JANUARY 2017

FANFARE CINCINNTI

PGE 55 CINCINNATISYMPHONY.ORG JANUARY 2017

PGE 21 PGE 34 PGE 37 PGE 41 PGE 59 PGE 69 Brahms Fest Brahms Fest ith Melissa Etheridge: Matthias Pintscher Christian Tetzlaff Lollipops Family continues ith epic CSO Chamber One Night Only conducts performs Bartók Concert: Fourth Symphony Players MusicNO Green Eggs and Ham

The happiness of coming home. An Exceptional Everyday Experience

Interesting people make the best neighbors. At Twin Towers and Twin Lakes senior living communities, everyday moments are just a bit more special. A spirited conversation, a shared laugh, a smile as bright as a sunny day. It all adds up to an exceptional lifestyle. Find magic in the everyday. Call us to schedule a tour or visit us online at LEC.org.

Twin Towers Twin Lakes 513.853.2000 513.247.1300 5343 Hamilton Avenue 9840 Montgomery Road , OH 45224 Cincinnati, OH 45242

Life Enriching Communities is affiliated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. JANUARY 2017 CONTENTS

CONCERTS 41 The CSO’s fourth annual groundbreaking collaboration with the MusicNOW Festival features two 21 CSO: Brahms Fest, Jan. 5/7 ambitious programs of contemporary 32 Guest artists: May Festival Chamber Ensemble, Robert Porco, director; SATB soloists works and performances by exciting artists of today. Find details about 34 CSO Chamber Players: Brahms Fest, Jan. 6 these Jan. 13–14 concerts and guest 37 Pops: Melissa Etheridge, Jan. 8 performers starting on page 41. 38 Guest artists: Melissa Etheridge, vocalist; , once Bob Bernhardt, conductor 56 Smokey Robinson pronounced by as America’s 41 CSO: MusicNOW, Jan. 13–14 “greatest living poet,” has a career that 50 Guest artists: Matthias Pintscher, conductor; spans over four decades of hits. He’ll featuring , , join the Cincinnati Pops to perform , Pekka Kuusisto, Timo Andres many of those hits Jan. 21–22. 55 Pops: Smokey Robinson, Jan. 21–22 56 Guest artists: Smokey Robinson, vocalist; 67 Christian Tetzlaff, one of the most Damon Gupton, conductor sought-after violinists and exciting musicians on the classical scene, joins 59 CSO: Violin Legends: Christian Tetzlaff, Jan. 27–28 the CSO to perform Bartók’s awe- 66 Guest artists: John Storgårds, conductor; inspiring Violin Concerto No. 2, Christian Tetzlaff, violinist Jan. 27–28. 69 Lollipops Family Concert: Green Eggs & Ham, Jan. 28 DEPARTMENTS 38 Melissa Etheridge is one of rock music’s great female icons. Now this multi-platinum-selling artist 6 A Letter from the President joins the Cincinnati Pops for one 8 Your Concert Experience night only to perform hits from 10 Orchestra Roster throughout her career and from her newest MEmphis Rock 14 Artistic Leadership: Louis Langrée and and Soul, Jan. 8. John Morris Russell 15 Music Hall Renovation Update 17 If It Sounds Good, It Is Good! by JMR NEWS 18 Spotlight: Yang Liu, Associate Principal Second Violin 12 Feature: Time to Play: MusicNOW 2017 71 Boards features award-winning contemporary works 73 Financial Support 19 Remembering Mary Alice Heekin Burke 79 Administration 80 Coda

2 | FANFARE CINCINNATI | cincinnatisymphony.org

FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Meghan Berneking Digital Communications Manager Lee Snow Communications Assistant Melissa Knueven Editor/Layout McKibben Publications

All contents © 2016–17. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.

CINCINNATI SYMPHONY & POPS ORCHESTRA Temporary Administrative Offices 441 Vine Street, Eighth Floor Cincinnati, OH 45202 ON THE COVER Smokey Robinson makes Administrative Offices: 513.621.1919 his Pops debut at the Taft Theatre Jan. 21–22. The [email protected] Motown legend, whose career as a songwriter and performer spans four decades, was once declared Temporary Box Office & Concert Venue Taft Theatre America’s “greatest living poet” by Bob Dylan. 317 East 5th Street Cincinnati, OH 45202 513.381.3300 CINCINNATI MAGAZINE: Advertising and Publishing Partners [email protected] for Fanfare Cincinnati Group Sales Publisher 513.744.3590 Ivy Bayer [email protected] Director of Advertising Tammy Vilaboy TTY/TDD Art & Production Manager Use TTY/TDD Relay Service 7-1-1 Julie Whitaker cincinnatisymphony.org | cincinnatipops.org Marketing Director Chris Ohmer facebook.com/CincySymphony or /CincinnatiPops Advertising & Marketing Designer twitter.com/CincySymphony or /CincinnatiPops Emily Nevius Custom Publishing Account Manager Maggie Wint Goecke Senior Outside Account Representative RECYCLE FANFARE CINCINNATI Laura Bowling Operations Director You are welcome to take this copy of Missy Beiting Fanfare Cincinnati home with you as a Business Coordinator souvenir of your concert experience. Erica Birkle Alternatively, please share Fanfare Advertising and Business Offices Cincinnati with a friend or leave it with Carew Tower an usher for recycling. Thank you! 441 Vine Street, Suite 200 Cincinnati, OH 45202 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com

4 | FANFARE CINCINNATI | cincinnatisymphony.org A place like no other.

4949 Tealtown Road, Milford, OH 45150 | www.CincyNature.org A LETTER FROM THE PRESIDENT

Dear Friends, and the second class of CSO/CCM Diversity Fel- lows will be joining us in the fall, bringing the total Happy New Year! number of Fellows up to ten. This partnership with 2017 is going to be a mo- the University of Cincinnati College-Conservatory of mentous year for the CSO Music is garnering attention from across the country and Pops. In addition to and changing the face of the American orchestra. many heart-pounding per- Of course October of this year marks the grand formances right here in the re-opening of Music Hall and all eyes will be on Queen City, the Orchestra Cincinnati. This iconic landmark will be more vibrant will fulfill its role as Cincin- and accessible than ever, and thanks to this historic nati’s ambassador by un- renovation and the people who made it possible, dertaking two international many future generations of Cincinnatians will experi- tours featuring 17 performances in 13 cities across ence a diverse array of performances and events at seven countries on two continents. First up is a tour of Music Hall. Watch for our season announcements Asia in March, which includes performances in Hong for the CSO and Pops and subscribe early to get your Kong, Beijing, Shanghai, Tainan City and Taipei. An preferred seating. extensive three-week European tour will follow in Thank you again for taking the journey with us August and September. from Music Hall to the Taft Theatre, and back to Music We will also expand our reach into the digital realm Hall later this year. Your support is sustaining this through recordings, audio streaming and videos. This great orchestra through this important transition and includes new on-demand streaming of 90.9 Classical we cannot thank you enough. WGUC’s concert broadcasts on the CSO website starting this month and the continuation of the Pops’ Sincerely, American Soundscapes series, which has delighted music fans around the world. Our important work within the region will also continue to grow and thrive through important education and community engagement initiatives, Trey Devey

CONNECT WITH THE CINCINNATI SYMPHONY & CINCINNATI POPS

@cincysymphony @cincinnatipops

cincinnatisymphony.org • 513.381.3300

6 | FANFARE CINCINNATI | cincinnatisymphony.org

YOUR CONCERT EXPERIENCE

Welcome! Here are some tips for making the most of your concert experience.

The 2,500-seat, Art Deco-style Taft Theatre was Assistive listening devices and seating for built in 1928 and is the Orchestra’s temporary audience members with accessibility needs are home during Music Hall’s historic renovation. For available for all events. updates, visit cincinnatisymphony.org/musichall. Restrooms are located on the lower level and Stay up-to-date with the CSO and Pops via second level. Accessible restrooms are located Facebook, Twitter and Instagram. on the first level in the lobby.

Visit the Bravo Shop in the Mayfair Hallway Please silence all noise-making electronics on the far east side of the lobby. CD recordings, before entering the theatre. Flash photography, merchandise and gifts are available for purchase. glowing screens and audio/video recording are prohibited during concerts. Classical Conversations takes place one hour before CSO subscription concerts, and is free to Out of consideration for all patrons, children ticketholders. Program notes are also available online under 6 will not be admitted to CSO at cincinnatisymphony.org. performances. Ushers will assist patrons with young children to seats at the back of the auditorium. For Please donate unused tickets to the box office family concerts, booster seats are available on a first- prior to the concert, so that others may attend! come, first-served basis in the lobby. Subscribers have unlimited free ticket exchanges and single ticket buyers may exchange for a $3 per ticket Ushers will seat latecomers at appropriate service charge (some restrictions apply). breaks in the concert. If there is a need to leave the auditorium during the concert, re-seating Concessions are available for purchase prior to will happen in the same fashion. These policies are concerts and during intermission. based on patron survey feedback. Thank you for Lost and found is located at the box office; for understanding. inquiries, call 513.381.3300 during business hours.

Develop your musical talent with /Voice by John

Studio & Home Lessons in Cincinnati! You have the passion for music... We have conservatory-excellence!

Schedule your free lesson today!

888.453.ARTS • pianovoicebyjohn.com

8 | FANFARE CINCINNATI | cincinnatisymphony.org Plan for tomorrow. Live for today.

Confi dent Living. Prepare now for a better future.

Wouldn’t it be great to have a crystal ball and know exactly what the future will bring? While that may not be a reality, you can still plan well for the what-ifs of tomorrow. Confi dent Living is a unique new way to plan for the needs you may have someday, while delivering immediate access to a host of lifestyle and wellness services so you can remain at home and independent as you age. With prevention, support, and whole-health services, Confi dent Living gives you the opportunity to thrive at any stage of life. Join us for an informational event. Visit Confi dent-Living.org or call 513-719-3522 for dates and times.

Confi dent Living, a Life Enriching Communities program, is affi liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate Jesús López-Cobos, Music Director Emeritus JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder and Conductor Emeritus, Cincinnati Pops Orchestra Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor

FIRST VIOLINS Denisse Rodriguez-Rivera ENGLISH HORN BASS TROMBONE Timothy Lees Steven Rosen Christopher Philpotts Peter Norton Concertmaster Melinda & Irwin Simon Chair Principal Anna Sinton Taft Chair Joanne Wojtowicz Alberta & Dr. Maurice TUBA Kathryn Woolley Marsh Chair++ Christopher Olka Acting Associate Concertmaster CELLOS Principal Tom & Dee Stegman Chair Ilya Finkelshteyn CLARINETS Rebecca Culnan Principal [Open] First Assistant Concertmaster Irene & John J. Emery Chair Principal Patrick Schleker James M. Ewell Chair++ Daniel Culnan* Emma Margaret & Principal Eric Bates Ona Hixson Dater Chair Irving D. Goldman Chair Matthew & Peg Second Assistant Concertmaster Norman Johns** Ixi Chen Woodside Chair Nicholas Tsimaras– Karl & Roberta Schlachter Vicky & Rick Reynolds Chair Richard Jensen* Peter G. Courlas Chair++ Family Chair in Honor of Morleen & Jack Rouse Chair Anna Reider Matthew Lad§ William A. Friedlander Dianne & J. David Marvin Kolodzik Chair Jonathan Gunn*‡ PERCUSSION Rosenberg Chair Susan Marshall-Petersen Benjamin Freimuth† David Fishlock Minyoung Baik Laura Kimble McLellan Robert E. & Fay Boeh Chair++ Principal Mauricio Aguiar§ Chair++ Susan S. & William A. Serge Shababian Chair Hiro Matsuo† BASS CLARINET Friedlander Chair James Braid Theodore Nelson Ronald Aufmann Michael Culligan* Marc Bohlke Chair given Kenneth & Norita Aplin and Richard Jensen by Katrin & Manfred Bohlke Stanley Ragle Chair BASSOONS Morleen & Jack Rouse Chair Michelle Edgar Dugan Alan Rafferty William Winstead Marc Wolfley+ Rebecca Kruger Fryxell Ruth F. Rosevear Chair Principal Gerald Itzkoff Charles Snavely Emalee Schavel Chair++ KEYBOARDS Jean Ten Have Chair Peter G. Courlas– Hugh Michie Michael Chertock Lois Reid Johnson Nicholas Tsimaras Chair++ Martin Garcia* James P. Thornton Chair Anne G. & Robert W. Dorsey Julie Spangler+ Chair++ BASSES CONTRABASSOON James P. Thornton Chair Sylvia Mitchell Owen Lee Jennifer Monroe Jo Ann & Paul Ward Chair Principal /BANJO Luo-Jia Wu Mary Alice Heekin Burke FRENCH HORNS Timothy Berens+ Chair++ Elizabeth Freimuth SECOND VIOLINS James Lambert* Principal CSO/CCM DIVERSITY Gabriel Pegis Matthew Zory, Jr.**+ Mary M. & Charles F. FELLOWS~ Principal Trish & Rick Bryan Chair Yeiser Chair Vijeta Sathyaraj, violin Al Levinson Chair Wayne Anderson§ Thomas Sherwood* Emilio Carlo, viola Yang Liu* Boris Astafiev Ellen A. & Richard C. Diana Flores, cello Harold B. & Betty Justice Ronald Bozicevich Berghamer Chair Chair Blake-Anthony Johnson, cello Rick Vizachero Elizabeth Porter† Maurice Todd, bass Scott Mozlin** Acting Assistant Principal Henry Meyer Chair HARP Lisa Conway ORCHESTRA PERSONNEL Kun Dong Gillian Benet Sella Susanne & Cheryl Benedict Walter Zeschin, Director Principal Philip O. Geier, Jr. Chair Andrew Williams, Assistant Drake Crittenden Ash§ Cynthia & Frank Stewart Chair Duane Dugger Rachel Charbel Mary & Joseph S. Stern, Jr. LIBRARIANS Ida Ringling North Chair FLUTES Chair Chiun-Teng Cheng Mary Judge Randolph Bowman Charles Bell Principal Stefani Collins Principal Lois Klein Jolson Chair Chika Kinderman Charles Frederic Goss Chair TRUMPETS Christina Eaton* Hye-Sun Park Amy Taylor† [Open] Matthew Gray Paul Patterson Jane & David Ellis Chair Principal Assistant Librarian Charles Gausmann Chair++ Henrik Heide* Rawson Chair Stacey Woolley Douglas Lindsay STAGE MANAGERS Brenda & Ralph Taylor Chair++ PICCOLO Acting Principal Ralph LaRocco, Jr. Joan Voorhees Jackie & Roy Sweeney Technical Director Family Chair VIOLAS Patricia Gross Linnemann Robert Junk Steven Pride Christian Colberg Chair Brian P. Schott Principal Otto M. Budig Family Louise D. & Louis Foundation Chair++ OBOES § Begins the alphabetical listing of Nippert Chair Christopher Kiradjieff Dwight Parry players who participate in a system Paul Frankenfeld* Acting Associate Principal Principal of rotated seating within the string Grace M. Allen Chair Josephine I. & David J. section. Julian Wilkison** Joseph, Jr. Chair TROMBONES * Associate Principal Richard Johnson Cristian Ganicenco Marna Street ** Assistant Principal Donald & Margaret Principal Principal Emeritus † One-year appointment Rebecca Barnes§ Robinson Chair++ Dorothy & John Hermanies Chair ‡ Leave of absence Stephen Fryxell Lon Bussell* Joseph Rodriguez** + Cincinnati Pops rhythm section ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation 10 | FANFARE CINCINNATI | cincinnatisymphony.org MAKE THIS THE YEAR YOU GET IT FIXED. We have a team of spine experts ready to jump start your journey back to health.

