betsy Wagner Taffy and Bob Walker Dick & Candice Wallace In memory of David B. Mann and Beth Skinner Marlis Mann & Tom Skinner In memory of David Mann Mr. & Mrs. Thomas J. Gross Thomas B. Mann Katherine Mann Hoyerman In memory of Dr. John Milliken Sherry Milliken Reum & Robert Reum In memory of Molly Noling L.J. Noling

In memory of Jack Peterson Lindsay Mang In memory of Christopher M. Pittinos and the establishment of the Christopher M. Pittinos Memorial Scholarship for the Traverse Symphony Orchestra Civic Strings Program Marjorie S. Bernstein Elizabeth Bernstein Carmela & Gerard Gianfrancesco Maria Kissinger Seymour Lipschutz Julianna Lipschutz Richard Bergman & Peg Murphy Jim Noce & Rosemary Noce-Murphy Linda Pittinos Pepe Audrey Pittinos Ms. Pauline C. Pittinos Kathleen Swain John & Margaret Walsh In memory of Susan Sayre Howard King & Liz Sayre-King In memory of Margaret Schubering Margaret Smedley In memory of Allison D. Shumsky Anne & Adam Gahn In memory of Lou Steigerwald Elfie Steigerwald In memory of Tom Streeter Al & Susan Cogswell In memory of Bonnie C. Tarr Jim Tarr

Honorarium Gifts Made between September 1, 2013 and December 18, 2014 In honor of Ruth Bernache Gary L. Gatzke, Jr.

In honor of Judy Loveless Jan & Bill Lewis Lyn Loveless

In honor of Leo and Nathalie Bernache Ms. Ruth Bernache

In honor of Lindsay Mang Ellen & Frank Clements In honor of Marlis Mann & Tom Skinner Keith & Joanne Burnham Laurie L. Lisuk In honor of Ruth Merrill Liz Bert In honor of Mary Parrish Mr. & Mrs. Peter Strom In honor of Marianne Reye Dr. Nancy Reye & Rob Dolinka In honor of Liz Sayre-King Dr. Frank Sayre

In honor of Ken Cerny's Birthday Mr. & Mrs. David Zimmerman In honor of Krista Cooper Arthur & Joan Goldman In honor of Gary Gatzke, Jr. Erin Anderson George A. Goldberg, MD Barbara Taylor Sandys In Honor of Keith P. Leonard for the Civic String Ensembles Steven and Kathleen Leonard In honor of Kathryn Linenger Anna's Creations and Collectibles 27

E. Daniel & Kay Long Jim Niessink Mr. & Mrs. John Oliver Mr. John & Sandra O'Neal Julie A. Povolo Bob & Jocelyn Prevost Aaron & Anna Price Ms. Debbie Schab Gary Schilkey & Lisa Raymo Jack Segal & Karen Puschel Segal Mary Sharry & Bill Dickinson Jackie Shinners Carol Spaulding Barbara Stark-Nemon Drs. Jerry and Elizabeth Suminski Herman & Laurie Thomas Jill Tobin Michael S. & Teena V. Tobin Richard & Charlene Tobin Allen R. & Janice M. Wolfe In honor of the Traverse Symphony Orchestra Civic String Ensembles Gary Gatzke, Jr. In honor of the Traverse Symphony Orchestra Musicians Mr. and Mrs. William Timmins In honor of the Traverse Symphony Orchestra Staff Drs. John and Judy Hoeffler In honor of Jean M. Yeager Alison B. Arthur

In honor of Barbara Stockton Anne Haines In honor of Penny Sweeney Mark & Wendy Stackable In honor of Bob & Chee Terhune Patricia Terhune In honor of Traverse Symphony Orchestra Civic String Ensembles Director Lynne Tobin Blair and Deb Anderson Ardell Arthur Arthur Engineering, Inc. Dr. Kimberly Augenstein James and Shirley Bruno Elizabeth Burnett & Larry Tamburri Jean & Dwight Campbell Cathy Colburn Dr. & Mrs. Michael Collins Mr. & Mrs. Michael Coonrod Krista Cooper Edward and Joyce Downing Brent Gahn & Mary Kavanaugh-Gahn Gary L. Gatzke, Jr. Rev. & Mrs. Thomas Guback Jennifer & Robert Hansen Connie Heidt Margaret Hollyday Bruce, Laura & Jessie Hood Jane E. Hunter Rick and Monica Jaissle Ms. Ann Marie Jones Ms. Susan Karakos Kelsey Lauer

Endowment Gifts Made between September 1, 2013 and December 18, 2014

Elnora Toldo Milliken Founderâ&#x20AC;&#x2122;s Endowment Fund Dr. & Mrs. James Milliken

A NIGHT IN HOLLYWOOD

SAVE THE DATE!

Friday, August 7, 2015 A Fundraiser for the TSO Mark your calendars and join Maestro Rhodes, members of the Symphony and special guest artists for our annual fundraiser at the Hagerty Center. Questions? Contact Gary Gatzke, Annual Campaign Manager via email at ggatzke@traversesymphony.org or via phone at 231-947-7120, Ext. 5.

EVENT SPONSOR OPENING RECEPTION SPONSOR

Dow Challenge Third and Final Year! The Traverse Symphony Orchestra is the recipient of a $150,000 grant from the Herbert H. and Grace A. Dow Foundation to match gifts from new and lapsed donors up to $50,000 each year for three years. Through the generosity of hundreds of contributors, the Traverse Symphony Orchestra was able to reach our first two $50,000 goals.

We are only $20,000 away from our third and final $50,000 goal. We need you! If you have never donated to the Symphony or itâ&#x20AC;&#x2122;s been a year or more, we ask you to join us with a financial contribution directed toward this challenge, which will double the effect of your gift. The Dow Foundation has given a June 30, 2015 deadline to raise the final $50,000. Join us today with a financial contribution to the Traverse Symphony Orchestra. Pledge cards are available in the lobby, or you may donate online at www.TraverseSymphony.org.

Musical Legacy Society All donors who have included the Traverse Symphony Orchestra in their estate plans are members of our Musical Legacy Society. Members of the Musical Legacy Society not only enjoy the Symphony today but also the warmth and pride that comes with knowing that their gift will sustain the orchestra for years to come. We will be happy to work with you and your estate attorney to identify the proper approach for your specific needs. For more information, contact Annual Campaign Manager, Gary Gatzke at 231-947-7120 or ggatzke@traversesymphony.org

Civic

Local Multi-Instrumentalist Duo The Accidentals to Perform with Civic String Ensembles Members of the Civic String Ensembles always enjoy making music—but this semester they will be making it in a whole new way. Local multi-instrumentalist duo The Accidentals— Savannah Buist and Katie Larson—will perform with the Civic Chamber Strings as very special guest artists in a concert on Tuesday, March 24 entitled “Darkness into Light – a Musical Exploration of the Vernal Equinox.” “The musical selections will evoke suspense, mystery, hope and possibility through lyrical melodies and contemporary harmonies,” says Civic Director Lynne Tobin. “Civic musicians explore non-traditional playing techniques, such as aleatoric (random or chance) passages and singing while playing.” In the two years since graduating from the singer-songwriter program at Interlochen Arts Academy, Buist and Larson have completed two albums, scored two movies, performed on thirteen different instruments, played more than 500 live shows, composed 45 original songs and gained thousands of fans across the country. The Accidentals will energize the stage with special orchestral arrangements of some of their most captivating songs. The Accidentals also performed with the Traverse Symphony Orchestra on July 19, 2014 in TSO @ the Village at Grand Traverse Commons with an original work scored for 72-piece orchestra. Directed by Lynne Tobin, the Civic program welcomes string players of all ages and skills to two community string orchestras—Chamber Strings and Prelude Strings— that meet for weekly rehearsals and performances throughout the year. Civic Chamber Strings is an advanced group designed for players of all ages with a minimum of three years of experience, while Civic Prelude Strings members should have at least one year of experience and been introduced to note reading. To learn more about the Civic program or if you are interested in becoming a member, visit www.traversesymphony.org or call marketing coordinator and office manager Kelsey Lauer at 231.947.7120 ext. 7. Winter semester rehearsals began on Tuesday, Jan. 13 and run until the winter performance on Tuesday, March 24 at the First Congregational Church, which is free and open to the public.

SAVE THE DATE! Thanks to Education Programs sponsor

DARKNESS INTO LIGHT Tuesday, March 24 @ 7 pm First Congregational Church, 6105 Center Road – Free admission –

The Accidentals Co-Sponsors

Musician Spotlight Zachary Sawyer Bass Zach Sawyer joined the Traverse Symphony Orchestra as associate principal bass in 2012. A native of Saint Joseph, Michigan, Zach attended Interlochen Arts Camp for several summers during high school. He graduated from Michigan State University in 2013 with a bachelor’s degree in music performance and music education. In addition to his position with the TSO, Zach is also assistant principal bass with the Southwest Michigan Symphony Orchestra and has performed with numerous other groups, including the Northwestern University Symphony Orchestra, Wisconsin Chamber Orchestra, Lansing Symphony Orchestra, and West Michigan Symphony, among others. He has spent three summers at the Brevard Music Center in North Carolina, serving as a teaching assistant and performing in the Brevard Music Center Orchestra. As a teacher, he has taught in the Okemos and Chelsea school districts, as well as maintaining a studio of private students. Zach currently resides in the Chicago area, where he is pursuing a master’s degree in music performance at Northwestern University. When he’s not busy making music, Zach enjoys drinking craft beer, swimming, cycling, and running, and he is looking forward to running the Bayshore Marathon in Traverse City this May!

Sin-Young Kim Violin Sin-Young Kim, a South Korean Violinist, started playing the violin and piano at the age of four. She was first exposed to music at her church, and her parents tried to give her as many artistic opportunities as they could. She studied at the arts middle and high school in Busan, and went to Kyung-won University with a full scholarship. She came to the states for her Master’s degree at back in 2011 and currently is pursuing her doctoral degree with Dmitri Berlinsky. Ever since she came to Michigan State, she has performed as a concertmaster and principal in the MSU Symphony, as well as performing with many orchestras all around Michigan. This is her first year as the associate principal second with the TSO. She loves Traverse City because of the kind and enthusiastic audience here, and the people always give her inspiration and joy.

Becky’s r New Ca

DIRTY ROTTEN SCOU NDRELS

A as stm i Chr t r y S

BROADWAY LIGHTS HOLLYWOOD NIGHTS CRIMES of the HEART

For Tickets Call 231.947.2210 or www.oldtownplayhouse.com for Online Purchase 33

Remembering David Mann

Left to right: David Mann, Marlis Mann, Robert Hanson, Kevin Rhodes

The artistic strength of the Traverse Symphony Orchestra has come to its great height as a result of the hard work of many volunteers since the orchestra’s inception over 60 years ago. There are some who carried the vision of the Symphony forward, through thick and thin, with the love and care as they would for a family member. David Mann was one such person.

David believed strongly in the importance of listening to classical music. He felt that it enhanced every human being and could provide intellectual enrichment, especially to the younger generation. He believed the TSO was uniquely positioned in this region to promote the joys of classical music. Demonstrating their devotion and love of the Traverse Symphony Orchestra, David and Marlis Mann commissioned Robert Hanson to compose Dance of Two Worlds - a piece for the millennium in 2001 to commemorate the 50th anniversary of the TSO.

David Mann passed away in November 2004. On the tenth anniversary of his passing, the Traverse Symphony Orchestra fondly remembers the determination, heart and spirit of a man whose leadership is appreciated each time we experience Maestro Rhodes at the podium. “David Mann had a sense of vision and ability to see beyond the ‘now’ as demonstrated at the important turning point for the Traverse Symphony Orchestra in its development from a community orchestra to a professional symphony, “ said Maestro Kevin Rhodes. “The influence and vision of David Mann will continue to be felt for a very long time at the TSO. David is sadly no longer with us in the physical sense, but for now and for oh so many years to come, his contribution to the TSO and the cultural life of the area will continue to be felt by so many people who never had the good fortune to know him.”

David and Marlis moved to Leland in 1989 after decades of summers spent in the area. David was very active in the Leland community, was President of the TSO board in 1995-1996 and was Chairman of the Director’s Search Committee in 2000 that led to the selection of Maestro Kevin Rhodes as Music Director. Marlis Mann currently serves on the TSO board of directors, where her willpower, creativity and spirit has generated countless new friends and financial support for the TSO during her 8 year tenure.

Tchaikovsky Fireworks SUNDAY, JANUARY 18, 2015

CORSON AUDITORIUM

•

3:00 PM

INTERLOCHEN

Kevin Rhodes, conductor

The Tempest, Act 3, Scene 1 William Shakespeare • Ferdinand ...............Scott Kennedy, IAA Theatre Major, Topeka, KS • Miranda ..................Bayleigh Young, IAA Theatre Major, Cypress, TX • Faculty Coach ......Laura Mittelstaedt The Tempest , Op. 18

Pyotr Ilyich Tchaikovsky

Romeo and Juliet, Act 2, Scene 2 William Shakespeare • Juliet........................Daniela Sanchez, IAA Theatre Major, Albuquerque, NM • Romeo ....................Riley Warmoth, IAA Theatre Major, Spring Lake, MI • Faculty Coach ......David Montee Romeo and Juliet

Pyotr Ilyich Tchaikovsky

1812 Overture, Op. 49

Pyotr Ilyich Tchaikovsky

CONCERT SPONSOR

KEVIN RHODES AT THE PODIUM SPONSOR

Traverse Symphony Orchestra’s 2014-2015 season is generously sponsored by Chemical Bank.

Program Notes by Scott Sorenson

Peter Ilyich Tchaikovsky Born: May 7, 1840, Kamsko-Votkinsk, Viatka, Russia Died: November 6, 1893, Saint Petersburg circle of the late-nineteenth century. During a Christmas visit at the home of composer Nikolai Rimsky-Korsakov in 1872, the influential critic Vladimir Stasov proposed to Tchaikovsky the possibility of a symphonic work based upon Shakespeare’s The Tempest. Three years earlier, using the program suggestion of fellow composer Mily Balakirev, Tchaikovsky’s fame had risen to the forefront with his first masterpiece, the fantasy-overture Romeo and Juliet. Stasov believed that another such orchestral work, this time inspired by The Tempest, would be successful in the hands of brilliant Peter Tchaikovsky. In a letter to the young composer of January 11, 1873, Stasov outlined his program ideas:

The Tempest, Fantasy-Overture after Shakespeare, Opus 18 (Usovo, Russia, 1873) Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, harp, and strings. Performance time: ca. 24:00 I wrote The Tempest without any effort, as though moved by some supernatural force. Tchaikovsky to Nadezhda von Meck, 1878 About two and a half centuries before Tchaikovsky’s time, William Shakespeare penned his thirty-ninth play, a romance titled The Tempest (161011). One of the English playwright’s final theatre pieces, The Tempest includes all of the ingredients necessary for a first-rate drama – love, hate, jealousy, revenge, greed, and (even) sorcery. The plot centers upon Prospero, a magician and the rightful Duke of Milan, who schemes to restore his throne and his daughter Miranda’s entitled position of “Lady” in the Milanese court. The story is set on a remote island in the Tyrrhenian Sea. Prospero has conjured a storm, a tempest, that shipwrecks and maroons his brother Antonio and Alonso, King of Naples, who both conspired to seize his throne twelve years earlier. Among the few survivors is Ferdinand, Alonso’s son, who falls in love with Miranda due to the clever interventions of the spirit Ariel. The half-beast Caliban attempts to thwart Prospero’s plan; however, in the end, Antonio and Alonso are rebuked, Prospero regains his title, Ferdinand and Miranda are betrothed, and the avenged party sails back to Naples over calm seas.