OUR SPINE TEAM: JOHN BARTSCH, MD JOHN BRANNAN, MD JAIDEEP CHUNDURI, MD JUSTIN KRUER, MD IAN RODWAY, MD 513.354.3700 MICHAEL ROHMILLER, MD BEACONSPINE.COM DAVID SOWER, MD

BEACON ORTHOPAEDICS & SPORTS MEDICINE, LTD. COMPLIES WITH APPLICABLE FEDERAL CIVIL RIGHTS LAWS AND DOES NOT DISCRIMINATE ON THE BASIS OF RACE, COLOR, NATIONAL ORIGIN, AGE, DISABILITY, OR SEX. ESPAÑOL (SPANISH): ATENCIÓN: SI HABLA ESPAÑOL, TIENE A SU DISPOSICIÓN SERVICIOS GRATUITOS DE ASISTENCIA LINGÜÍSTICA. LLAME AL CALL CENTER AT 513-354-3700. 繁體中文(CHINESE): 注意：如果您使用繁體中文，您可以免費獲得語言援助服務。請致電 CALL CENTER AT 513-354-3700. composer Matthias Pintscher), as well as returning audience favorites including MusicNOW Artistic Director Bryce Dessner. Making this year’s line-up particularly exciting is the high caliber of the works to be performed, which include a Pulitzer Prize finalist and a Grawemeyer Award winner. “I believe deeply that our responsibility as members of an artistic community and as stewards of one of America’s great orchestras, our work is firmly rooted in bringing new music into the world and exposing audiences to the work of living composers,” said Mr. Dessner. On Friday, Jan. 13, the CSO kicks off its portion of the Festival with a rare performance of Andrew Norman’s masterwork for orchestra, Play. The work recently won the prestigious 2017 Grawemeyer Award for Music Composition, an award sponsored by the University of Louisville, whose previous win- ners include John Adams, Pierre Boulez and Thomas Adès. “Play combines brilliant orchestration, which is at once wildly inventive and idiomatic, with a terrific and convincing musical shape based on a relatively small amount of musical source material. It ranges effortlessly from brash to intimate and holds the listener’s interest for all of its 47 minutes—no small feat in these days of shortened attention spans,” said Grawemeyer Award Director Marc Satterwhite. Time to Play: “It’s a piece I’ve been writing and rewriting for four or five years now,” said Mr. Norman in an interview for NPR. “It’s taken up a substantial chunk of my creative life. It’s also opened up a lot of ideas for me 2017 that I feel like I’m going to explore in many more pieces to come.” The work has overlapping narratives and metaphors that guide its musical construction. “It has to do, on a very physical level, with how we play features instruments.... I was thinking also about the idea of childlike play, of watching toddlers and the kind of award-winning exuberance and imagination that comes with that,” he said. Also on Friday night, Mr. Pintscher will conduct contemporary the CSO in his own orchestral work idyll, originally commissioned for The Cleveland Orchestra in 2014. The Cleveland Plain Dealer described the piece as “a works cornucopia for the ear, a quiet stream of ethereal textures and shimmering colors.” by Meghan Berneking Friday night’s performance will conclude with acclaimed Irish singer-songwriter Lisa Hannigan, accompanied by Aaron Dessner (Bryce’s brother and he CSO’s collaboration with the MusicNOW bandmate in The National), as they perform works Festival, now in its fourth year, continues from her new recording, which Aaron produced. to generate buzz across the country for its The Festival continues Saturday, Jan. 14 with an genre-defying experimentation, numerous ambitious program of contemporary music. The TU.S. and world premieres, and unexpected artistic evening opens with a work from Icelandic composer relationships. This year’s program again features Anna Thorvaldsdottir. Violinist Pekka Kuusisto, who adventurous new music, composers, and artists “surely has the most personal sound of any classical making their CSO debuts (including conductor and violinist now alive” (The Telegraph), returns to the

12 | FANFARE CINCINNATI | cincinnatisymphony.org CSO to perform Ligeti’s Violin Concerto (a work programmed as “a kind of ‘historical key’—a doorway through which we might open conversations about these younger composers,” said Mr. Dessner). Composer and pianist Timo Andres will perform his work for piano and orchestra, The Blind Banister, which was a finalist for the 2016 Pulitzer Prize. The work draws on Beethoven’s Second Piano Concerto. “The best way I can describe my approach to writ- ing the piece is: I started writing my own cadenza to Beethoven’s concerto, and ended up devouring it from the inside out,” says Mr. Andres in the program notes for the work. The Festival concludes as Bryce Dessner performs the U.S. premiere of his chamber concerto for electric guitar, Wires. “I moved to France three years ago and have been more and more immersed in the music and traditions of Paris,” said Mr. Dessner. “This culminated this past September with a new commis- sion for the renowned Ensemble Intercontemporain [of which Mr. Pintscher is the artistic director]. While the past 20 years of living in New York have been deeply important to my evolution as a composer, Wires reflects my interest in some of the music I have been more exposed to in Europe.” In addition to the CSO’s performances, this year’s MusicNOW Festival includes a performance by Bob Weir (of the ) at the Aronoff Center for the Arts on Thursday, Jan. 12. He’ll perform music from his recent solo release, Blue Mountain, and works joined by his band, The Campfire Band (which features members of The National—Aaron Dessner, and Scott Devendorf—along with and Jon Shaw). “If I could summarize what makes Bob and his history with the Grateful Dead so significant for us it would be their unrelenting commitment to experimentation and new music,” said Mr. Dessner. “The polyphony of the Grateful Dead, like most great music of the 20th century, with many distinctive voices in dialogue with each other through music, would be the thread that I think connects them to modern composition of which Andrew Norman, Timo Andres, Matthias Pintscher and Anna Thorvaldsdottir all represent a beautiful evolution.” As in previous years, the concert experiences will also include pre- and post-concert performances and artist talks. At its core, MusicNOW is not just about pushing artistic boundaries—it’s about seeking inspiration from composers, musicians and audiences from all walks of life and sharing an engaging vision Photos: (from top) Bryce Dessner performs his work, St. Carolyn in return. by the Sea, during MusicNOW 2014. “I am hopeful that audiences walk away curious. To MusicNOW concerts typically include pre- and post-concert me this year’s festival is all about dialogue, about hear- performances, further expanding the collaborations. (of the band ), composer and ing voices in the music. Whether it be the polyphony of pianist , CSO Music Director Louis Langrée and Bryce Bob Weir’s new music, or the adventurous landscape Dessner (l-r) exchange ideas backstage—a common occurrence during MusicNOW. of music by some of the 21st century’s most exciting orchestral voices, I think there is a lot on this year’s festival to provoke conversation,” said Mr. Dessner.

cincinnatisymphony.org | FANFARE CINCINNATI | 13 ARTISTIC LEADERSHIP

LOUIS LANGRÉE, Music Director monic, Orchestre de Cincinnati Symphony Orchestra Paris, Deutsche Kam- The French conductor Louis Langrée has been Music merphilharmonie Bre- Director of Cincinnati Symphony Orchestra since 2013 men, Budapest Festival and of the Mostly Mozart Festival at Lincoln Center in and NHK symphony New York since 2002. With the Cincinnati Symphony orchestras. Festival ap- Orchestra, recent and future highlights include a pearances have included performance in New York as part of the anniversary the Wiener Festwochen, season of Lincoln Center’s Great Performers series, a Salzburg Mozartwoche tour to Asia, and several world premieres, including and Whitsun festivals, three Concertos for Orchestra by Sebastian Currier, and the BBC Proms. Thierry Escaich and Zhou Tian. He has held positions Guest conducting projects over the next two as Music Director of seasons include Louis Langrée’s debut with the the Orchestre de Picardie (1993–98) and Orchestre Philadelphia and Konzerthaus Berlin orchestras and Philharmonique Royal de Liège (2001–06) and was return engagements with the Leipzig Gewandhaus, Chief Conductor of the Camerata Salzburg (2011–16). Wiener Symphoniker and Hallé. With the Orchestre Louis Langrée was Music Director of Opéra National de France he will conduct Debussy’s opera National de Lyon (1998–2000) and Glyndebourne and Schoenberg’s tone poem based on Maeterlinck’s Touring Opera (1998–2003). He has also conducted Pelléas et Mélisande. He will also return to The Metro- at La Scala, Bayerische Staatsoper in , the politan Opera in New York, Wiener Staatsoper and Royal Opera House Covent Garden, Opéra-Bastille Opéra Comique in Paris. and Théâtre des Champs-Elysées in Paris, Dresden Louis Langrée has conducted the Berliner Phil- Staatsoper and the Netherlands Opera in Amsterdam. harmoniker, Wiener Philharmoniker (in concert in Louis Langrée’s recordings have received several both Vienna and Salzburg) and London Symphony awards from Gramophone and Midem Classical. He Orchestra. He has worked with many other orchestras was appointed Chevalier des Arts et des Lettres in around the world, including the London Philhar- 2006 and Chevalier de la Légion d’Honneur in 2014. n

CINCINNATI SYMPHONY ORCHESTRA 2017-18 MUSIC HALL GRAND-OPENING SEASON

Details coming soon!

14 | FANFARE CINCINNATI | cincinnatisymphony.org MUSIC HALL RENOVATION UPDATE

What’s New at Music Hall? 2017–18 Season Info Coming Soon Welcome to a brand new year—and a brand new And don’t forget: subscription season! Subscribers, below is a rough • Leg room has increased and sightlines have timeline of when you will receive information. improved. Meanwhile, it’s not too late to subscribe to the • The number of restrooms has increased by more 2016–17 Taft Theatre season, to secure your Music than 60%. Hall seating priority! Visit cincinnatisymphony.org • Music Hall will be more accessible, including or call 513.381.3300 for details. two passenger elevators that can reach all floors. • The historic grandeur has been preserved, while 2017–18 subscription timeline modern amenities have been added! • CSO season announcement: JAN 27 • CSO renewal packets mail: Week of JAN 30 • Pops season announcement: FEB 24 • Pops renewal packets mail: Week of FEB 27

Our staff will begin assigning seats between mid- March and early May, starting with curated (“same seat”) packages. Subscribers who maintained their package through the 2016–17 season receive seat- ing priority, with further emphasis on length of tenure, frequency of attendance, and overall level of investment in helping to ensure the success of your Orchestra and Chorus. We thank you for your loyalty!

Construction crews are working to uncover previously bricked-up windows in order to reveal some of Music Hall’s hidden historic grandeur. Photos © Matt Zory

cincinnatisymphony.org | FANFARE CINCINNATI | 15 ARTISTIC LEADERSHIP

JOHN MORRIS RUSSELL, Conductor ment has yielded a new level of artistic excellence. Cincinnati Pops Orchestra Mr. Russell is also Principal Pops Conductor of the A remarkable artist Buffalo Philharmonic Orchestra and Conductor with boundless en- Laureate of the Windsor Symphony Orchestra in thusiasm for music- Ontario, Canada, where he served as Music Director making of all kinds, for eleven years. John Morris Russell With the Cincinnati Pops, Mr. Russell regularly is a modern conduc- leads electric performances at Music Hall, the Taft tor who engages and Theatre and Riverbend Music Center and throughout enthralls audiences the Greater Cincinnati region and on tour. Mr. Russell with the full breadth has collaborated with generations of great perform- of the orchestral ex- ers including Ray Charles, Rosemary Clooney, Idina perience. Now in his Menzel, Vince Gill, Branford Marsalis, Brian Stokes sixth season as Con- Mitchell, Megan Hilty, Michael McDonald, George ductor of the Cincin- Takei, Amy Grant, Rosanne Cash, Brian Wilson, nati Pops Orchestra, Katharine McPhee and Marvin Winans. Mr. Russell’s diverse His first four recordings released with the Cincin- programming and nati Pops on the Orchestra’s Fanfare Cincinnati label, electric stage pres- Home for the Holidays, Superheroes!, Carnival of the ence have infused Animals and American Originals, have all appeared new creativity and on the Billboard charts. In December 2014, Mr. Russell energy into one of the world’s most iconic pops led the Cincinnati Pops on a Florida tour. orchestras. A sought-after guest conductor across the con- Consistently winning international praise for his tinent, Mr. Russell’s list of frequent engagements extraordinary music-making and visionary leader- include the Philharmonic at the Hol- ship, this Ohio native is also Music Director and lywood Bowl, the New York Philharmonic, Toronto Principal Conductor of the Hilton Head Symphony Symphony Orchestra, The Cleveland Orchestra and Orchestra in South Carolina, where his commit- Vancouver Symphony Orchestra, among others. n

MY DAY LED ESTUDIO STUDENT COUNCIL PARA EL MEETING EXAMEN MADE FIRE BUBBLES FOR NACIONAL DE SCIENCE ESPAÑOL CLASS PRACTICED LINES FOR WON TH GRADE MIDDLE 8 MUSICAL JOYFUL environment. SCHOOL SHREK JR.® WRESTLING Rigorous PREPARATION. CHAMPIONSHIP Joshua ’20 SUCCESS in any world. Regular Application Deadliine February 15 6905 Given Road, Cincinnati, OH 45243 l (513) 979-0220 l www.CountryDay.net

Y0u Tube

16 20161108CincinnatiMagazineCSO.indd| FANFARE CINCINNATI | cincinnatisymphony.org 1 11/8/2016 12:29:03 PM IF IT SOUNDS GOOD, IT IS GOOD! 2017 marks the 40th anniversary of the Cincinnati But enough name-dropping; the point is, big stars Pops Orchestra. While Erich Kunzel, the founder of the want to collaborate with the Pops because there is Pops, had already been conducting “8 O’Clock Pops” nothing like the thrill of performing with our 90 concerts for many years (originally at the request of world-class musicians, making extraordinary music the legendary CSO Music Director Max Rudolf), it together. Our energized and enthusiastic audiences was in 1977 that the Cincinnati Pops Orchestra was are the cherry on top of the sundae. Cincinnati is one officially established and began its tenure as a premier of the great music towns in America and the Pops is recording ensemble. Since then, we’ve continued play- its heartbeat. ing popular classical repertoire, as well as hits from This month we host two artists who easily make Broadway, films, , gospel, rock ‘n’ roll and the our “elite” list; each has made indelible contributions Great American Song Book. We’ve never looked back! to America’s musical ethos and both are making We’ve also had the luxury of close relationships their Pops debut. First, for one night only, singer- with many of the most illustrious arrangers in the busi- songwriter Melissa Etheridge brings her Grammy- ness, who are able to take just about any song from any winning hits to the Taft Theatre stage with the Pops. genre and clothe it in orchestral pops splendor. This Her bluesy vocals and folk rock songwriting weave means we can perform with anyone, and tailor-make seamlessly into the orchestral tapestry. On our an orchestral accompaniment that will be second-to- second concert program this month we welcome the none. Over the years, the Pops has performed with legendary singer/songwriter Smokey Robinson. As singers, dancers, comedians, actors, circus artists, and one of the artists who created the “Motown sound,” even a cheetah named Sahara. I could fill the next Smokey is responsible for more pages of the “Great couple pages with a complete list, but some of the elite American Soul-Book” than just about anyone. With include , Mel Tormé, Cab Calloway, an uncanny knack for melodic hooks and memorable Kristin Chenoweth, Aretha Franklin, Jason Alexander, lyrics, he’s cut hit after hit in the studio, or passed on Boyz II Men, John Williams, and of course, Rosemary his brilliantly crafted songs to the biggest stars of the Clooney. We’ve also been fortunate enough to make last three generations of pop singers. It will be an ex- recordings with such legends as Katharine Hepburn, traordinary event—worthy of a 40th anniversary—for Doc Severinsen, the Mormon Tabernacle Choir, Brian the Pops to share the stage with this amazing artist. Stokes Mitchell and Rosanne Cash. Happy New Year, indeed!

cincinnatisymphony.org | FANFARE CINCINNATI | 17 SPOTLIGHT ON... never felt like an outsider, which is a little surprising. Being an individual who comes from a completely Yang Liu, different background compared to most and feeling unabashedly welcomed is fantastic. Cincinnati has Associate Principal earned its title as my second home town, especially Second Violin since my original home is half a world away. Harold B. & Betty Justice Chair What have been some of the most memorable per- formances or artistic collaborations in your time at the CSO? What is your back- The very first concert with the CSO that I played was ground? during One City, One Symphony on November 14, I was born in Wuhan, 2014. The seating arrangement had me seated in China. I learned to the principal chair for over half the concert. We play violin when I was performed Mahler’s Symphony No. 1. What was four years old. Before truly amazing was the sound from the CSO and I came to America, I how the audience’s passion infused with the artistic was a student of music inspiration from Maestro Langrée came off as simply in the high school at- majestic. tached to the Central Conservatory in Bei- The CSO’s mission is “To seek and share inspiration.” jing. In 2009 I received Where do you seek and find inspiration, musically a full scholarship to or otherwise? attend the University Definitely from music itself. Especially since I always of Cincinnati College- end up going back and looking at the score to find Conservatory of Mu- inspiration. One reason being that the score as a sic. In 2013 I received whole reveals a sort of story that is happening within my bachelor’s degree, followed by a master’s degree the composer’s mind. Being able to witness such a in 2015. spectacle fuels a further passion for music.

What kind of hobbies do you have? How do you spend Who has been your most important musical influence your time when you’re not practicing, rehearsing or and why? performing? My teacher in China was Yaoji Lin and my teacher A main hobby of mine would be collecting CDs and here in the United States was Kurt Sassmannshaus. collecting music scores. I love how a music/soundtrack Without their careful guidance I would not be at the score ends up being oddly well organized. I have over point I am today. My teacher in China was relatively 3,000 music CD collections from all various musical strict about sticking to the fundamental violin skills. genres. When I have some time off, a major love of As appreciative as I am for this fundamental training, mine is cooking traditional Chinese food. there was never enough space to experiment outside of that curriculum. My teacher here in the United How did you choose the violin as your instrument? States offered more artistic advice that I had been lack- My mother thought I was talented enough to play ing beforehand. To this day I still follow that advice. the violin. It was her decision, when I was four, to make violin lessons part of my daily life. My mother What would be your profession if you weren’t a also noticed that I had developed quite an ear for musician? music. Wherever I went, if there was music playing, Probably a police officer, most likely because my without a doubt, I could pick up certain notes, which father was a police officer for over 30 years. As a child heightened my desire to play. I idolized my father for the work he contributed. If I had not started playing violin when I was four, I What’s your favorite part about living and working would more than likely be an on-duty police officer in Cincinnati? right now, following in his footsteps. Cincinnati projects a warmth and “welcome home” feeling I haven’t felt anywhere else. While living in Please visit cincinnatisymphony.org/yangliu to read the this city, between my friends and colleagues, I have full interview.

18 | FANFARE CINCINNATI | cincinnatisymphony.org Remembering Mary Alice Heekin Burke (1923–2016)

Mary Alice Heekin Burke first started attending commitment to Cincinnati Symphony Orchestra and May Festival social and eco- performances with her father when she was 18 years nomic justice, Owen and CiCi Lee with Mary Alice Heekin old. Music remained central to her life, and she gener- and her insa- Burke at the Cincinnati Art Museum. ously dedicated her energies to ensuring the future tiable thirst for of arts and cultural institutions, including the CSO. knowledge and beauty,” said Mr. Lee. In 1998, she donated the funds to create an en- Over the course of her varied career, Mrs. Burke dowment in perpetuity for the Principal Bass Chair. earned two master’s degrees, worked as a translator Owen Lee had been in the position for three seasons, for the CIA, and championed the work of Cincinnati and Mrs. Burke greatly admired his playing, which women and their contributions to art and culture. inspired her decision to endow the chair. Her desire Her own study and work advanced the cultural life to perpetuate Cincinnati’s rich musical tradition in of the city she loved, and her life deeply impressed turn inspired those around her. the individuals and organizations she encountered Mr. Lee, who continues to hold the chair, and his along the way. wife enjoyed a rich friendship with Mrs. Burke over “In America, civic treasures such as performing the years. “She was a highly accomplished woman arts organizations, museums and universities would who led an incredibly full, rich life, raised a large be shadows of what they are without the generous family, and possessed enormous strength of char- philanthropy of ordinary individuals…Needless to acter. She was even a feminist well before that word say, I and all of the CSO Principal Bassists who follow gained its modern currency. I really looked up to her me owe an immense debt of gratitude to Mrs. Burke,” and admired her no-nonsense directness, her lifelong said Mr. Lee. n

Dividends ... the freedom to look forward.

RELIABLE INCOME = RELIABLE OUTCOME Through our mission of growing income through dividends, Bahl & Gaynor endeavors to protect www.bahl-gaynor.com 513.287.6100 and grow our clients’ hard-earned wealth and Cincinnati, OH help fulfill their life goals.

INDIVIDUALS | INSTITUTIONS | FINANCIAL ADVISORS

cincinnatisymphony.org | FANFARE CINCINNATI | 19 Proudly supporting art that inspires.

At U.S. Bank, we know the value of the arts. That’s why we are proud to support the craftsmanship and dedication of artists and local arts organizations that bring us together and keep inspiring our community. usbank.com/ourcommunity

U.S. Bank is proud to support the Cincinnati Symphony Orchestra.

Equal Housing Lender. Member FDIC. ©2016 U.S. Bank 5/16

Proudly supporting art that inspires 7x10.875.indd 1 7/19/16 9:44 AM NINTH SUBSCRIPTION PROGRAM Masterworks Series

2016–2017 SEASON THURS JAN 5, 7:30 pm SAT JAN 7, 8 pm Taft Theatre

LOUIS LANGRÉE conductor JASMIN WHITE soprano REBECCA PRINTZ mezzo-soprano DONGWHI BAEK tenor JACOB KINCAIDE bass-baritone MAY FESTIVAL CHAMBER ENSEMBLE Robert Porco, conductor

J.S. BACH Cantata No. 150, Nach dir, Herr, verlanget mich (1685–1750) (“For Thee, Lord, I Long”) Sinfonia Nach dir, Herr, verlanget mich (Chorus) Doch bin und bleibe ich vergnügt (Soprano) Leite mich in deiner Wahrheit und lehre mich (Chorus) Zedern müssen von den Winden (Alto, Tenor, Bass) Meine Augen sehen stets zu dem Herrn (Chorus) Meine Tage in den Leiden (Chorus)

WEBERN Passacaglia, Op. 1 (1883–1945)

INTERMISSION

BRAHMS Symphony No. 4 in E Minor, Op. 98 (1833–1897) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato. Più allegro

The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The CSO is grateful to The Cincinnati Symphony Club, this weekend’s Presenting Sponsor. The CSO is grateful to PricewaterhouseCoopers, LLC, this weekend’s Encore Sponsor. The CSO is grateful to Thompson Hine, LLP, this weekend’s Show Sponsor. The appearance of the May Festival Chorus is endowed by the Nancy & Steve Donovan Fund Cincinnati for Chorus and Orchestra. Symphony Club The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Classical Conversations are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway , courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9 pm Thursday, 9:30 pm Saturday. Listen to this program on 90.9 WGUC March 19, 2017 at 8 pm and at cincinnatisymphony.org March 20–26.

cincinnatisymphony.org | FANFARE CINCINNATI | 21 PROGRAM NOTES: Jan 5/7 © 2016–17 Cincinnati Symphony Orchestra

It is fascinating to examine and consider the prismatic nature of the music of Johannes Brahms, a composer who paved his own way by absorbing the past, which in turn reframed music of the future. This program explores these myriad influences through the music of Johann Sebastian Bach, Anton Webern, and of course, Johannes Brahms. The program’s second half features Brahms’s final Symphony, a work that, in many ways, is the summation of the composer’s lifelong learning and exploration. In this Fourth Symphony, Brahms delivers a work of tremendous expression and formal complexity, yet turns to the music of Johann Sebastian Bach, a composer he deeply revered, for inspiration. In the final movement, Brahms uses the baroque form of the chaconne, quoting and transforming Bach’s own chaconne from the Cantata BWV 150 Nach Dir, Herr, verlanget mich, which we hear on the first half of the program. This extraordinary movement consists of a series of 32 variations on the same theme. Also on the first half, we encounter the Op. 1 Passacaglia by Anton Webern, one of the defining composers of the Second Viennese School. Like Brahms, Webern also uses a baroque form, the Passacaglia, and reframes it into a remarkably individual statement of tremendous expressive magnitude. —Louis Langrée

JOHANN SEBASTIAN BACH Johann Sebastian Bach, ambitious, feisty and not Cantata No. 150, Nach dir, Herr, verlanget mich yet 20, got his first appointment in August of 1703, (“For Thee, Lord, I Long”) as organist of the New Church at Arnstadt, a small town 70 miles southwest of Leipzig. The few records n Born: March 21, 1685, Eisenach, Germany that survive of Bach’s Arnstadt tenure concern Died: July 28, 1750, Leipzig, Germany mainly his continuing tiffs with the town council, n Work composed: c. 1707 who demanded explanations when he refused to n Premiere: Unknown accompany the church school’s choir on grounds of n Instrumentation: SATB soloists, SATB chorus, bassoon, harpsichord, strings (no viola) its musical incompetence, or when he came to blows n CSO subscription performances: Premiere over an insult to a student (whom he accused of being n Duration: approx. 15 min. a “nanny-goat bassoonist”), or when his improvising was judged “too curious” and “too confused” and

Cincinnati Symphony Club’s April Affair ~ Fiesta of Fashion April 6, 2017 ~ Kenwood Country Club

10:00-11:45 am ~ Reception & Boutique Shopping 12:00 pm ~ Luncheon & Fashion Show 1:00 pm ~ Dessert, Raffles & Silent Auction Benefits CSO and Lollipops Concerts For more information contact: Rosalee Campbell 513-774-0243, [email protected] Reservations close March 24, 2017