The sea. Ariel, spirit of the air, raising a tempest at the bidding of Prospero. Ferdinand’s ship sinks. The enchanted island. The first shy awakening of love between Miranda and Ferdinand. Ariel. Caliban. The young couple’s love grows to overwhelming passion. Prospero renounces his magic powers and quits the island. The sea. Tchaikovsky enthusiastically accepted Stasov’s proposal. However, months would pass before the musical ideas would germinate in his amply creative mind and reach full fruition. Writing to his patroness, Nadezhda von Meck, several years after completing The Tempest, he explained: One should not write a symphonic work and only afterwards formulate a program because . . . every episode in the chose program requires a suitable musical illustration. In August, Tchaikovsky enjoyed a few weeks at the country estate of Count Vladimir Vasilyev-Shiolovsky near Usovo (about 300 miles southeast of Moscow). There, after only slightly streamlining Stasov’s program, he quickly sketched the twenty-four minute fantasia in just ten days. Again to von Meck five years later:

Now, we must segue to an elite Russian musical

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Program Notes by Scott Sorenson Ariel, the love scene – all these belong among the loftiest of musical creations. In both love Scenes – what beauty, what languor, what passion! All this is incomparable. Then the magnificently wild and savage Caliban, the ethereal and playful Ariel – these are all most excellent. And the orchestration – especially in these scenes – is astounding . . . On Friday, the day after tomorrow, I will be going to the second rehearsal, which is again at 9 p.m. – I could not possibly keep away.

I cannot convey to you my state of bliss during these two weeks . . . I wrote The Tempest without any effort, as though moved by some supernatural force. The piece was premiered in Moscow on December 9, 1873 with the great pianist Nikolai Rubenstein conducting the orchestra of the Russian Musical Society (RMS). A second performance of The Tempest was given a year later in Saint Petersburg with Eduard Nápravnik leading another RMS concert. Tchaikovsky’ old friend Vladimir Stasov attended the first rehearsal in Saint Petersburg and corresponded with the composer that day (November 24, 1874); I have just this second come from the hall of the Nobles’ Society and the rehearsal of Saturday’s concert . . . Your Tempest is such a delight! How magnificent! . . . Caliban,

The Tempest has always hovered on the periphery of the repertoire. Much of this has to do with the enormous popularity of Tchaikovsky’s other orchestral masterworks such as Romeo and Juliet, the 1812 Overture, Italian Capriccio, and the last three symphonies. However, Tchaikovsky wrote this one too therefore its full consideration is justified. The fantasia is dedicated to Stasov.

Peter Ilyich Tchaikovsky Born: May 7, 1840, Kamsko-Votkinsk, Viatka, Russia Died: November 6, 1893, Saint Petersburg dozen piano pieces. However, his first masterpiece had not yet been written. Romeo and Juliet, the fantasyoverture after Shakespeare, would accomplish that and, after several revisions, become one of classical music’s best remembered masterworks.

Romeo and Juliet, Fantasy-Overture after Shakespeare, Opus 18 (Moscow, 1869; 2nd ver., 1870; 3rd ver., 1880) Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, bass drum, cymbals, harp, and strings.

It was during the summer of 1869 that Russian composer Mily Balakirev suggested to Tchaikovsky that he write a piece based upon the well-known Shakespearean drama. Balakirev, always eager to advise other musicians, even proposed a form and style of composition along with the key and character of each theme. Despite the older composer’s presumptuous nature, Tchaikovsky was certainly inspired. Whether it was Balakirev who had aroused his creative imagination or the circumstances surrounding Tchaikovsky’s emotional recovery from his only real infatuous love for a woman, the Belgian soprano Désirée Artôt, is only of secondary importance. The fact is that the first version of Romeo and

Performance time: ca. 20:00 The creative process is like music which takes root with extraordinary force and rapidity. Peter Ilyich Tchaikovsky In the late-1860s, Tchaikovsky was a 29-year old music professor at the Moscow Conservatory. He had already composed his first symphony (‘Winter Daydreams,’ 1866), the two operas Voyevoda (1867-8) and Undina (1869), the symphonic poem Fatum (1868), numerous chamber and choral works, and over a

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Program Notes by Scott Sorenson Juliet was feverishly completed in six weeks and performed in Moscow by the Imperial Music Society on March 16, 1870 with the great pianist Nicolai Rubinstein conducting. On the matter of his feelings for Artôt, Tchaikovsky was quite openhearted in an earlier letter to his father (Ilya Petrovich) of December 26, 1868.

proposal to Artôt came to nothing as she married the Spanish baritone Mariano Ramos in Warsaw shortly thereafter – the composer sadly learning this news after the event. Romeo and Juliet is a symphonic poem essentially in sonata form with an introduction and epilogue. This style of composition is often based upon literary material and tends to be descriptive and programmatic. The piece begins solemnly and fatefully with a sense of foreboding doom heard in the lower strings. There is a vague liturgical flavor of Russian orthodoxy in the introductory theme, suggesting Shakespeare’s opening scene in Act 2 with the saintly Friar Lawrence. The music accelerates to an allegro that alludes to the warring Montagues and Capulets . . . complete with a swordfight! This turmoil yields to the young lovers’ private world in the innocent opening statement of the famous love theme played by the English horn and the violas. The development section plunges everything back into turbulence as the ensuing tragedy is now perceived as inevitable. A passionate and fully orchestrated restatement of the love theme climaxes the recapitulation. This is heard one last time while the timpani signals the dying heartbeats of the hero and heroine. Tchaikovsky’s musical poem concludes with the orchestra loudly shouting the deaths of Romeo and Juliet.

My dear, beloved Papochka!. . . I am sure you have heard about my possible marriage . . . I met Artôt for the first time last spring . . . Since then I got notes nearly every day from her inviting me to come and gradually I got used to spending every evening with her. Soon we were inflamed by the same feelings for each other and exchanged mutual confessions of love. Naturally the question of marriage arose. It is what we both wish and will take place this summer, if nothing comes to prevent it . . . She has now left for Warsaw and we have decided that in the summer, I shall visit her at her estate near Paris and we shall decide our fate then . . . I am perfectly well, my life runs smoothly with only one exception that she is not here any more and I miss her. I am always your loving son. P. Tchaikovsky Tchaikovsky completely rewrote the work just months after its premiere and again in a decade with a revised ending. It is this third revision that is part of the standard orchestral repertoire. Incidentally, Tchaikovsky’s

You have the opportunity to ensure that future generations are able to experience the Traverse Symphony Orchestra by including the Symphony in your estate plans. Become a member of the Musical Legacy Society by remembering the Symphony in your will, establishing an IRA charitable rollover and/or designating a portion of your retirement assets or life insurance policies. It’s easier than you think! With your help, the Traverse Symphony Orchestra will continue to aspire, inspire and connect with the Grand Traverse region for years to come. Please call the Traverse Symphony Orchestra administrative offices at 231.947.7120 to speak with Gary Gatzke, Annual Campaign Manager.

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Program Notes by Scott Sorenson

Peter Ilyich Tchaikovsky Born: May 7, 1840, Kamsko-Votkinsk, Viatka, Russia Died: November 6, 1893, Saint Petersburg France embarked upon an eastward march of over 600 miles through the Russian hinterlands with his sights set on Moscow. The campaign’s official political objective was to liberate the Polish people from the threat of Russian dominance. Napoleon’s personal ambitions as a conqueror were at the forefront as well.

1812 Overture, Opus 49 (Kamenka, Russia, 1880) Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, bells, cannon, cymbals, side drum, tambourine, triangle, and strings.

Attempting to engage the Russians in battle, Napoleon rapidly pushed his divisions through the rough terrain of western Russia. Minor skirmishes along the way and a major confrontation at Smolensk were won by the French, yet the Russian army continued to retreat into its forests forcing Bonaparte to press on toward the great city. Finally, the Grande Armée overtook the Russians on the plains near the small village of Borodino, seventy miles to the west of Moscow. The resulting Battle of Borodino on September 7 was the largest and bloodiest single-day action of the French Invasion of Russia and of the Napoleonic Wars. A quarter of a million soldiers were involved resulting in 70,000 casualties. With the Russians again retreating further into their homeland, Bonaparte had won this battle but would soon discover that he had lost the war.