22 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 5/7

“too long” for the well-being of the congregation, or organist, violinist and “Chief Chamber Musician” to when he invited a “young female stranger” (perhaps the court of Duke Wilhelm Ernst at Weimar, where his cousin Maria Barbara Bach, whom he was to he solidified his reputation as one of the day’s most marry in 1708) into the organ loft—with the pastor’s gifted musicians. permission, he contended—for the purpose of a little The half-dozen cantatas that have survived from informal music-making. Bach’s prickly relationship Bach’s Arnstadt and Mühlhausen tenures are mostly with his municipal employers came to a head early occasional pieces, composed for weddings, funerals in 1706, after he overstayed, by three months (!), the and city council installations; one, the Easter cantata leave he had been granted to hear the concerts of the Christ lag in Todesbanden (“Christ Lay in Death’s Grim renowned Dietrich Buxtehude in Lübeck, some 200 Prison,” BWV 4), may have been Bach’s audition piece miles away. Bach promised an explanation in writ- for Mühlhausen. Nach dir, Herr, verlanget mich (“For ing, but there is no record that he ever offered one. Thee, Lord, I Long”) was written during that time, Cushioned by an extraordinary skill as an organist though its date and the occasion or service for which that was bringing him notoriety and job offers, a vast it was intended are unknown. Even its authenticity family deeply embedded in the musical and political was questioned for some time—the editors of the life of northern Germany, and a quickly maturing first complete edition of Bach’s works contended genius for composition, Bach bided his time. vigorously over whether it should be included before In the spring of 1707, the organist’s job opened publishing it in 1884—but it is now generally accepted at St. Blasius’ Church in the Free Imperial City of as one of Bach’s earliest cantatas, perhaps even his Mühlhausen, 30 miles northwest of Arnstadt. Bach first in the genre to which he was to contribute well auditioned on Easter Sunday 1707 (April 24); no other over 200 peerless examples. applicants were heard. He was formally awarded the Nach dir, Herr, verlanget mich, with the prominence post a month later, at a salary 20 percent higher than given to the chorus and the lack of a chorale setting, that of his predecessor, and he felt secure enough to differs somewhat from the typical formal model of undertake a marriage with his cousin Maria Barbara Bach’s later cantatas. Like them, however, it juxta- in October. In addition to playing at St. Blasius and poses Biblical verses (here Psalm 25) with comple- one of the city’s minor churches, Bach composed mentary original texts (whose author for this work is several organ works and a few occasional vocal pieces unknown) and exhibits the masterful counterpoint, at Mühlhausen. His work there was respected—his melodic invention, harmonic surety and expressive specifications for the rebuilding of the organ at St. cogency that Bach had already developed as a young Blasius were enthusiastically adopted and the council man. The opening Sinfonia establishes the cantata’s financed the publication of two of his composi- somber mood (it has been conjectured that the work tions—but he again ran afoul of controversy when was originally intended for a Lenten or Advent his pastor began espousing the Pietist doctrine that penitential service, the communal seeking of remis- admitted only the most austere music into the service, sion of sins) while also introducing the drooping which allowed no place for Bach’s grand musical chromatic descent, a musical metaphor for sorrow designs. In June of 1708, only a year after arriving in since the Renaissance, that serves as the thematic Mühlhausen, Bach was off again, this time to become germ for the fugal chorus that follows (“For Thee,

WHAT TO LISTEN FOR: n A Passacaglia is generally defined as a work in triple meter with a repeating bass figure (or osti- nato). Listen carefully to the first eight pizzicato notes of Webern’s Passacaglia, which serves as the musical basis for the rest of the piece. n The final Chorus (“Meine Tage in den Leiden”) in Bach’s Cantata No. 150, which includes a chaconne. This chaconne served as the inspiration for the repeated bass line in the final movement of Brahms’ Fourth Symphony. n The first sighs at the beginning of Brahms’ Fourth Symphony, signaling perhaps a deep yearning.

QUESTIONS TO DISCUSS ON THE WAY HOME: n This program demonstrates how Brahms and Webern sought inspiration from composers that came before. Do you ever look to the past, or to history to help inform decisions that you make on a daily basis? n Webern took a baroque form, and made it wholly his own using his own unique compositional voice. Did you hear echoes of earlier musical forms and ideas in his Opus 1 Passacaglia? n This is part of the second year of the CSO’s Brahms Fest. In experiencing this evening’s perfor- mance, and other performances as part of Brahms Fest, how has your view of Brahms as a com- poser changed?

cincinnatisymphony.org | FANFARE CINCINNATI | 23 PROGRAM NOTES: JAN 5/7

Lord, I long”). The brief third movement (“Yet I am before the winds, often feel much hardship…. Heed and remain content”), the cantata’s only solo aria, not what howls against you, since his Word teaches uses some subtle, repeated-note tone painting for otherwise.” The penultimate movement is infused the text Kreuz, Sturm und andre Proben—“affliction with the warmth and gentle motion of a lullaby as [or cross, perhaps a reference to Lent], storm and the penitent contemplates the vision of its verse: “My other trials.” The ensuing chorus (“Lead me in your eyes gaze continually upon the Lord.” The closing Truth and teach me”), whose opening section drives chorus (“My days of suffering God will nevertheless a remarkable rising, heaven-bent scale through all the end in joy”), which resumes the serious demeanor voices, is a supplication in alternating tempos that is with which the cantata began, is based on a repeating by turns prayerful and optimistic. The moto perpetuo bass figure that Johannes Brahms, a lead editor for cello line in the following trio for alto, tenor and the first complete edition of Bach’s works, borrowed bass suggests the import of its text—“Cedars must, for the finale of his Fourth Symphony. —Dr. Richard E. Rodda

TEXT AND TRANSLATION 1. Sinfonia

2. Chorus (Text: Psalm 25:1-2) Nach dir, Herr, verlanget mich. For Thee, Lord, I long. Mein Gott, ich hoffe auf dich. My God, I hope in you. Lass mich nicht zu Schanden werden, Let me not be put to shame, dass sich meine Feinde nicht freuen über mich. so that my enemies will not rejoice over me.

3. Aria (Soprano) (Text: anonymous) Doch bin und bleibe ich vergnügt, Yet I am and remain content, Obgleich hier zeitlich toben although at the moment here may rage Kreuz, Sturm und andre Proben, affliction, storm and other trials, Tod, Höll, und was sich fügt. Death, Hell, and what is theirs.

A community’s treasure

Since its founding in 1895, the Cincinnati Symphony Orchestra has played a leading role in the cultural life of Greater Cincinnati and the Midwest. We are proud to support this dynamic ensemble of some of the world’s finest musicians.

www.pwc.com

© 2016 PricewaterhouseCoopers LLP, a Delaware limited liability partnership. All rights reserved.

24216649-2017-Cincinnati | FANFARE CINCINNATI Symphony Orchestra | cincinnatisymphony.org 2016 Ad v2.indd 1 8/22/2016 12:05:19 PM PROGRAM NOTES: JAN 5/7

Ob Unfall schlägt den treuen Knecht, Though misfortune strike the true servant, Recht ist und bleibet ewig Recht. right is and remains eternally right.

4. Chorus (Text: Psalm 25:5) Leite mich in deiner Wahrheit und lehre mich; Lead me in your Truth and teach me; denn du bist der Gott, der mir hilft, for you are the God, who helps me, täglich harre ich dein. I await you daily.

5. Trio (Alto, Tenor, Bass) (Text: anonymous) Zedern müssen von den Winden Cedars must, before the winds, Oft viel Ungemach empfinden, often feel much hardship, Oftmals werden sie verkehrt. often they will be destroyed. Rat und Tat auf Gott gestellet, Place your words and deeds before God, Achtet nicht, was widerbellet, heed not what howls against you, Denn sein Wort ganz anders lehrt. since his Word teaches otherwise.

6. Chorus (Text: Psalm 25:15) Meine Augen sehen stets zu dem Herrn; My eyes gaze continually upon the Lord; denn er wird meinen Fuss aus dem Netze ziehen. for he will draw my foot out of the net.

7. Chorus (Text: anonymous) Meine Tage in den Leiden My days of suffering Endet Gott dennoch zur Freuden; God will nevertheless end in joy; Christen auf den Dornenwegen Christians upon the thorny pathways Führen Himmels Kraft und Segen. are led by Heaven’s power and blessing. Bleibet Gott mein treuer Schatz, If God remains my dearest treasure, Achte ich nicht Menschenkreuz; I need not heed mankind’s cruelty; Christus, der uns steht zur Seiten. Christ, who stands by our side, Hilft mir täglich sieghaft streiten. helps me daily fight to victory.

CSO Ad .5 Page.pdf 1 10/4/2013 2:52:49 PM

THE OFFICIAL PIANO OF THE CINCINNATI SYMPHONY ORCHESTRA

C

M

Y

CM

MY

CY

CMY

K

WILLIS MUSIC CO. Trusted Since 1899 DAYTON CINCINNATI NORTHERN KENTUCKY www.steinwaycincinnati.com

cincinnatisymphony.org | FANFARE CINCINNATI | 25 PROGRAM NOTES: JAN 5/7

ANTON von WEBERN D minor, although there are passages of such intense Passacaglia, Op. 1 chromaticism that the sense of key all but evaporates. Webern’s eventual predilection for brevity and n Born: December 3, 1883, Vienna Died: September 15, 1945, Mittersill, Austria, transparency is already evident. Furthermore, the near Salzburg passacaglia technique, in which a single melodic n Work composed: spring 1908 line is present throughout a composition, anticipates n Premiere: November 4, 1908, Vienna—Webern Webern’s later 12-tone music, in which a particular conducting the Tonkinstlerverein Orchestra ordering of the notes of the chromatic scale pervades n Instrumentation: 2 flutes, piccolo, 2 oboes, English every melody and every harmony. The theme of the horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass Passacaglia is not a 12-tone row, but it is used like , a2, tam-tam, triangle, harp, strings one. Furthermore, like a row it avoids note duplica- n CSO subscription performances: Seven previous tions. The last of its eight notes is the only pitch that subscription weekends | Premiere: October 1964, Max has been heard previously, at the theme’s beginning. Rudolf conducting | Most recent: April 2012, Juraj At the time Webern was composing the Passacaglia, Valčuha conducting he was also finishing a doctorate in musicology at the n Duration: approx. 11 min. University of Vienna. For his dissertation he analyzed It can be fascinating to hear an early work by a com- and edited the Choralis Constantinus by renaissance poser who was eventually to become a musician of composer Heinrich Isaac (1450–1517). From these his- extraordinary originality. In the Passacaglia, written torical studies Webern developed a lifelong interest in when Webern was 25, we can discover not only hints such contrapuntal procedures as passacaglia (used in of his inimitable mature style, but also influences on Opus 1) and canon (used occasionally in Opus 1 and his formative years. Anyone who knows Webern’s throughout many of his atonal and 12-tone pieces). later music—aphoristic, compressed, intense, The word “passacaglia” is believed to come from atonal—may be surprised at the lushly romantic tonal the Spanish pasar (“to walk”) and calle (“street”). sounds of his Opus 1. The Passacaglia is firmly in The genre may have originated as a Spanish street

OPENING NIGHT BEETHOVEN SEASON TICKETS NINTH SYMPHONY Markus Stenz conductor ON SALE NOW! FRI MAY 19, 2017 • TAFT THEATRE MENDELSSOHN 2017 A MIDSUMMER NIGHT’S DREAM Matthew Halls conductor SAT MAY 20, 2017 • TAFT THEATRE MAY 19–27 TAFT THEATRE BASILICA CONCERT Robert Porco conductor CATHEDRAL BASILICA SUN MAY 21, 2017 • OF THE ASSUMPTION FREE PARKING FOR ALL SUBSCRIBERS ELGAR THE DREAM OF GERONTIUS Michael Francis conductor FRI MAY 26, 2017 • TAFT THEATRE

BACH

mayfestival.com 513.381.3300 B MINOR MASS Harry Bicket conductor FREE SUBSCRIBER PARKING SPONSOR SAT MAY 27, 2017 • TAFT THEATRE

26 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 5/7 dance, based on a short stately theme in triple time. adding a great variety of counterpoints to the theme, Passacaglias (and the virtually identical chaconnes) sometimes all but obscuring it in an extravagant were particularly prevalent in 17th- and 18th-century orchestral tapestry. keyboard works by such Even if melodic monotony composers as Buxtehude, The word “passacaglia” is is avoided, there is a danger Pachelbel, Purcell, Cou- believed to come from the of harmonic repetitiveness, perin, Frescobaldi, Raison particularly since Webern’s and Bach. Spanish pasar (“to walk”) and theme both begins and ends In the hands of these com- calle (“street”). The genre may on D. The composer meets posers the form became in- have originated as a Spanish this challenge by allowing tellectualized and rather far the theme, which is essen- removed from a street dance. street dance, based on a short tially a bass line, to migrate The baroque passacaglia stately theme in triple time. to other voices. Since the repeats its short theme again chordal language is rich, and again, with various elaborations. It is therefore there are many ways to harmonize this tune, as the similar to a variation form, except that the theme music continually demonstrates. tends to be much briefer and the variations run con- Another problem is that the same music repeating tinuously one into the next. There was a resurgence every eight measures may make it difficult to con- of interest in the passacaglia in the late 19th century, struct larger gestures, to build to climaxes, to create particularly in the works of Reger and Brahms. The big sections. Webern avoids this danger by varying latter cast the last movement of his Fourth Symphony the orchestration, changing tempos and creating large in passacaglia form. Webern’s Opus 1 owes more than sections with freer added melodies. a little to this symphony. So that we will be able to recognize it in its In 1904 Webern became the first private composi- subsequent transformations, the basic theme is tion student of Arnold Schoenberg, who was then at first presented alone, in pizzicato strings. It is im- the threshold of his career. Thirty years old, he was mediately repeated in a trumpet, with a beautiful just emerging as a prominent composer working in countermelody added in the flute. Then the theme a late tonal style. For him as for Webern, modernism moves to the harp, where it is hardly noticed against and atonality still lay in the future. The younger a lovely clarinet melody (which is destined to become composer showed his new teacher his most ambitious increasingly important throughout the work) that has work to date, an orchestral piece called Im Sommer- a horn countermelody and a string accompaniment. wind. Schoenberg advised Webern to avoid large The passacaglia theme then becomes the bass line ensembles for the time being and to concentrate on the (pizzicato cellos and basses) in a string passage. Next string quartet. Thus, in the ensuing months he wrote it is in an inner voice played by a horn against a string several exercises and compositions for that medium, and wind passage. Then it is again in the bass line, including the Langsamer Satz, his first major work, this time during vigorous string and wind music. and the still more mature string quartet composed And so the theme repeats some 17 times. But then immediately afterward. Only then did Webern feel the mounting intensity of other materials begins to ready to return to the orchestral medium, creating fragment it. It is present at times, represented in a what he would eventually consider his earliest piece skeletal version at other times, and sometimes only worthy of being published with an opus number. The remembered. Its influence is always felt, as there are Passacaglia, Op. 1 became the next to last of his tonal constant reminders of its melodic shape, but Webern works as well as the next to last piece he composed finally meets the challenge of passacaglia form in a under Schoenberg’s guidance. most radical manner: by allowing the more expansive KEYNOTE. A passacaglia is a particularly chal- countermelodies to oust the theme. The result is a lenging form for a composer. While the constant victory of expression over structure, of emotional reiterations of a simple theme can be counted on intensity over economical construction, of freedom to provide a degree of consistency, it is difficult to over constraint. —Jonathan D. Kramer avoid monotony. Webern solves this problem by

cincinnatisymphony.org | FANFARE CINCINNATI | 27 PROGRAM NOTES: JAN 5/7

JOHANNES BRAHMS sacaglia of the finale—the crowning glory of all of Symphony No. 4 in E Minor, Op. 98 Brahms’ variation movements—did not appear a proper conclusion for a symphony.” The critic went n Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna to visit the composer the next day, to implore him to n Work composed: During the summers of 1884 and destroy the scherzo, preserve the finale as a separate 1885 in Mürzzuschlag, Austria work and write two new movements. Uncharacteristi- n Premiere: October 17, 1885, Meiningen, Germany— cally, Brahms did not get angry. He defended his use Brahms conducting of variation form in a finale, citing the precedent of n Instrumentation: 2 flutes (including piccolo), Beethoven’s Eroica Symphony. 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, The composer, as usual, had his own doubts about 2 trumpets, 3 trombones, timpani, triangle, strings n CSO subscription performances: 37 previous the new composition. He wrote to conductor Hans subscription weekends; also on 10-week world tour in von Bülow in typically self-deprecating fashion: “A 1966, Max Rudolf conducting—the CSO was the first few entr’actes are lying here ready—the thing one American orchestra to make a world tour sponsored by the usually calls a symphony.” To another friend Brahms U.S. Department of State | Premiere: March 1900, Frank wrote, “It is very questionable whether I will ever Van der Stucken conducting | Most recent: January 2012, expose the public to this piece.” But he was confident Jun Märkl conducting n Duration: approx. 41 min. beneath this facade of self-effacement. He believed in his unusual new symphony, and he wanted to hear Brahms liked to retreat to small rural towns for the an orchestra play it. That was the real reason for the summer months, in order to work close to the natural letter to von Bülow. He continued: settings he deeply loved. In 1884 he decided to spend I often indulge myself by imagining how nicely and the summer in Mürzzuschlag in the Austrian Alps, a comfortably I could work on this piece with you town he had visited 17 years earlier with his father. and the Meiningen Orchestra while on tour. I am Brahms made several friends in the village and re- thinking now—and at the same time pondering— ceived many guests from Vienna, but he nonetheless whether the symphony will find more of a public. had ample time to finish the first two movements I fear it smacks of this country—the cherries are not sweet here and you would certainly not eat of his new symphony. Since he liked the town, he them! In Rhenish or Dutch towns, where my other returned the following summer to complete the work. things are heard often enough and liked, the new The composer went home to Vienna in the fall with symphony would probably be quite a good item. the completed score of what he knew to be a most How amusing it would be if I were to travel with unusual symphony. As he was eager to have his you as a sort of extra conductor! friends hear it, he made a four-hand piano arrange- Von Bülow had been a strong supporter of Brahms ment, which he played with the help of his friend for several years. Previously he had allied himself Ignaz Brüll. Critic Max Kalbeck, who was Brahms’ with the rival faction, led by avant-gardists Wagner first biographer, related the awkwardness of first and Liszt. He had married Liszt’s daughter Cosima, hearing this confusing piece: but she left him to live with, have children by and As Brahms was out of practice and Brüll had never eventually marry Wagner. These events caused the seen the work, the performance was less than most proper von Bülow public embarrassment and perfect. The first movement was received with private chagrin. He abandoned the cause of avant dead silence, into which at last Eduard Hanslick, garde music and began to champion Brahms, the the critic who had previously championed each new work of Brahms, interjected, “Throughout the latter-day classicist. It was von Bülow who had entire movement I had the sensation of being flailed coined the phrase “the three Bs,” equating the genius by two fearfully ingenious persons.” of Brahms with that of Bach and Beethoven. The conductor supported Brahms’ music as ardently as The composer’s friend Elisabeth von Herzogenberg he had that of Wagner and Liszt: complained of the “tangled overgrowth of inge- niously interwoven detail.” The performers passed on I have [Brahms] to thank for being restored to to the second movement, which met with no reaction sanity—late, but I hope not too late—in fact, for being still alive. Three quarters of my existence at all. At last Kalbeck spoke, uttering some banality has been misspent on my former father-in-law, in order to break the tense silence. The performers that mountebank, and his tribe, but the remainder continued. Kalbeck felt that the “shaggy, grimly joyful belongs to the true saints of art and above all to him. scherzo seemed far too insignificant in comparison to the preceding movements, and the mighty pas- Von Bülow offered Brahms his orchestra for first performances and even for trying out passages of

28 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 5/7 works in progress. Von Bülow readily agreed to baroque period. The dynamism of the fourth move- allow Brahms to tour with the orchestra as an “extra ment comes from the insistent presence of this theme conductor.” and from the ingenious variations constructed on it. Von Bülow had learned Since the theme is only eight from Wagner that composers It was von Bülow who had measures long, the careful can be hard to deal with. His coined the phrase “the three listener can usually follow it. friendship with Brahms sub- Bs,” equating the genius of It is heard 31 times in a row, sequently suffered a rift that yet always in new guises, might well have reminded Brahms with that of Bach and so that it never becomes him that geniuses can be Beethoven. The conductor tedious. This movement, temperamental and not al- in addition to being a tour ways trustworthy. First of all, supported Brahms’ music as de force of compositional Brahms insisted that no other ardently as he had that of technique, is unprecedented work of any substance pre- Wagner and Liszt in a symphony. Many move- cede the Fourth Symphony ments in earlier symphonies on tour concerts. Then the are cast in variation forms, composer asked to conduct the piece on nine different but none has so short and simple a theme. occasions, including the premiere (which von Bülow KEYNOTE. “Tragedy with unsurpassable variety had rehearsed). Von Bülow began to wonder who of expression and power of climax.” “A funeral was really the “extra” conductor. The final blow came procession moving in silence across moonlit heights.” when Brahms absented himself from the orchestra “Elegiac and meditative.” “Shadowy desolation and for a few days in November, in order to conduct the mystically supernatural atmosphere.” “Vigor and Fourth Symphony with the Frankfurt Orchestra. Von nobility that is indeed often heroic.” “The realms Bülow had scheduled a performance in Frankfurt a where joy and sorrow are hushed.” “Sturdy gaiety.” few days later, and he was insulted when the com- “Under the shadow of an inevitable fate.” “Boisterous poser stole his thunder with a prior performance. and sportive.” “Quiet tragedy and uncanny merri- Von Bülow felt that Brahms was showing a lack of ment.” “Deeply earnest.” These are just some of the confidence in him and that his professional honor had ways commentators have characterized the E Minor been compromised. He over-reacted by resigning his Symphony. The far-flung variety of these descriptions post as conductor of the Meiningen Orchestra. The indicates not only the range of moods found in the composer and the conductor maintained a stony symphony but also its elusive character. The Fourth silence for a year. is a deeply meaningful and profoundly expressive Eventually the friendship was restored. Von Bülow work, yet it is absolute music of the highest order. came to Vienna and Brahms sent him a card with a It is not really “about” anything that can be readily musical quotation from Mozart’s opera The Magic characterized verbally, and these quotations attest to Flute, the words of which are “Shall I never see thee the futility of trying to translate its rarefied world of again, beloved?” Von Bülow was touched and im- tones into the concreteness of language. The emotions mediately called on Brahms, and the friendship was of the Fourth are there to be heard and experienced, renewed. whatever labels an individual might want to attach The Fourth Symphony, despite the doubts of to them. Brahms’ friends, was popular with audiences, even- The symphony begins with a two-note motive, re- tually even in staid Vienna. Its unusual nature did peated and developed immediately and extensively. not detract from its impact. Its strangeness lies in its It almost seems as if the music had been playing combination of modern (for 1885) harmonies and already when we happened to tune in on it. In an early suggestions of old music. This tendency toward the sketch Brahms had, in fact, preceded this opening archaic is evident in the opening and closing of the with a brief introduction. Notice how the weak-strong slow movement, which implies one of the renaissance rhythm of the two-note figure pervades the entire era’s church modes (the phrygian), and in the finale. movement. The development section of this sonata The last movement is cast as a passacaglia, a form form begins like a relaunching of the opening—a popular with baroque composers. In a passacaglia a reference to procedures of the classical period, when short theme is repeated again and again, with differ- composers generally indicated that exposition sec- ent variations and ornamentations. Not only the form tions were to be repeated. Having begun the develop- Brahms chose, but also the actual theme, suggests the ment like the opening, Brahms could hardly also start

cincinnatisymphony.org | FANFARE CINCINNATI | 29 PROGRAM NOTES: JAN 5/7 the recapitulation in the same manner. He disguises version sounding in the violins, violas, trumpet and the return. Only in the fifth measure does the theme trombone. (5) The theme in low strings accompanies regain its original form. a new melody in the upper strings. (6) The theme, In the second movement Brahms creates a subtle in pizzicato string basses and at the bottom of cello undercurrent of tension by a sophisticated composi- arpeggios, accompanies an elaborated version of the tional strategy. The listener may well not be aware new melody from (5). (7) Continuation of (6), with of it consciously, but the effect is unmistakable. the theme still in string basses (now bowed) and Tension is maintained by continually stating the cello arpeggios. (8) The theme is in the string basses opening horn theme in the “wrong” key or on the and bassoon arpeggios (in a dotted rhythm) against “wrong” degree of the scale. At the beginning, for dotted-rhythm melodies in the upper and lower example, the melody seems to suggest the key of strings. (9) The theme is again in the string basses C major, with an emphasis on the note E. But the and cellos, accompanying sixteenth-note triplets; it movement is destined to be in E major, not C major. is embedded within these figurations in the violas The clarinets and pizzicato violins take up the theme and cellos while it is also heard unadorned in the in the “correct” key of E, but emphasizing the note string basses. (10) The figurations speed up, becoming G-sharp. After a hint of G major, the theme is again sixteenth-note triplets; the theme is embedded within stated in E with G-sharp emphasized. At long last, these figurations in the violas and cellos while it is also resolution is felt as the violins, playing bowed for the heard unadorned in the string basses. (11) The theme first time in the movement, state the theme (slightly is heard as the bass line of block chords that alternate disguised) in the key of E major and emphasizing between the strings and winds. (12) The theme is in the note E. To underline this sense of arrival, Brahms the bass line (bassoons, cellos and violas), but it is orchestrates sumptuously: oboe and bassoon com- also in the horn, accompanying a melody in the flutes mentary, violin and cello arpeggios, and horn and and violins. (13) The theme starts to move twice as trumpet syncopations accompany the melody. Now slowly (the time signature changes from 3/4 to 3/2) as that the theme has finally achieved the stability it has the solo flute plays a lyrical melody derived from the sought from the beginning, the music is free to move theme. (14) The music changes from minor to major on to other matters. After an interlude the opening for the first time, as the theme becomes the basis of theme returns, sometimes in the “right” key and a dialogue among the winds. (15) The theme is the sometimes in a distant (e.g., B-flat major) “wrong” bass line of a chord progression in the low winds and key. The movement ends quietly with a reminiscence brass. (16) The chord progression of (15) is repeated of the opening, the melody still suggesting C major in an elaborated version. but the harmony firmly in E major. The tensions of (17) After a brief pause the music returns to minor the movement never reach full resolution. and to 3/4 time for a recapitulation of the theme in The colorfully orchestrated third movement is the its original chordal version, in the brass and winds, only true scherzo in all the Brahms symphonies. It is joined eventually by the strings. As this variation cast in C major, not unexpected after the hints of that marks the midpoint of the movement, it initiates a key in the slow movement. second series of variations that loosely parallels the The theme of the finale is only eight notes long. first. (18) The theme is heard tremolo in the cellos, For those who might like to follow this simple tune while the upper strings also play tremolo in accompa- through its numerous variations, they are listed niment to two-note figures in the winds, reminiscent below. It is suggested that you not try to follow these of the first movement. (19) An elaborated version of transformations, however, unless you are already the theme becomes the melody in the upper winds, quite familiar with the movement. You could well accompanied by most of the orchestra. (20) A forceful miss the music while listening too carefully to the ornamented version of the theme is played in eighth notes. notes by the violins, alternating with the winds. (1) The first series of variations begins with the (21) Continuation of (20) with further ornamentation exposition of the theme in full brass and woodwind of the theme. (22) A forceful treatment by the full or- chords. (2) The theme is played pizzicato in the vio- chestra, with the theme in the violins and flutes—the lins, accompanied by the horns, trombones, timpani beginning notes of each rapidly ascending scale and and other strings. (3) The theme is played pizzicato the top notes of some of the staccato chords comprise in the violas and cellos accompanying a flowing the theme. (23) The theme is embedded within the melody in the winds. (4) An ornamented version bass line of a quiet, staccato version in the strings is played by the full orchestra, with the original and winds. (24) The theme is stated powerfully in

30 | FANFARE CINCINNATI | cincinnatisymphony.org MATINÉE MUSICALE CINCINNATI OurOur 1104th04th SeasonSeason Inspires!Inspires!