Performance time: ca. 15:00 To regret the past, to hope in the future, and never be satisfied with the present: that is what I spend my whole life doing. Peter Ilyich Tchaikovsky On June 24, 1812, Napoleon Bonaparte’s Grande Armée crossed the Neman River from East Prussia and

Upon entering Moscow a week later, Napoleon was shocked to discover that the city lay in smoldering ruins. The Russian political and military officials had ordered that Moscow be burned to the ground. Now, Napoleon had no refuge for his enormous army. The French stayed on until October, but with the inevitable encroachment of the Russian winter, Napoleon was forced to retreat out of the country and back to France. By the time he reached the Berezina River near Minsk and into occupied French territory, Bonaparte’s

John Heaveside Clark and M. Duburg, Crossing the Neman in Russia 1812 (1816).

Poland into Lithuania. This well-strategized aggression would mark the beginning of the French Invasion of Russia or the, so-called, Patriotic War of 1812. With nearly 400,000 frontline soldiers employed in the invasion (the Grande Armée itself numbered close to 680,000 troops), the self-proclaimed Emperor of

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Program Notes by Scott Sorenson starved and hypothermic Grande Armée had been reduced by nearly a half million men with 380,000 dead and 100,000 captured.

. . . of local and patriotic interest only, and very loud and noisy . . .but [lacking] artistic merit, because I wrote it without warmth and love.

Seven decades later, Tchaikovsky’s old friend from the Moscow Conservatory, pianist Nikolai Rubinstein, suggested that he compose a grand piece commemorating the Russian defeat of the French in 1812. A number of significant celebrations were planned for Moscow in the early-1880s. These included the

Despite Tchaikovsky’s own lack of enthusiasm for the piece, the 1812 Overture would make a notable contribution to the wealth of his estate and over time become one of his most recorded and performed works. Its premiere, conducted by Ippolit Altani, was heard on August 20, 1882 at the opening of the Moscow Arts and Industry Exhibition.

Vasiliy Vasilyevich Vereshagin, Napoleon and his Staff at Borodino (1897).

forthcoming consecration of the Cathedral of Christ the Savior (built as a memorial to the Russian victory), the 25th anniversary of the coronation of Alexander II in 1881, and the projected Moscow Arts and Industry Exhibition of 1882. Tchaikovsky agreed with Rubinstein’s idea of creating a multi-functional orchestral work that could be performed at these and future festive occasions. So, in the autumn of 1880 while on an extended hiatus in the country at Kamenka, Tchaikovsky began work on what would become the 1812 Overture. He finished the monument (also known as The Year 1812) six weeks later in November, but harbored some reservations. Some time later, the composer wrote to his patroness Nadezhda von Meck complaining that, Nothing is more unpleasant to me than the manufacturing of music for such occasions, but I lack the courage to refuse [Rubinstein’s proposal]. He additionally confessed that his new overture would be,

The 1812 Overture is a stirring and moving work. The fantasia begins with a slow orchestral introduction where the Russian hymn O Lord, Preserve Thy People is presented by four cellos and two violas. The overture continues with a mixture of thematic materials designed to portray the distress of the Russian people at the hands of the French. Here, the music assumes more of a martial character. Tchaikovsky uses fragments of the French national anthem, La Marseillaise, to represent the French and counters that with a regional folk dance At the Gate, At My Gate depicting the Russians. At the turning point in the conflict (the Battle of Borodino), five Russian cannon shots confront

Illarion Pryanishnikov, French Retreat from Russia in 1812 (1874).

an abbreviated and repetitive La Marseillaise. A descending line in the strings illustrates the retreat of Napoleon’s Grande Armée followed by victory bells and a triumphant restatement of the opening hymn. 1812 reaches its jubilant conclusion amidst a full orchestral tutti, a barrage of eleven more cannon shots, and the immergence of the anthem God Save the Tsar.

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Chopin + Mahler SUNDAY, FEBRUARY 15, 2015

CORSON AUDITORIUM

•

3:00 PM

INTERLOCHEN

Kevin Rhodes, conductor Ian Hobson, piano

Concerto for Piano, No. 2, op. 21, F minor I. Maestoso II. Larghetto III. Allegro Vivace

Frederic Chopin

– Intermission – Symphony No. 1, D major (Titan) Gustav Mahler I. Langsam, schleppend, Immer sehr gemächlich II. Kräftig bewegt, doch nicht zu schnell, Recht gemächlich, a Landler III. Feierlich und gemessen, ohne zu schleppen, Sehr einfach und schlicht wie eine Volksweise, and Wieder etwas bewegter, wie im Anfang IV. Stürmisch bewegt – Energisch

CONCERT SPONSOR

GUEST SOLOIST SPONSOR

KEVIN RHODES AT THE PODIUM SPONSOR

Traverse Symphony Orchestra’s 2014-2015 season is generously sponsored by Chemical Bank.

Ian Hobson piano Mr. Hobson the first ever to record the composer’s entire oeuvre as a single artist. Increasingly, Ian Hobson is in demand as a conductor, particularly for performances in which he doubles as a pianist. He made his debut in this capacity in 1996 with the Stuttgart Chamber Orchestra, and has, subsequently, appeared with numerous international and American orchestras. As a pianist and a conductor, Mr. Hobson performs extensively with Sinfonia da Camera, which he formed in1984 and which quickly gained international recognition through its recordings. The ensemble celebrated its 25th anniversary in May 2009 with the world premiere performance of Moscheles’s Piano Concerto No. 8, orchestrated by Mr. Hobson from notes scrawled by the composer on an original piano score.

A native of Wolverhampton, England, pianist and conductor IAN HOBSON is recognized throughout the world for his masterful performances of the Romantic repertoire, his deft and idiomatic readings of neglected piano scores old and new, and his assured conducting from both the piano and the podium. Mr. Hobson is also renowned as a dedicated scholar and educator who has pioneered renewed interest in the music of lesser-known masters Johann Hummel and Ignaz Moscheles, as well as an effective advocate of works written expressly for him by several of today’s noted composers, including John Gardner, Benjamin Lees, David Liptak, Alan Ridout and Roberto Sierra.

An artist of prodigious energy and resource, Ian Hobson has amassed a discography of over 60 releases, most on the Zephyr label, including the complete piano sonatas of Beethoven and Schumann, a complete edition of Brahms’s variations for piano and the complete piano works by Chopin. In the dual role of pianist/conductor, he and the Sinfonia Varsovia recorded for Zephyr Rachmaninoff’s four piano concerti and Rhapsody on a Theme of Paganini - a tour de force no other performer has matched. Mr. Hobson also has more than 20 albums on the Arabesque label, among recordings on other labels. In addition, Ian Hobson is a much sought-after judge for national and international competitions, and has been a member of numerous juries, among them the Van Cliburn International Piano Competition (at the specific request of Mr. Cliburn), the Chopin Competition in Florida, Leeds International Pianoforte Competition (U.K.), Schumann International Competition (Germany) and Arthur Rubinstein Competition (Poland).

As guest soloist, Ian Hobson has appeared with the world’s major orchestras; in the United States these include the Chicago Symphony Orchestra and The Philadelphia Orchestra, the symphony orchestras of Baltimore, Florida, Houston, Indianapolis, Pittsburgh, St. Louis and the American Symphony Orchestra and Orquesta Sinfónica de Puerto Rico. Abroad, he has been heard with Great Britain’s Royal Philharmonic Orchestra, The London Philharmonic Orchestra, Scottish National Orchestra, Royal Liverpool Philharmonic Orchestra and Hallé Orchestra, ORD-Vienna, Orchester der Beethovenhalle, Moscow Chopin Orchestra, Israeli Sinfonietta and New Zealand Symphony Orchestra.