PIANIST JOYCE YANG 2005 Van Cliburn International Piano Competition Silver Medalist Tuesday, January 31, 2017 at 11 a.m. The Anderson Center 7850 Five Mile Road Cincinnati, Ohio 45230

• Performed in August during Cincinnati Chamber Orchestra's Summermusik Festival • Juilliard graduate honored with the 2010 Arthur Rubenstein Prize and an Avery Fisher Career Grant recipient • “Poetic and sensitive pianism” (Washington Post);“Wondrous sense of color” (San Francisco Classical Voice) • “Impressive gifts” ( on the 2014 release of a trio of ) • Critically acclaimed as “the most gifted young pianist of her generation” with a “million-volt stage presence” (Bach Cantata Website)

Remaining Concerts: VIOLINIST PAUL HUANG PIANIST WINSTON CHOI Tuesday, March 14, 2017 Wednesday, April 12, 2017 Recital begins at 11 a.m. Recital begins at 11 a.m. The Anderson Center Forest Chapel UMC 7850 Five Mile Rd, 45230 680 West Sharon Rd, 45240

TICKET INFORMATION Season Ticket Packet Individual Tickets 6 Tickets - Just $60 At the Door: $15 (Each ticket valid for any Students (with ID): $3 MATINÉE MUSICALE CINCINNATI 2016-17 season recital) For more information, please call (859) 781-0801 or visit www.MatineeMusicaleCincinnati.org PROGRAM NOTES: JAN 5/7 the horns, while the winds alternate triplet figures. to the coda, which is faster. It starts with a forceful (25) A forceful statement by the full orchestra, with statement of the beginning of the theme, and it goes the theme in the violins and upper winds. (26) The on to develop parts of the theme rather than varying forceful statement continues with a countermelody the whole theme. in the oboes, bassoons, violins and violas, while the What is amazing about the finale is not only its theme is heard in the upper trombones, trumpets and strict adherence to one theme (sometimes prominent, horns. (27) The theme is ornamented slightly in the sometimes buried in an accompanimental figure) but horns, switching to the oboes, and is accompanied by also the way in which Brahms continually creates a quiet string undulation. (28) The theme is embedded variety. He achieves this variety while playing the within an arpeggiated melody in the violas and cel- same melody again and again, never even allowing los, accompanied by soft wind chords and pizzicato himself the relief of a key change. The inexorable lower strings. (29) A wind melody is accompanied by momentum built up in this manner makes the finale upper string arpeggios that contain the theme and by a powerful and unique listening experience (whether lower strings playing pizzicato. (30) The full string or not you choose to follow the transformations of section plays pizzicato arpeggios based on the theme, the theme consciously) and a fitting conclusion to accompanying two-note figures in the winds. (31) The an extraordinary symphony—and to a series of four arpeggios (and hence the theme) are treated in canon magnificent symphonies. by the nearly full orchestra. (32) A brief transition —Jonathan D. Kramer

GUEST ARTISTS: Jan 5/7

JASMIN WHITE, REBECCA PRINTZ, soprano mezzo-soprano n Previous CSO n Previous CSO Performances: Debut Performances: Debut

Jasmin White is a Mezzo-soprano Rebec- 23-year-old soprano ca Printz is currently in from Grand Ronde, OR. her first year of CCM’s Her musical training vocal master’s degree began with bassoon and program, studying un- jazz bass, and evolved der Professor of Voice to include jazz and clas- William McGraw. She

Jasmin White sical vocal training. She Rebecca Printz recently performed earned her Bachelor of the role of Madame Music degree studying jazz bass and classical voice de la Haltière in CCM Opera Theatre’s production as an undergraduate at the University of Southern of Cendrillon. Last spring, Printz graduated from California (USC) Thornton School of Music, and is Oberlin College and Conservatory with degrees in currently in her second year at the University of Cin- Vocal Performance and Art History. At Oberlin, she cinnati College-Conservatory of Music (CCM) pursu- was a student of Assistant Professor of Voice Kendra ing a Master of Voice Performance degree. Recently, Colton and performed as Lucretia in The Rape of Lu- White performed the title role in Massenet’s Cendrillon cretia, Mrs. Hildebrand in Street Scene, and Florence at CCM, scenes as Marschallin in Der Rosenkavalier at Pike in Albert Herring with Oberlin Opera Theater. CCM, scenes as Sister Rose in Dead Man Walking at Printz also recently performed the mezzo-soprano USC, and Dido in Dido and Aeneas at USC. During the solo in Rachmaninoff’sAll-Night Vigil with the CCM summer of 2017, White will be a young artist at the Chamber Choir, and was the mezzo-soprano soloist Glimmerglass Opera Festival, performing the role of in Haydn’s Lord Nelson Mass and Handel’s Messiah, Strawberry Woman in Porgy and Bess and covering the both at Oberlin. She participated twice in Emmanuel role of Atalanta in Handel’s Xerxes. Her plans after Music’s month-long Bach Institute and performed graduation in April of 2017 include moving with her the solo alto cantata BWV 170 with Winsor Music private music ensemble to Portland, OR to focus on in Boston. recording her next solo project album.

32 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 5/7

DONGWHI BAEK, MAY FESTIVAL CHAMBER ENSEMBLE tenor ROBERT PORCO, Director of Choruses n Previous CSO Heather MacPhail, Assistant to the Performances: Debut Director of Choruses & Accompanist Minhye Jang, May Festival Conducting Fellow Tenor Dongwhi Baek, Rosanne Wetzel, Chorus Manager originally from South Korea, is a first-year The May Festival Chorus has earned acclaim locally, master’s degree stu- nationally and internationally for its musicality, vast dent at the University range of repertoire and sheer power of sound. The of Cincinnati College- main chorus of 150 professionally trained singers, Dongwhi Baek Conservatory of Mu- under the direction of Robert Porco since 1989, is sic, where he began studies with Professor of Voice the core artistic element of the Cincinnati May Fes- William McGraw in the fall of 2016. He will be a 2017 tival—which was founded in 1873 and is the oldest, Central City Opera Studio Artist and looks forward and one of the most prestigious, choral festivals in to playing Arbace in Mozart’s Idomeneo this season the Western Hemisphere—as well as the official with CCM Opera. chorus of the Cincinnati Symphony Orchestra and Baek graduated from Chapman University in Cincinnati Pops. Throughout each season the chorus 2016, where he studied with Professor Patrick Goeser members collectively devote more than 40,000 hours and was seen as Rinuccio in Gianni Schicchi. in rehearsals and performances. Director Robert Porco has been recognized as one JACOB KINCAIDE, of the leading choral musicians in the U.S., and for bass-baritone nearly 40 years he has been an active preparer and n Previous CSO conductor of choral and orchestral works, including Performances: Debut most of the major choral repertoire, as well as of opera. In 2011 Mr. Porco received Chorus America’s Jacob Kincaide is a young “Michael Korn Founders Award for Development bass from the University of the Professional Choral Art.” of Cincinnati College-Con- servatory of Music, where May Festival Chamber Ensemble he has finished his master’s degree and is currently Sopranos Tenors Karen C. Allen Larry Reiring Jacob Kincaide working on his Artist Di- Beth A. Curtis Jeffrey Stivers ploma. Kincaide has taken on several roles in CCM Anita Marie Greer Matthew Swanson Carolyn Hill Jason Vest productions, including Seneca in Monteverdi’s Lauren Peter Gary Wendt L’incoronazione di Poppea and The Priest in Janáček’s Kristi C. Reed Basses The Cunning Little Vixen. Projects outside of CCM Altos Christopher Canarie include Sparafucile in Verdi’s Rigoletto, Sarastro in Kate Bohanan Steven L. Dauterman Megan Christman Steve France Mozart’s The Magic Flute and Colline in Puccini’s La Erika Emody Jon Gibson bohème, and he has appeared as the bass soloist in Sarah W. Keeling Michael Pekel several concert works, including Mozart’s Requiem Rozelia Park Justin Peter Amy M. Perry and Mass in C Minor and Verdi’s Requiem, as well as in Elijah with Cincinnati’s May Festival Chorus for its Chorus America Conference appearance in June of 2016 in Cincinnati.

cincinnatisymphony.org | FANFARE CINCINNATI | 33 SECOND CHAMBER PLAYERS CONCERT “BRAHMS FEST” 28th Season, 2016–2017 FRI JAN 6, 7:30 pm Christ Church Cathedral Cincinnati

VERDI String Quartet in E Minor (1813–1901) Allegro Andantissimo Prestissimo Scherzo fuga Cheryl Benedict, violin Rebecca Kruger Fryxell, violin Rebecca Barnes, viola Susan Marshall-Petersen, cello

INTERMISSION

BRAHMS Serenade No. 1 in D Major, Op. 11 (1833–1897) Allegro molto arr. Chris Nex Scherzo Adagio non troppo Menuetto I—Menuetto II Scherzo Rondo Gabriel Pegis, violin Stefani Collins, violin Christian Colberg, viola Ilya Finkelshteyn, cello Owen Lee, bass Randolph Bowman, flute Dwight Parry, oboe Benjamin Freimuth, clarinet Martin Garcia, bassoon Elizabeth Freimuth, French horn

YOU’RE INVITED to greet the musicians after the concert. The CSO Chamber Players series has been endowed in perpetuity by the ELEANORA C.U. ALMS TRUST, Fifth Third Bank, Trustee. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

PROGRAM NOTES © 2016–17 Cincinnati Symphony Orchestra

GIUSEPPE VERDI Written in the spring of 1873 during the delay of String Quartet in E Minor his opera production of Aida in Naples, Verdi—at The Verdi String Quartet in E minor is the only cham- the age of 60 and the height of his fame—focused his ber work Giuseppe Verdi ever composed, and the attention on writing a quartet for his own personal only work in this form written by an Italian composer amusement. The work was casually premiered in his of the 19th century. hotel room to a small group of friends, two days after the opening of Aida on April 1.

34 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 6

Verdi remarked that he had written a quartet in Brahms’ good friends Clara Schumann and Joseph his leisure moments in Naples, and “didn’t know if Joachim both advised him to score the work for the quartet was beautiful or ugly, but knew that it orchestra rather than a chamber ensemble. Brahms was a quartet.” initially was hesitant since, as a genre, a serenade The String Quartet in E Minor is a formidable piece, traditionally is a more lighthearted composition than emotional in content and virtuosic in style. Although a symphony: “I had such a beautiful, grand idea of overshadowed by his operatic output, it deserves a my first symphony, and now….” place on the chamber music stage. In the end Brahms relented and followed his —Susan Marshall-Petersen friends’ advice, and this serenade became one of his earliest efforts to write orchestral music. Brahms JOHANNES BRAHMS eventually destroyed the manuscripts of the original Serenade No. 1 in D Major, Op. 11 version of the serenade, as he did with many early versions of his other works. However, it is not dif- Serenade: a piece of music sung or played in the open air. ficult to extrapolate a chamber version from the full Brahms completed his Serenade No. 1 in D, Op. 11 in orchestral score, and, in recent years, a number of Detmold in 1858, at the age of 25. This sunny, youth- scholars and arrangers have done so. This evening ful work was originally composed for a chamber we perform a chamber version arranged by Chris ensemble of nine players, and this version of the Nex for a combined string quintet plus wind quintet. work was premiered in Hamburg in 1859. However, —Owen Lee

NEW VENUE! Christ Church Cathedral

2016–17 SEASON

CABARET AND DANCE FRI FEB 3, 2017

SPRING INSPIRATION FRI MAY 12, 2017 2 EXTRAORDINARY CONCERTS with bonus pre-concert receptions!

cincinnatisymphony.org/chamber • 513.381.3300

cincinnatisymphony.org | FANFARE CINCINNATI | 35 your performance will stick with us forever.

The arts serve as a source of inspiration for us all. That’s why PNC is proud to be the Presenting Sponsor of the Pops Series and support the Cincinnati Symphony Orchestra and Cincinnati Pops.

©2016 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC FIFTH POPS SERIES PROGRAM

2016–2017 SEASON SUN JAN 8, 7 pm Taft Theatre

MELISSA ETHERIDGE Bob Bernhardt, conductor

Selections will be announced from the stage. There will be one 20-minute intermission this evening.

The Cincinnati Pops Orchestra is grateful to PNC, the Pops Series Sponsor. The Cincinnati Pops Orchestra is grateful to Edyth B. Lindner, whose generous underwriting and endowment gifts support this performance. Edyth B. Lindner The August A. Rendigs, Jr., and Helen J. Rendigs Foundation, W. Roger Fry, Trustee, and the firm of Rendigs, Fry, Kiely & Dennis is the Presenting Sponsor for this concert. The Rendigs CSO Spectrum is the Performance Sponsor for this concert. Foundation and The Cincinnati Pops Orchestra is grateful for the support of the Rendigs, Fry, Kiely Louise Dieterle Nippert Musical Arts & Dennis Fund of the Greenacres Foundation. The Cincinnati Pops Orchestra is grateful for the thousands of people who give generously to the CSO Spectrum ArtsWave Community Campaign. WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.

BEN FOLDS with the Cincinnati Pops TUES MAY 9, 2017 • 7:30 p.m. Return to the Taft May 9 to hear rock, piano-pop and jazz artist Ben Folds when he takes the stage with the Pops for special one-night-only appearance. Buy your tickets online at cincinnatipops.org or by phone to 513.381.3300.

cincinnatisymphony.org | FANFARE CINCINNATI | 37 GUEST ARTISTS: Jan 8

MELISSA ETHERIDGE and a half years on the album n Previous Pops Performances: chart. In 2011 Melissa made her Debut Broadway debut as St. Jimmy in n Noteworthy: In addition to Green Day’s rock opera, American her Grammy wins, Melissa is also an Oscar winner for her song Idiot, where she replaced Billie “I Need to Wake Up” from An Joe Armstrong for one week. Inconvenient Truth. She also has a Etheridge released MEmphis Rock star on the Hollywood Walk of Fame and Soul, a new album honoring n Read more: MelissaEtheridge.com Stax Records, in October of 2016. This is her first album since 2014’s Melissa Etheridge is one of rock critically lauded This Is M.E. music’s great female icons. Her On June 20, 2016, Etheridge critically acclaimed eponymous released a song called “Pulse.” debut album was certified double The singer wrote the song in platinum. Etheridge’s popularity Melissa Etheridge, © Net Worth reaction to the mass shootings is built around such memorable that took place in Orlando on June songs as “Bring Me Some Water,” “No Souvenirs” 12, 2016. As she told Rolling Stone, “We want to try to and “Ain’t It Heavy,” for which she won her first make sense. We want to try to heal. We want to bring Grammy for Best Female Rock Vocal. Etheridge hit some meaning, some purpose. We also want to put her commercial and artistic stride with her fourth it down forever in history. That’s how I’m coping.” album, Yes I Am, featuring the massive hits “I’m the All proceeds from the sale of “Pulse” will benefit Only One” and “Come to My Window,” a searing Equality Florida, the state’s largest LGBT civil rights song of longing that brought her a second Grammy. organization. The six times platinum album spent more than two

presents WELL-STRUNG SAT MAR 25, 2017 • 8 pm 20th Century Theater

Join CSO Spectrum volunteers and members for a fun and irreverent evening of classical and pop music fused in a unique blend of vocals and strings by the New York-based quartet Well-Strung.