One of the youngest graduates in the history of London’s Royal Academy of Music, Ian Hobson subsequently pursued advanced studies at both Cambridge University and Yale University. He began his international career in 1981 when he won First Prize at the Leeds International Piano Competition, after having earned silver medals at both the Arthur Rubinstein and Vienna-Beethoven competitions. Among his distinguished teachers were Sidney Harrison, Ward Davenny, Claude Frank and Menahem Pressler, while, as a conductor, he studied with Otto Werner Mueller, Dennis Russell Davies, Daniel Lewis and Gustav Meier, and worked with Lorin Maazel in Cleveland and Leonard Bernstein at Tanglewood. For the 2011-2012 Michaelmas Term, he served as Visiting Fellow at Magdalene College, Cambridge. Currently, Mr. Hobson is the Swanlund Emeritus Professor of Music, University of Illinois.

Ian Hobson’s 2009-2010 season focused primarily on the music of Frédéric Chopin. He completed a traversal of Chopin’s complete piano works over 12 recitals at the Chicago area’s Tallgrass Loft. He also gave an all-Chopin recital in Istanbul and opened the Baltic Festival, which included two subsequent Chopin recitals. Active in the recording studio, Mr. Hobson has finished recording a 16-volume collection of the complete works of Chopin for the Zephyr label. This edition includes approximately 45 minutes of Chopin music never before recorded, making 46

Program Notes by Scott Sorenson

Frédéric Chopin Born: (ca.) March 1, 1810, elazowa Wola (near Warsaw), Poland Died: October 17, 1849, Paris harmonic, and coloristic potential of the piano. Only three weeks after completing his studies, the newly graduated Chopin made his successful public debut at the Kärntnertor Theater in Vienna on August 11, 1829. There, he played his Variations (Op. 2) and the concert rondo Krakowiak (Op. 14), both for solo piano and orchestra. This brings us to the time of the F minor Concerto’s creation.

Concerto No. 2 in F minor for Piano and Orchestra, Opus 21 (Warsaw, 1829-30) Instrumentation: solo piano and orchestra comprising 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, timpani, and strings. Performance time: ca. 32:00

Upon returning to Warsaw in September, the young virtuoso immediately set about his work on the concerto. He had actually started the composition several months earlier, but now was decidedly in love and, consequently, inspired to complete and showcase his first concerto. The object of his feelings was a soprano named Constantia Gladkowska, a fellow student at the Warsaw Conservatory. How wonderful! The only problem was that Constantia knew nothing of Frédéric’s amorous affections as he dared only to admire her from afar. Later that fall, Chopin confessed his passions in a letter to his friend, Titus Voysyekhovski:

After playing Chopin, I feel as if I had been weeping over sins that I never committed, and mourning over tragedies that were not my own. Oscar Wilde (1891) The name Frédéric Chopin is instantly associated with the piano and being the composer of a large corpus of literature for the instrument. By the end of his tragically short life, Chopin had written over two hundred polonaises, mazurkas, waltzes, impromptus, nocturnes, and other solo pieces for the keyboard. While the Military and Heroic Polonaises along with the Fantaisie-impromptu, Revolutionary Etude, and the E-flat major Nocturne all ring bells of great familiarity in our minds, the two concerti he left behind do not necessarily rise to the forefront of our memories. To be clear, Chopin completed the F minor Concerto first and the other in E minor second. Because they were originally published in reverse order, the one in F minor has traditionally been known as No. 2. It is this “second” concerto in F minor that will be presented on today’s program.

I have – perhaps to my misfortune – already found my ideal, whom I worship faithfully and sincerely. Six months have elapsed, and I have not yet exchanged a syllable with her of whom I dream every night. Whilst my thoughts were with her, I composed the Adagio [Mvt. II, Larghetto] of my concerto. In a note to another confidant, this one supposedly acting as an intermediary but who apparently failed to deliver the missive, the composer further revealed his adorations:

During his childhood, Chopin’s phenomenal talents as a pianist justly earned him the reputation of being a musical prodigy. Largely self-taught, he had already mastered piano technique by the start of his formal education during adolescence. Later, as a teenaged pupil at the Warsaw Conservatory, the doors would be opened for him to redefine and extend the expressive,

God forbid that she should suffer in any way on my account. Set her mind at rest and tell her that as long as my heart beats I shall not cease to adore her. Tell her even that after my death my ashes shall be strewn under her feet. The concerto was completed during the winter

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Program Notes by Scott Sorenson There is no need for a cadenza in the first movement, from its first notes, the piano has already irrevocably drawn the spotlight. . . [The] slow movement, is a quietly stunning nocturne with a rhapsodic embellished piano melody that sounds almost improvised. Midway through, the piano and orchestra carry the music to a wrenching climax. The return of the main material has an unexpected bassoon solo, imitating the piano melody . . . The dazzling finale is a mazurka, too quirky, complex, and unpredictable to be danced. Its rhythms are plainly indebted to Polish folk music, but its spirit is pure international showmanship.

of 1830 and was first heard at Warsaw’s National Theatre on March 17. Naturally, Chopin was the soloist on a program that also included his Fantasia on Polish Airs (Op. 13). Writing again to his comrade Voysyekhovski following the F minor Concerto’s premiere, Chopin’s spirits were high: The first Allegro of my concerto – unintelligible to most – received the reward of ‘bravo’ from a few . . . but the Adagio [Larghetto] and Rondo [Allegro vivace] produced a very great effect. After these, the applause and ‘bravos’ seemed really to come from the heart.

A year later, in 1851, Chopin moved to Paris where he sought a much wider reputation for his bountiful talents. Constantia soon married a Polish tradesman and, eventually, the remarkable pianist forgot his first love. When the F minor Concerto was published in 1836, Chopin had dedicated the work to Countess Delphine Potocka, one of Paris’ grand ladies and, incidentally, a singer. In the end, Chopin would form a stormy liaison with another Parisian woman. This time with the cigar-smoking novelist Aurore Dupin (Baroness Dudevant), better known as George Sand . . . who was not known for her beautiful voice.

Concerning the music itself, a portion of Philip Huscher’s program annotations on the F minor Piano Concerto for a recent concert of the Chicago Symphony Orchestra are worth condensing and are presented here: In the first movement . . . the music comes to life with the entrance of the piano. Suddenly, the same material that sounded unexceptional and a tad dutiful when played by the orchestra seems distinctive, poetic, and endlessly inventive . . . The orchestra is master of ceremonies, accompanist, and indispensable partner – introducing material, lending color and support – but the piano commands center stage . . .

Program Notes by Scott Sorenson

Gustav Mahler Born: July 7, 1860, Kalischt, Bohemia Died: May 18, 1911, Vienna (‘Songs of the Wayfarer’), the completion of Todtenfeier (‘Funeral Rites’) – this would eventually become the first movement of the Resurrection (Second) Symphony – and the composition of the First Symphony.

Symphony No. 1 in D major – “Titan” (Leipzig, 1888) Instrumentation: 4 flutes (2nd, 3rd, and 4th doubling piccolo), 4 oboes (3rd doubling English horn), 4 clarinets (3rd tripling E-flat clarinet and bass clarinet, 4th doubling E-flat clarinet), 3 bassoons (3rd doubling contrabassoon), 7 horns, 4 trumpets, 3 trombones, tuba, 2 timpani, bass drum, cymbals, suspended cymbals, tam-tam, triangle, harp, and strings.

Using material written in the 1870s, the earliest sketches of what would become known as the Titan Symphony date from the mid-1880s. It was during February and March of 1888 that Mahler sat down in earnest and did most of the work on the symphony. At the end of the winter, he wrote to a friend:

Performance time: ca. 56:00

At last my work is finished! How I wish you were here by my side at the piano so that I might play it for you. Perhaps you are the only one to whom nothing in it will seem strange. The others will have something to wonder about. It has turned out so overwhelming – as if it is issued from my heart.