Supporting Sponsor PNC • Ruby Slipper Sponsor Jack & Moe Rouse

cincinnatisymphony.org/spectrum • 513.381.3300

CSO Spectrum is a volunteer group raising funds in support LGBT artists and programs at the CSO.

38 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 8

BOB BERNHARDT, conductor Kentucky Opera, music director and n Previous Pops Performances: 2009 conductor of the Amarillo Symphony, Holiday Pops, 2011 Pops with Wynonna and artistic director of the Lake Placid Judd Sinfonietta. n Noteworthy: Bob was an Academic All- This season marks his 24th as a fre- American baseball player while at Union quent guest of the Boston Pops, which College in New York. he first conducted at John Williams’ n Read more: GreenbergArtists.com/artists/ details/bob-bernhardt invitation in 1992. He also has been a fre- quent guest conductor of the Edmonton With 31 years experience as a Music Symphony Orchestra (in his 11th season Director, 35 years as a conductor of as conductor of their Symphony Under Pops, and 33 years in the opera pit, Bob the Sky Festival), Pacific Symphony, Bernhardt brings a unique perspec- Florida Orchestra, and the orchestras tive and ability each time he is on the Bob Bernhardt of Baltimore, Detroit, Pittsburgh, Dallas, podium, and in every genre. Houston, Seattle, Grand Rapids, Las Vegas, Santa In 2015, Bernhardt was named Principal Pops Barbara and elsewhere. Conductor of the Grand Rapids Symphony and this A lover of opera, he conducted productions with season is celebrating his 20th year as Principal Pops Kentucky Opera for 18 consecutive seasons, and for Conductor of the Louisville Orchestra, as well as his 19 seasons with his own company in Chattanooga, 35th consecutive year with the company. It’s also his as well as many guest conducting engagements with fifth season as Music Director Emeritus and Principal Nashville Opera. Pops Conductor of the Chattanooga Symphony and He received his master’s degree with honors from Opera (where he was Music Director for 19 seasons). the University of Southern California Thornton He also is Artist-in-Residence at Lee University, a post School of Music, studying primarily with Daniel he has held since 2011. Previous positions include Lewis. He received his Bachelor of Fine Arts degree principal conductor/artistic director of the Rochester from Union College in Schenectady, NY, where he Philharmonic, music director and conductor of the graduated Phi Beta Kappa, summa cum laude. He Tucson Symphony, principal guest conductor of lives with his wife, Nora, in Signal Mountain, TN. n

cincinnatisymphony.org | FANFARE CINCINNATI | 39 It feels good to give back.

And together with our generous customers and employees, Macy’s averages more than $1 million a week to initiatives important to you and your community – arts, education, HIV/AIDS, and women’s health and wellness.

It adds up to nearly $71 million a year. It’s a good feeling we can all share, and to us, that’s the magic of giving.

Macys-CSO.indd 1 7/28/16 9:58 AM TENTH SUBSCRIPTION PROGRAM Boundless Series

2016–2017 SEASON FRI JAN 13, 8 pm Taft Theatre

CINCINNATI SYMPHONY ORCHESTRA LOUIS LANGRÉE, MUSIC DIRECTOR

MATTHIAS PINTSCHER conductor LISA HANNIGAN AARON DESSNER

ANDREW NORMAN Play (b. 1979) Winner of the University of Louisville Grawemeyer Award for Music Composition Level 1 Level 2 Level 3

INTERMISSION

MATTHIAS PINTSCHER idyll for orchestra (b. 1971)

INTERMISSION

Selections by Lisa Hannigan and Aaron Dessner to be announced from the stage.

The CSO is grateful to Macy’s, the CSO’s Boundless Series Sponsor. The CSO and MusicNOW collaboration is made possible in part by Daniel R. Lewis and Ginger and David W. Warner, with additional support from Ann Hubbard and Louis D. Bilionis. Daniel R. Lewis Festival Fortissimo Sponsors: Ross, Sinclaire & Associates, LLC; The Carol Ann and Ralph V. Haile, Jr./ U.S. Bank Foundation; the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. Ginger and David W. Warner Festival Forte Sponsors: The Dessner Family, Anne R. Ilyinsky, Brad and Marsha Lindner, James and Anne Shanahan, Ginger and David Warner.

Ann Hubbard and Festival Mezzo Forte Sponsors: Jon and Ellen Zipperstein, Lucy and Craig Joffe, Louis D. Bilionis Sarah and William Morgan. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC March 26, 2017 at 8 pm and at cincinnatisymphony.org March 27–April 2.

cincinnatisymphony.org | FANFARE CINCINNATI | 41 TENTH SUBSCRIPTION PROGRAM Boundless Series SAT JAN 14, 8 pm | Boundless Series 2016–2017 SEASON SAT JAN 14, 8 pm Taft Theatre

CINCINNATI SYMPHONY ORCHESTRA LOUIS LANGRÉE, MUSIC DIRECTOR

MATTHIAS PINTSCHER conductor BRYCE DESSNER guitar PEKKA KUUSISTO violin TIMO ANDRES piano

ANNA THORVALDSDOTTIR Aeriality (b. 1977)

LIGETI Concerto for Violin and Orchestra (1923–2006) Vivace luminoso Aria, Hoquetus, Choral. Andante Passacaglia. Lento intenso Appassionato. Agitato molto

INTERMISSION

TIMO ANDRES The Blind Banister (b. 1985)

INTERMISSION

BRYCE DESSNER Wires (b. 1976)

The CSO is grateful to Macy’s, the CSO’s Boundless Series Sponsor. The CSO and MusicNOW collaboration is made possible in part by Daniel R. Lewis and Ginger and David W. Warner, with additional support from Ann Hubbard and Louis D. Bilionis. Daniel R. Lewis Festival Fortissimo Sponsors: Ross, Sinclaire & Associates, LLC; The Carol Ann and Ralph V. Haile, Jr./ U.S. Bank Foundation; the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. Ginger and David W. Warner Festival Forte Sponsors: The Dessner Family, Anne R. Ilyinsky, Brad and Marsha Lindner, James and Anne Shanahan, Ginger and David Warner. Ann Hubbard and Festival Mezzo Forte Sponsors: Jon and Ellen Zipperstein, Lucy and Craig Joffe, Louis D. Bilionis Sarah and William Morgan. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC March 26, 2017 at 8 pm and at cincinnatisymphony.org March 27–April 2.

42 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: Jan 13–14 © 2016–17 Cincinnati Symphony Orchestra SAT JAN 14, 8 pm | Boundless Series One of the Cincinnati Symphony Orchestra’s core values is to be a place of experimentation, and, in that spirit, we are thrilled to once again be collaborating with Bryce Dessner and the innovative MusicNOW Festival! Each year the CSO has collaborated with the MusicNOW Festival our musical and artistic horizons are expanded, and we have the wonderful opportunity to encounter music by composers and musicians on the forefront of musical innovation. These two programs feature musical experiences by a diverse array of exciting composers, from Ligeti to Timo Andres. Included on the programs are Andrew Norman’s Play, recently awarded the prestigious Grawmeyer Award, as well as the U.S. premiere of Bryce Dessner’s Wires for Electric Guitar and Orchestra. We are also thrilled to welcome the groundbreaking composer and conductor Matthias Pintscher to lead the CSO in these performances, including his own work idyll on Friday evening. Open your ears, mind and heart, and enjoy this exhilarating journey! —Louis Langrée

ANDREW NORMAN character. Rather, Norman takes his musical material Play into different “realms,” as it were, and as we get into “higher and higher” regions, the air becomes “thin- n Born: October 31, 1979, Grand Rapids, ner and thinner.” Level 1 has a relentless drive with n Work composed: 2013, on commission from the continually hectic activity almost throughout. Level 2, Boston Modern Orchestra Project which, after an initial trumpet signal, starts out with a n Premiere: May 17, 2013 by the Boston Modern Orchestra Project, Gil Rose conducting; revised version quiet, almost inaudible rhythmic pulsation, maintains Oct. 2016 with the LA Philharmonic, Gustavo Dudamel a looser organization, and in general prefers softer, conducting more legato melodic lines. It is not until close to the n Instrumentation: 3 flutes (incl. 2 piccolos), 2 oboes, end that a significant textural buildup occurs. Also, English horn, 3 clarinets (incl. E-flat clarinet), 3 bassoons general rests, unmetered passages and aleatoric sec- (incl. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tions (where musicians repeat their motif without tuba, , bongo , brake drum, cowbells, coordination) become more frequent at this level, as , , guiro, kick drum, log drums, opera do passages where indefinite pitches predominate. At gongs, ratchet, sandpaper blocks, slapstick, tom-toms, the end of this level, the whole orchestra “freezes,” splash cymbals, spring coil, suspended cymbals, tam-tam, and then “unfreezes” gradually, desk by desk, accord- temple blocks, tin cans, triangle, tubular bells, , washboard, wood blocks, , piano, strings ing to a fixed order indicated by the composer. The n CSO subscription performances: Premiere third level, which takes us to the highest “altitude,” n Duration: approx. 47 mins. completes the process of “rarefaction” and “disin- tegration.” Isolated solo gestures and unchanging Musical America recently chose Andrew Norman, ostinatos dominate the landscape, placing motifs who currently lives in Los Angeles, where he teaches heard in the earlier movements in new contexts. composition at the University of Southern California, The various independent strands are reunited one as “Composer of the Year 2017.” His orchestral work last time before the texture thins out to single notes, Play is, according to some critics, the best symphonic reducing the sound world nearly to zero. work the 21st century has produced so far. These The composer has offered the following comments accolades—and the fact that the California-based on Play: composer, not yet 40, has already had his work played by many major orchestras around the world—bear I am fascinated by how instruments are played, and how the physical act of playing an instrument witness to an extraordinary success story, all the becomes potent theatrical material when we more remarkable since Norman does not follow foreground it on stage at an orchestral concert. recent trends toward reviving a traditional, tonal I’m also fascinated by how the orchestra, as a idiom but employs, instead, many non-conventional meta-instrument, is played, how its many moving playing techniques and seeks out sounds and musical parts and people can play with or against or structures that had never been used before. apart from one another. While the word “play” Norman has said of Play, his most extensive work to certainly connotes fun and whimsy and a child- date, that it “weds traditional symphonic logic to the like exuberance, it can also hint at a darker side non-linear narrative techniques and exuberant tone of of interpersonal relationships, at manipulation, control, deceit, and the many forms of master-to- a video game.” To emphasize the video-game connec- puppet dynamics one could possibly extrapolate tion, Norman called the three sections of the composi- from the composer-conductor-orchestra-audience tion “Level 1,” “Level 2,” and “Level 3.” And in fact, chain of communication. the relationship of the three sections is not that found in traditional symphony movements in contrasted Much of the piece is concerned with who is play- tempos, with the attendant differences in mood and ing whom. The percussionists, for instance, spend

cincinnatisymphony.org | FANFARE CINCINNATI | 43 PROGRAM NOTES: JAN 13–14 a lot of their time and energy “playing” the rest of from Henze’s (their public debate became famous the orchestra (just as they themselves are “played” in Germany). Pintscher has thus created a synthesis by the conductor, who in turn is “played” by the between various trends of German music that were score). Specific percussion instruments act as trig- often considered to be antithetical. His output shows gers, turning on and off various players, making that uncompromising modernity in the means is not them (sometimes in a spirit of jest, sometimes not) incompatible with expression and dramatic meaning. play louder or softer, forwards or backwards, faster idyll started life as a work for solo piano, on a or slower. They cause the music to rewind and retry clear day, written for the 80th birthday of a friend things, to jump back and forth in its own narrative and mentor in 2004. When the friend passed away, structure, and to change channels entirely, all with an Pintscher expanded the birthday tribute into a vast eye and ear toward finding a way out of the labyrinth tombeau or commemorative work, in which he incor- and on to some higher level. porated a recomposed version of the original piano piece—hence the long piano solo about two-thirds MATTHIAS PINTSCHER of the way through. idyll for orchestra Speaking about the larger theme of idyll, Pintscher said: n Born: January 29, 1971, Marl, Germany n Work composed: 2014, on commission from The The piece is about the breathing of resonances, Cleveland Orchestra, the Bavarian Radio Orchestra and about fading away—with the whole sense of the Melbourne Symphony longing associated with this. Each sound dies away n Premiere: October 9, 2014 by The Cleveland because it is dependent upon the breath, and then Orchestra, Franz Welser-Möst conducting you have to breathe in anew.... n Instrumentation: 4 flutes (incl. alto flute, piccolo), [It is] as if we are striding through the garden of 2 oboes, English horn, 2 clarinets, bass clarinet, contrabass memory where we apparently come to a clearing, clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, but turn away from this and take another path. The 3 trombones, tuba, timpani, bass drum, bongo drums, orchestra describes a large soundscape with inner chimes, crotales, cymbals, glockenspiel, guiro, , emotional landscapes which outline it. metal blocks, plate bells, sandpaper blocks, spring coil, Styrofoam blocks, suspended cymbals, tam-tams, thunder Soft and slow almost for its entire duration, sheet, tom-toms, triangles, tubular bells, vibraphone, idyll starts almost inaudibly with some mysterious celeste, piano, 2 harps, strings percussion sounds, over which a series of sinuous n CSO subscription performances: Premiere instrumental lines (alto flute, violin, clarinet, oboe) n Duration: approx. 23 mins. unfold. Eventually, the texture begins to intensify, At 45, Matthias Pintscher is one of the most prominent yet the fundamental mood of contemplation is never composers on the international scene. Also in high broken except for very brief intervals, with the music demand as a conductor, he is the music director of immediately returning to the initial “idyllic” state. An the Ensemble Intercontemporain, the famous new- unaccompanied horn solo, continued by the clarinet music ensemble in Paris founded by Pierre Boulez; and a solo violin, provides another magical moment, he also serves as the music director of the Lucerne before a massive orchestral buildup that in its turn Festival Academy. His compositions—stage works, collapses into the above-mentioned piano solo. The orchestral, chamber and vocal music—have been orchestra re-enters to a varied recapitulation of the performed all over the world. He possesses a unique mysterious opening, leading to a second tutti surge, musical imagination and a virtually boundless ability powerful but short-lived as it soon evaporates, fading to create new sounds. Those sounds, one hastens to away, as the composer said, “with the whole sense of add, are never mere “sound effects” but are endowed longing associated with this.” with dramatic meaning both in and of themselves and through the contexts in which they are placed. GYÖRGY LIGETI Pintscher often approaches musical composition as a Concerto for Violin and Orchestra kind of “imaginary theater,” where musical gestures n Born: May 28, 1923, Târnava-Sânmărtin [now and their interrelationships are treated like characters Târnăveni], Romania | Died: June 12, 2006, Vienna and situations in a drama. Pintscher took over this n Work composed: 1990–1992 notion from Hans Werner Henze, from whom he n Premiere: Final version, October 8, 1992 in Vienna, received valuable advice at the beginning of his career. Saschko Gawriloff, violinist, and Peter Eötvös conducting Yet his language is less traditional than Henze’s; his n Instrumentation: solo violin, 2 flutes (incl. alto unconventional use of the orchestral instruments owes flute, piccolo, treble recorder, descant recorder), oboe a great deal to another German composer, Helmut (incl. soprano ocarina), 2 clarinets (incl. E-flat clarinet, Lachenmann, whose aesthetic is very far removed sopranino ocarina, bass clarinet, alto ocarina), bassoon (incl. soprano ocarina), 2 horns, trumpet, 2 trombones,