A symphony must be like a world. It must contain everything. Gustav Mahler

In 1886, at the young age of twenty-six, Gustav Mahler was appointed second conductor of operas at Leipzig’s Neues Stadttheater. It was early in Mahler’s In May, Mahler resigned his post at the Stadttheater career and he was expected to and accepted a more prestigious assume a subordinate role to Arthur position in Budapest as music Nikisch, his superior both in age (by director of the Royal Opera. It was only five years) and experience. here in the Hungarian capital on Already, Mahler was well beyond November 20, 1889, that he conbeing merely considered a “promisducted the Budapest Philharmonic ing” conductor. Because of this he was in the premiere of what was titled a permitted to accomplish far more in “Symphonic Poem in Two Parts.” Leipzig than simply preparing the These two parts consisted of three operatic scores that Nikisch would and two movements, respectively. ultimately present. During his two Although Mahler did not provide a seasons at the Stadttheater, Mahler program for the initial performance, led a number of productions including the local newspaper printed one Wagner’s Die Walküre and Siegfried, the day prior (this could only have but also found sufficient time to comcome from the composer). The Gustav Mahler in 1892, shortly pose. While destined to become one after writing the First Symphony. article identified the first three of the great maestros of the podium, movements with spring, happy his future as a composer looked equally bright. His brief daydreams, and a wedding procession, the fourth as a tenure in Leipzig saw the revision and orchestration of funeral march, and the fifth as a hard-won progress the moving song cycle Lieder eines fahrenden Gesellen towards spiritual victory. Programmatic music or not, the © Traverse Symphony Orchestra, 2015. Program notes may not be reproduced without the written

permission of the Symphony. 49

Program Notes by Scott Sorenson Years later, Mahler revealed his evolved views on program music to a colleague:

critics and audience misunderstood Mahler’s music and the symphony was received negatively and even with some hostility. In fact, for many years, the only successes Mahler experienced with this work were Prague in 1898 and Amsterdam in 1903. Later, he wrote to his wife, Alma:

There exists no modern music which hasn’t its inner program. But no music is worth anything when the listener must be instructed as what is to be experienced in it.

Sometimes it sent shivers down my spine. Damn it all, where do people keep their ears and hearts if they can’t hear that?

Finally, the First Symphony (including all of Mahler’s revisions) was published in 1899 with a second, further revised, edition appearing in 1906. This is how we have come to know the four-movement Titan today:

When Mahler revised the score in January of 1893 and performed it in Hamburg that October, he had named it “Titan, a tone poem in symphonic form” after German Romantic author Jean Paul Richter’s four-volume novel Titan (1800-03). Apparently, Mahler identified with Richter’s hero who was a passionate dream-driven man. The first part, From the Days of Youth, comprised three movements: Spring Without End, Blumine, and Under Full Sail; the second, Commedia humana, consisted of two movements: Funeral March in the Manner of Callot (Jacques Callot, 1592-1635, a renowned artist with a flair for portraying the grotesque) and Dall’inferno al paradiso. However, when it was played by the Berlin Philharmonic in 1896, Mahler had eliminated the second movement along with the work’s programmatic titles and explanations. Convinced that a specific program only confused the listener’s comprehension of his music, he settled on “Symphony in D major for large orchestra.” Writing to critic Max Marschalk prior to the Berlin concert, Mahler explained why he had included a program in the first place:

1. Langsam, Schleppend. Wie ein Naturlaut (Slow. Dragging. Always very easygoing) 2. Kräftig bewegt, doch nicht zu schnell (With powerful movement, but not too fast) 3. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) 4. Stürmisch bewegt (With violent movement) The Symphony in D major is about an hour in length, yet it contains an entire lifetime of emotions. To some extent, the Titan is autobiographical; yet, every listener has their own set of experiences prompting an infinite variety of feelings. Using his own unique mastery of orchestration, Mahler’s musical sources – his inspiration – are drawn from “everyday” life. For instance, one hears a common bird call, a distant yodeler, the interjection of a dance-styled tune, a somber funeral march, some pleasant café music, stirring bugle fanfares, even modifications of familiar folk and children’s songs. This is only part of what makes this symphony terrifically interesting and appreciable. What really matters is that Gustav Mahler forces us to dig deep within our own individual memories and psyches. In the end, Mahler’s Titan hero reigns supreme giving us a subliminal sense that we can be victorious as well.

At the time my friends persuaded me to provide a kind of program for the D major symphony in order to make it easier to understand. Therefore, I had thought up this title and explanatory material after the actual composition. I left them out for this performance, not only because I think they are quite inadequate and do not even characterize the music accurately, but also because I have learned through past experiences how the public has been misled by them.

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Fauré + Stravinsky •

SUNDAY, APRIL 19, 2015

CORSON AUDITORIUM

3:00 PM

INTERLOCHEN

Kevin Rhodes, conductor Lynne Church, soprano Jeffery Norris, baritone NMC Grand Traverse Chorale & Chamber Singers Jeffrey Cobb, director

Requiem, op. 48 I. Introït et Kyrie II. Offertoire III. Sanctus IV. Pie Jesu V. Agnus Dei et Lux Aeterna VI. Libera Me VII. In Paradisum – Intermission – Le Sacre du Printemps

Gabriel Faure

Igor Stravinsky

Part I: L’Adoration de la Terre I. Introduction II. Les Augures printaniers III. Jeu du rapt IV. Rondes printanieres V. Jeux des cités rivales VI. Cortège du sage: Le Sage VII. Danse de la terre Part II: Le Sacrefice I. Introduction II. Cercles mystérieux des adolescents III. Glorification de l'élue IV. Evocation des ancêtres V. Action rituelle des ancêtres VI. Danse sacrale (L'Élue) CONCERT SPONSOR

CHORUS SPONSOR

KEVIN RHODES AT THE PODIUM SPONSOR

Traverse Symphony Orchestra’s 2014-2015 season is generously sponsored by Chemical Bank. 51

Program Notes by Scott Sorenson

Gabriel Fauré Born: May 12, 1845, Pamiers, France Died: November 4, 1924, Paris on New Year’s Eve 1887, no memoriam is attached to the seven-movement work. The composer insisted that,

Requiem in D minor, Opus 48 (Paris, 1887-92; reorchestrated, 1900) Instrumentation: soprano and baritone soloists,

. . . my Requiem was composed for nothing . . . for fun, if I may be permitted to say so . . . Perhaps instinctively I sought to break loose from convention. I accompanied burial services at the organ for so long that I know it all by heart! I had had enough of that. I wanted to do something different.

mixed chorus, and orchestra comprising 2 flutes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, 2 harps, organ, and strings. Performance time: ca. 38:00

It is likely that Fauré began sketching some parts of the Requiem in late 1886 or early 1887. On January 16 of the following year, the initial version was first heard at La Madeleine as part of the funeral Mass for a wealthy parishioner, the architect Joseph Lesoufaché. Consisting only of the movements Introitus et Kyrie, Sanctus, Pie

For me, art, especially music, exists to elevate us as far as possible above everyday existence. Gabriel Fauré (1908) Gabriel Fauré was an individual known for his gentle, kind, and sensitive character. These congenial personality traits can be easily recognized in his music and, most notably, in his Requiem Mass. Fauré’s masterpiece stands apart from other nineteenth century orchestral requiems (for instance Verdi’s, Berlioz’, and, earlier, Mozart’s) in that a non-operatic style is employed along with the purposeful avoidance of a Dies Irae sequence with its terrors of the Last Judgment. Instead, he desired his Requiem to be intimate and peaceful emphasizing pardon and hope.

In 1877, Camille Saint-Saëns resigned his Fauré in his study at the Paris Conservatoire (1918) organist position at Paris’ Church of La Madeleine. Theodore Dubois succeeded Saint-Saëns opening the Jesu, Agnus Dei, and In Paradisum, Fauré referred to the post of choirmaster for young Fauré. Twenty years later piece as un petit Requiem. The original manuscript was in 1896, Fauré was appointed organiste titulaire at La lightly orchestrated for low strings, organ, harp, timpani, Madeleine, and would hold this office until 1905 when he and solo violin. For a concert performance on May 4, assumed the directorship of the Paris Conservatoire. It 1888, Fauré augmented the score by adding pairs of was during his final decade at the church that the great horns and trumpets. Two new movements, the D minor Requiem was written. Offertorium and Libera Me, were introduced at another Faure’s motivation for composing the Requiem was La Madeleine concert on January 21, 1893. Criticized for purely artistic. Even though his father died in 1885 (which intentionally not including the standard Dies Irae (Day of may have provided a possible impetus) and his mother Wrath), Fauré commented: © Traverse Symphony Orchestra, 2015. Program notes may not be reproduced without the written

permission of the Symphony. 52

Program Notes by Scott Sorenson gave these insightful and introspective words on the Requiem:

People have said that my Requiem did not express the terror of death; someone called it a ‘lullaby of death.’ But that is the way I perceive death: as a happy deliverance, a reaching for eternal happiness, rather than a mournful passing . . . Moreover, it is dominated from beginning to end by a very human feeling of faith in eternal rest.

The Requiem is not only one of the greatest works of Gabriel Fauré, but also one of those which do most honor to music and thought. Nothing purer, clearer in definition, has been written . . . No exterior effect alters its sober and rather severe expression of grief, no restlessness troubles its deep meditation, no doubt strains its spotless faith, its gentle confidence, its tender and tranquil expectancy. All is truly captivating . . . Everything is usual; but with an alteration, a passing note, some special inflection of which he has the secret, Gabriel Fauré gives a new and inimitable character to what he touches.

The final version of the Requiem was rescored for full orchestra and premiered at the Trocadéro in Paris as part of the Exposition Universelle on July 12, 1900. That night Paul Taffanel conducted the Lamoureux Orchestra and chorus of the Société des concerts du Conservatoire with Eugène Gigout as organist. Some time after Fauré’s death in 1924, the renowned pedagogue and organist Nadia Boulanger I. INTROITUS ET KYRIE Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te ominis caro veniet, Kyrie eleison. Christe eleison

Eternal rest grant them, O Lord; and let perpetual light shine upon them. A hymn becometh Thee, O God, in Sion: and a vow shall be paid to Thee in Jerusalem. O hear my prayer: all flesh shall come to Thee. Lord have mercy on us. Christ have mercy on us.

II. OFFERTORIUM O Domine Jesu Christe, Rex gloriae, libera animas defunctorum rum de poenis inferni et de profundo lacu. O Domine Jesu Christe, ex gloriae, libera animas defunctorum de ore leonis, ne absorbeat tartarus, ne cadant in obscurum.

O Lord Jesus Christ, King of glory, deliver the souls of the departed from the pains of hell, and from the deep pit, from the lion’s mouth, lest hell swallow them up, lest they fall into darkness.

Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam: Quam olim Abrahae promisisti et semini ejus.

We offer Thee, O Lord, a sacrifice of praise and prayer: accept them on behalf of the souls we commemorate this day. And let them, O Lord, pass from death to life: which Thou didst promise of old to Abraham and his seed.

O Domine Jesu Christe . . . Amen.

O Lord Jesus Christ . . . Amen.

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Program Notes by Scott Sorenson III. SANCTUS Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Heaven and earth are full of Thy glory. Hosanna in the highest!

IV. PIE JESU Pie Jesu, Domine, dona eis requiem; dona eis requiem, sempiternam requiem.

Blessed Jesus, Lord, grant them rest; grant them rest, eternal rest.

V. AGNUS DEI Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus dei, qui tollis peccata mundi: dona eis requiem, sempiternam requiem. Lux aeterna luceat eis, Domine: Cum Sanctus tuis in aeternum, quia pius es.

Lamb of God, who takest away the sins of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them rest. Let eternal light shine upon them, O Lord, with Thy saints forever, for Thou art merciful.

Holy, Holy, Holy, Lord of Hosts.

VI. LIBERA ME Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo, dum discussivo venerit atque ventura ira.

Deliver me, O Lord, from everlasting death on the dreadful day when the heavens and the earth shall be moved: when Thou shalt come to judge the world by fire. I quake with fear and I tremble, awaiting the day of account and wrath to come.

Dies illa, dies irae, calamitatis et miseriae! Dies illa, dies magna et amara valde.

That day, the day of anger, of calamity, of misery. That day, the great day and most bitter.

Equiem aeternam dona eis, Domine: et lux perpetua lucceat eis. Libera me, Domine . . .

Eternal rest grant them, O Lord; and let perpetual light shine upon them. Deliver me, O Lord, . . .

VII. IN PARADISUM In paradisum deducant angeli; in tuo advntu suscipant te martyres et perducant te in civitatem sanctum Jerusalem.

May the angels receive them in paradise; at thy coming may the martyrs receive thee, and bring thee into the Holy City Jerusalem.

Chorus angelorum te suscipiat, et cum Lazaro quondam paupere, aeternam habeas requiem.

There may the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest.

ÂŠ Traverse Symphony Orchestra, 2015. Program notes may not be reproduced without the written

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Program Notes by Scott Sorenson

Igor Stravinsky Born: June 17, 1882, Oranienbaum (now Lomonosov, near Saint Petersburg), Russia Died: April 6, 1971, New York City

The Rite of Spring (Le Sacre du Printemps) (Ustyluh, Ukraine and Clarens,

rhythms, discordant harmonies, and bold orchestrations, The Rite of Spring represented a significant break from the past when it was first heard in 1913.

Switzerland, 1911-12) Instrumentation: 3 flutes (2nd doubling on alto

In the spring of 1910, Stravinsky was in Saint Petersburg putting the finishing touches on his first ballet The Firebird. It was then that the initial inspiration for The Rite sprouted in the composer’s mind. Stravinsky described the inception of the program in his 1935 autobiography Chroniques de ma vie:

flute, 3rd doubling on piccolo), 2 oboes, English horn, 3 clarinets (3rd doubling on bass clarinet), 3 bassoons (3rd doubling on contrabassoon), 4 horns, 3 trumpets (3rd doubling on bass trumpet), 3 trombones, tuba, timpani, antique cymbals, bass drum, cymbals, güiro, tambourine, tam-tam, triangle, and strings.

I had a fleeting vision that came to me as a complete surprise . . . I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring. Such was the theme of The Rite of Spring. I must confess that this vision made a deep impression on me and I at once described it to my friend, Nicholas Roerich, he being a painter who specialized in pagan subjects. He welcomed my inspiration with enthusiasm, and he became my collaborator in this creation [Roerich ultimately designed the staging and costumes for The Rite’s premiere]. In Paris, I told Diaghilev about it, and he at once was carried away with the idea.

Performance time: ca. 35:00 To continue in one path is to go backwards. Igor Stravinsky

Igor Stravinsky’s The Rite of Spring (Le Sacre du Printemps) is, unquestionably, one of the most important compositions of the twentieth century and in the history of music. Even though its initial reception was controversial, it was also tremendously engaging, intriguing, and provocative – it certainly Stravinsky set aside his ideas on The ‘provoked’ fresh ways for Rite for a full year in favor of composing his contemporary and future second ballet, Petrushka, for Russian dance composers to think about impresario Sergei Diaghilev’s Ballets Russes. their creations. In actuality, This was first performed in Paris at the all of these adjectives are Théâtre du Châtelet on June 13, 1911. gross understatements. Following the Ballets Russes summer seaMore than seminal, son in the French capital, Stravinsky retired beyond ground-breaking, to his home in Ustilug, Ukraine where he Igor Stravinsky as sketched a truly accurate classificaby Pablo Piccaso (1920). commenced work on The Rite. In October, tion would be epochal. he moved to Clarens, Switzerland (some That is, a work which alters the entire course of music. thirty years earlier Tchaikovsky had composed his Violin With its asymmetrical and changing meters, irregular © Traverse Symphony Orchestra, 2015. Program notes may not be reproduced without the written

permission of the Symphony. 55

Program Notes by Scott Sorenson particulars surrounding the actual performance are absolutely fascinating. Put bluntly, it was a catastrophe and caused a full-scale scandal. Stravinsky’s autobiography continues by providing a very clear picture of his intense feelings at that moment:

Concerto there) and continued his efforts on the new ballet throughout the winter. The chronology of Stravinsky’s sketchbooks shows that Part I was completed and much of Part II was drafted by March of 1912. In April, Stravinsky traveled to Monte Carlo where he demonstrated the piece to Diaghilev and Pierre Monteux, the conductor of the Ballets Russes. Monteux, full of reservations, recorded his first impressions of The Rite in the Dance Index (1947):

The complexity of my score had demanded a great number of rehearsals. As for the actual performance, I left the auditorium at the first bars of the prelude, which had evoked derisive laughter. I was disgusted. These demonstraWith only Diaghilev and myself in the tions, at first isolated, soon became audience, Stravinsky sat down to play general, provoking countera piano reduction of the entire score. New York Times (June 7, 1913) demonstrations and very quickly Before he got very far, I was convinced developing into a terrific uproar. During the whole performhe was raving mad. Heard this way, without the color of the orchestra, the crudity of the rhythm was emphasized, its ance, I was at Nijinsky’s [choreographer] side in the wings. stark primitiveness underlined. The very walls resounded as He was on a chair screaming: ‘sixteen, seventeen, eighteen!’ – they had their own methods of keeping time. Naturally, the Stravinsky pounded away, occasionally stamping his feet poor dancers could hear nothing. I had to hold Nijinsky by and jumping up and down to accentuate the force of the his clothes – he was furious, and ready to dash on the stage music. I was more astounded at Stravinsky’s performance at any moment and create a scandal. Diaghilev kept than shocked by the score itself. My only comment at the ordering the electrician to turn the lights on and off, hoping end was that such music would surely cause a scandal. in that way to put a stop to the noise. I have never again However, the same instinct that had prompted me to been that angry. The music was so familiar to me, I loved it. recognize his genius made me realize that in this ballet he I could not understand why people who had not heard was far in advance of his time and that while the public it wanted to protest in advance. may not accept it, musicians would delight in the new, weird, though logical expression of dissonance. It would be incorrect to assume that everyone in Diaghilev decided to delay the premiere for a year, giving attendance vehemently, or even moderately, objected to the young composer ample time in which to finish Stravinsky’s modern sounds (it is remembered that and orchestrate the lengthy score. Stravinsky signed much of the disruption was actually caused by the and dated the manuscript “Completed in Clarens, revolutionary nature of the dancing). While Camille Saint-Saëns left the auditorium in disgust, Maurice Ravel March 8, 1913.” and Claude Debussy both recognized that it was the The premiere of The Rite of Spring, subtitled ‘Pictures creation of a genius and pleaded with the audience to of Pagan Russia,’ took place on May 29, 1913 at Paris’ quiet themselves so that the interesting music might be newly constructed Théâtre des Champs-Élysées with heard. The American writer and photographer Carl Van Monteux on the podium conducting the Ballets Russes. Vechten was at the ballet that evening and, hinting at the Historians usually cite this event as the beginning of the divided opinions, later published his thoughts in Music modern era in music. As interesting as that may be, the After the Great War (1915):

permission of the Symphony. 56

Program Notes by Scott Sorenson A certain part of the audience, thrilled by what it considered to be a blasphemous attempt to destroy music as an art, began after the rise of the curtain to whistle, make catcalls, and offer audible suggestions as to how the performance should proceed. Others of us who liked the music and felt that that the principles of free speech were at stake bellowed defiance. The orchestra played on unheard, except occasionally when a slight lull occurred. The figures on the stage danced in time to music that they had to imagine they heard. I was sitting in a box in which I had rented one seat. One young man occupied the place behind me. He stood up during the course of the ballet [and] began to beat rhythmically on the top of my head with his fists. My emotion was so great that I did not feel the blows for some time. They were perfectly synchronized with the music.

Leopold Stokowski directed the Philadelphia Orchestra in The Rite’s 1922 American premiere and recorded it seven years later in 1929. Since then, its complex, dissonant, and even barbaric sounds have caused The Rite to earn its rightful place in the orchestral repertoire as one of its greatest landmarks. A decade after its initial presentation, Pierre Monteux introduced The Rite of Spring to Bostonians. Henry Taylor Parker’s Boston Transcript review of the January 25, 1924 Boston Symphony Orchestra concert summarizes the true greatness of Stravinsky’s monumental score and why it is considered epochal. It is believable that a future historian of the Boston Symphony Orchestra will note in particular the concert of January 25, 1924. Then and there, he may write, was first heard in Boston a masterpiece that had altered the whole course of music in our time, that had become a goal to a whole generation of composers.

The Rite of Spring was performed five more times in Paris and then Diaghilev’s company took the contentious ballet on tour. Thankfully, it received a far warmer reception in London that same year. The 1914 symphonic performance in Paris was an undeniable triumph.

Jeffrey Cobb

NMC Choir Director

Jeffrey Cobb lives and works in Traverse City, Michigan. He holds a M.M. in Choral Conducting from Oakland University and a B.M. in Music Education from Western Michigan University. Jeffrey is currently the Director of Music Programs and Choirs at Northwestern Michigan College, Artistic Director of the NMC Children’s Choirs, and Director of Music at T.C. Central United Methodist Church. Jeffrey has held positions at Traverse City Central High School, Judson ISD in San Antonio, Texas; Parchment Schools in Parchment, Michigan; and the Leysin American School in Leysin, Switzerland. Choirs under his direction have toured throughout Michigan, Texas, Chicago, New York, Salzburg and Vienna and have been invited to perform at State and National Conferences including the

Michigan Music Conference, the Michigan Youth Arts Festival, and the ACDA National Convention. In addition to his work as a conductor, Jeffrey is also a regularly commissioned composer. His pieces have won several awards including honors from the Ithaca Choir Composition Contest, the New York Virtuoso Singers Choral Composition Contest, the Vanguard Premieres Choral Composition Contest, the Summit Chorale’s Composition Contest, the Outside the Bachs International Choral Music Competition, and the Composition Competition of the Chiayi City (Taiwan) International Band Festival. His choral works are published through G. Schirmer, Santa Barbara Music, Walton Music and Roger Dean Publishing. Jeffrey is also a sought after composer and arranger in other genres. His music can be heard on several television series, radio spots, and in television advertisements.

permission of the Symphony. 57

A Night at the Movies SATURDAY, MAY 2, 2015

LARS HOCKSTAD AUDITORIUM

•

7:30 PM

TRAVERSE CITY

Kevin Rhodes, conductor The Age of Elegance Hooray for Hollywood Astaire!

arr. John Williams arr. Henry Mancini

Come in out of the Cold 007 Medley Manchurian Candidate

arr. Calvin Custer David Amram

A Salute to Three Great Composers Henry Mancini, Marvin Hamlisch, Scott Joplin Mancini Medley Henry Mancini Marvin at the Movies Marvin Hamlisch Ragtime Medley Scott Joplin, arr. Marvin Hamlisch

– Intermission – New York City How to Marry a Millionaire All About Eve The Wild West Go West Medley

Alfred Newman Alfred Newman arr. Ralph Ford

Biblical Times Cleopatra Ben Hur Raiders March

Alex North Miklos Rosza John Williams

Space, The Final Frontier Star Trek Through the Years E.T. the Extra-Terrestrial Star Wars

arr. Calvin Custer John Williams John Williams

CONCERT SPONSOR

KEVIN RHODES AT THE PODIUM SPONSOR

Traverse Symphony Orchestra’s 2014-2015 season is generously sponsored by Chemical Bank. 59

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Ignite a lifelong passion for the Arts

Be transformed by the voice of a preeminent jazz vocalist. Listen to a live performance for National Public Radio. Celebrate an unforgettable St. Patrick’s Day. Watch a debut piece from a Grammy Award winning sextet.

It’s time to experience Interlochen

Altan: St. Patrick’s Day Celebration Saturday, March 14

WINTERLOCHEN Saturday, February 21 René Marie Tuesday, March 10

eighth blackbird Thursday, April 9

From The Top with Interlochen Arts Academy Orchestra and Michael Thurber

Chanticleer Wednesday, April 15

Friday, March 13

“The King and I” Interlochen Arts Academy Theatre Co.

May 15-16

tickets.interlochen.org • 800.681.5920 68

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