44 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 13–14 timpani, bass drum, crotale, cymbals a2, glockenspiel, unsuspected possibilities for creating new sounds and marimba, , suspended cymbals, tam- combining them in novel ways. (Spectral composers tam, tambour de basque, tubular bells, tuned gongs, such as Tristan Murail consider him a major source vibraphone, whip, whistle, wood blocks, xylophone, strings of influence on their aesthetic.) n CSO subscription performances: Premiere By the early 1980s, Ligeti had entered what was n Duration: approx. 28 mins. immediately recognized as a new style period, Ligeti wrote his Violin Concerto for German violin- incorporating certain elements that had been absent ist Saschko Gawriloff. The original version of the from his earlier works. His Horn Trio (1982) makes work was in three movements, and the concerto was reference to Beethoven and Brahms; he embarked premiered in that form by Gawriloff and the Cologne on an in-depth study of the complex polyrhythms of Radio Symphony under Gary Bertini’s direction on African music, and continued his experiments with November 3, 1990. Following that performance, tuning and temperament outside the well-tempered Ligeti revised the work substantially: he discarded system. He also began to reconnect with his Hun- the original first movement and replaced it with three garian roots. During his youth, the folk-song-based new movements played without breaks (movements style of Bartók and Kodály was held up as a model 1–3). This final version was premiered on October 8, to all composers in Communist Hungary; this style 1992, in Vienna, with Gawriloff and the Ensemble was imitated so slavishly that after the 1960s, it Modern under Peter Eötvös’ direction. was widely considered to be an artistic dead end. The music of György Ligeti came to worldwide Therefore, it is highly significant that Ligeti quotes attention during the 1960s, when the Hungarian a Hungarian folksong in the last movement of his composer was a leading figure in the avant-garde 1992 Violin Concerto, and that the second of the five movement along with Pierre Boulez, Karlheinz movements also has a melody with an unmistakable Stockhausen and Luigi Nono. Ligeti, who was born in Hungarian inflection—one, moreover, with a 40-year Transylvania and subsequently studied and taught in history in Ligeti’s compositional life. The melody first Hungary, fled the country during the 1956 revolution turns up in a sonatina for piano duet written in 1950- and established himself in the West. Through his early 51; it was subsequently reworked for piano solo in work in electronic music, he discovered previously Musica ricercata (1951–53), arranged for wind quintet

WELCOME TO THE TAFT

The CSO and MusicNOW collaboration is made possible in part by Tell us about your Daniel R. Lewis Taft Theatre experience! with additional support from surveymonkey.com/r/TaftTheatreFeedback Ann Hubbard and Louis D. Bilionis [email protected] 513.381.3300

We’ll be listening all season long!

cincinnatisymphony.org | FANFARE CINCINNATI | 45 PROGRAM NOTES: JAN 13–14 in one of the Six Bagatelles (1953); it also appears in In the third-movement Intermezzo, the solo violin the second movement of the Horn Trio. Yet Ligeti’s plays a soaring melody in a high register against the allusions to tradition never sound regressive in the rapid descending scales of the orchestral strings, least, but rather present startling new facets of the played in a super-dense canon. The rhythmic divi- (seemingly) familiar. sions, here and elsewhere in the concerto, are based Central to the concept of the Violin Concerto is the on asymmetrical patterns (for example, 3+2+2+2/8) incorporation of the higher tones of the harmonic known as “Bulgarian rhythm” that were particularly series, which are “out of tune” by the standards of dear to Bartók. (Incidentally, the dedicatee of the the well-tempered scale but are here accepted as a concerto, Saschko Gawriloff, is of Bulgarian ancestry.) regular part of the harmony. The unique sound of The fourth movement is a Passacaglia (a set of the work derives from the sophisticated blending of variations over a ground bass). The “ground bass” well-tempered and natural sonorities. Two members (not necessarily in a low register) is a very slowly of the orchestra, a violinist and a violist, tune their in- rising chromatic scale, against which the solo violin struments to such “out-of-tune” pitches. The ocarinas playes mostly long-sustained notes in an extremely used by the woodwind players and the side whistles high register. The ethereal atmosphere is disrupted blown by the percussionists—instruments that lack by some strongly accented material; finally, an ap- the intonational precision of the standard members passionato melody appears and reaches a fantastic of the orchestra—reinforce this “uncleanliness” of eight-fold fortissimo (ffffffff!) before it is cut off with the pitch material. dramatic abruptness. This new approach to tuning also gives an interest- “As if all these movements were not strange and ing new context to the Hungarian folksong quoted complicated enough,” writes Paul Griffiths in his liner in the last movement. The original collector of this notes to the CD recording, “the finale multiplies them folksong indicated that the third and the seventh all on top of each other.” The shimmering harmonies, degrees are sung lower than a Western-trained musi- the slow-moving, soaring melodies, and the rhythmic cian would expect. Although the phenomenon itself complexities combine to raise the level of excitement. has been well known to folk-music scholars who even After the brief episode of the Hungarian folksong, the gave it a name (“Transdanubian” third and seventh), music reaches another dramatic, multiple-forte climax it had never before been addressed by composers. before the violin launches into the cadenza. (This Thus, Ligeti’s modernist interest in non-tempered cadenza was created by Gawriloff from the material pitches was itself rooted in his early studies of folk of the concerto’s discarded original first movement.) music. (His explorations of such pitches began very The end of the cadenza is perhaps the most dramatic early in his career, in the Romanian Concerto written moment in the entire work. At one moment, when the before his emigration.) violin plays extremely fast and with “mad virtuosity,” The melodic material of the first movement it is brutally silenced by a high-pitched woodblock. emerges from a shimmering background of har- The concerto ends almost immediately, stopping monics (those of the soloist and the two “mistuned” dead in its tracks. orchestra members clash constantly). Ligeti took into consideration the fact that the natural harmonics do TIMO ANDRES not always come out perfectly on the instruments, yet The Blind Banister he emphasized that the musicians should never try n Born: 1985, Palo Alto, California to replace them by safer artificial harmonics, for this n Work composed: 2015, for pianist Jonathan Biss, on very uncertainty gives the impression of “fragility commission from the St. Paul Chamber Orchestra, the and danger.” Caramoor Center for the Music and the Arts and the The second movement begins with the afore- Orchestra of St. Luke’s mentioned melody, played by the unaccompanied n Premiere: November 27, 2015, St. Paul, MN solo violin, eventually joined by a (normally tuned) n Instrumentation: solo piano, flute (incl. piccolo), oboe, viola, then by a duo of flute and alto flute, a pair of English horn, clarinet, bass clarinet, 2 bassoons, 2 horns, horns playing natural overtones, and finally by the trumpet, timpani, bass drum, crotale, glockenspiel, shrill sound of the ocarinas. The initial “Aria” turns simantra, snare drum, splash , tam-tam, into a “hocket” (a medieval term designating a very vibraphone, wooden chimes, xylophone, strings quick, note-by-note, alternation between the voices), n CSO subscription performances: Premiere n Duration: approx. 23 mins. and finally into a “chorale” for brass instruments. The epilogue (in which we hear the solo violin all by Timo Andres stands with one foot firmly in the itself, playing double-stops and then, the violin with classical tradition, steeped in Beethoven, Schumann the alto flute) closes with a perfect C-major sonority. and Brahms. Yet he has also listed Sigur Ros, Boards

46 | FANFARE CINCINNATI | cincinnatisymphony.org SUNDAYS | 8:30PM

CET Arts is available over-the- Join Barbara Kellar as air on channel 48.3, she showcases performing artists and cultural Time Warner Cable (Ohio) 987, leaders from the Cincinnati Bell Fioptics 248, Greater Cincinnati Time Warner Cable community. (Northern Kentucky) 192.

CSO Fanfare Ad 2016 Showcase-fnl.indd 1 8/12/2016 12:41:19 PM PROGRAM NOTES: JAN 13–14 of Canada, Brian Eno and Radiohead among his and spiraling modulations. Like any good cadenza, influences and belongs to the generation that may it’s made from those same simple gestures—an arpeg- completely do away with the compartmentalization giated triad, a sequence of downward scales—but of music that has created such deep divisions and uses them as the basis for a miniature fantasia. even gulfs between genres. My third piano concerto, The Blind Banister, is a Andres has written the following note onThe Blind whole piece built over this fault line in Beethoven’s Banister, which was a finalist for the 2016 Pulitzer second, trying to peer into the gap. I tried as much Prize in music: as possible to start with those same extremely simple There’s an interesting process of distancing that elements Beethoven uses; however, my piece is not a happens after I’ve written a piece; when it’s brand pastiche or an exercise in palimpsest. It doesn’t even new it feels like an extension of my body, but when a directly quote Beethoven. There are some surface few years have passed, it begins to merge with other similarities to his concerto (a three-movement struc- music I know well—I almost can’t remember having ture, a B-flat tonal center) but these are mostly red written it myself. I’m fascinated by composers who herrings. The best way I can describe my approach to feel compelled to revise their work years, or decades, writing the piece is: I started writing my own cadenza after the fact. Ives did this constantly, returning to to Beethoven’s concerto, and ended up devouring it add layers of complexity in sedimentary fashion; the from the inside out. two versions of Brahms’ Op. 8 trio encapsulate the Solo piano introduces the main theme of the piece— difference between promising novice and master. one of those slowly descending scales. It’s actually Beethoven gave his early second piano concerto two scales, one the melody and the other (lagging (“not one of my best,” in his own estimation) a kind behind) the accompaniment, creating little rubbing of renovation in the form of a new cadenza, 20 years major-second suspensions against each other with ev- down the line (around the time he was working on the ery move. This idea is later splayed out and reversed Emperor concerto). It’s wonderfully jarring in that he in a rising sequence of loping, two-note phrases. This makes no concessions to his earlier style; for a couple “Sliding Scale” is presented over and over, forming of minutes, we’re plucked from a world of conven- the basis for movement of continuous variations, tional gestures into a future-world of obsessive fugues constantly revising themselves. Orchestral layers pile

4 Program Books Remaining in 42 Total Sell-Outs since 2009 2016-2017 Season Upcoming Season 3x Rates & Performers Full Season Include: Rates Itzhak Available Perlman, Ben Folds, Hélène Grimaud, Currently Midori, Performing Sutton at the Taft Foster Theatre

15% of Audience Over 8,000 Children & Members Identified as Family Members 2017-2018 Season will be Back at Young Professionals Attended Lollipops Family Newly Renovated Music Hall (2015-2016 Season) Conerts in 2015-2016

Discounted pricing for businesses who book now through Summer 2018! To advertise, contact Maggie Goecke at 513-562-2783 or [email protected]

48 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 13–14 up around the scale, building dissonant towers out of Cincinnati native Bryce Dessner is one of a handful of those major seconds. One last, long downward scale American composers to have received a commission gathers enough momentum to launch the second from the Paris-based Ensemble Intercontemporain, movement scherzo, “Ringing Weights.” one of the most prestigious new-music groups in the Here, the downward scale is transformed into world. Dessner, founder of the MusicNOW festival, a propulsive motor in solo strings, driving bright and acclaimed solo guitarist of the rock band The cascades of chromatic chords in the solo part. This National, has also established his reputation as a com- movement is also made from varying modules, poser of symphonic music (Lachrimae, St. Carolyn by each increasingly elaborate—though this time, each the Sea). His newest work, Wires, is in four movements successive module descends a step, the scale theme played without pause; the instrumental ensemble subverting the structure of the piece, trying to push includes a prominent part for electric guitar, which the it inexorably downwards. composer wrote for himself. In addition to plucking The piano works hard to reverse this process in a the guitar, Dessner also uses an Ebow, a battery- trio section, trading a stumbling, step-wise melody operated electronic device that, when placed on the with gentle orchestral echoes of the ringing chords instrument, produces a more sustained, vibrating from the scherzo. As the piano music lurches to its sound, somewhat similar to a bow on a violin. With or feet, it grows progressively more boisterous, and the without the Ebow, the guitar plays, at different times, steps move faster, whirling themselves into a return long-held chords, fast rhythmic patterns, expansive of the scherzo material, this time with full orchestra melodies, or even two melodic lines simultaneously. and pounding timpani. The first characteristic motif of the opening Orchestra suddenly falls away, leaving the pianist movement, in syncopated rhythm, grows out of a to wrestle with the two basic elements of the piece— static background, with figurations of ever-increasing rising and falling. Arpeggios leap up and over each complexity. The music finally explodes in a vibrant other, unbound to any meter, vaulting through the polyrhythmic passage in fortissimo, before returning harmonic atmosphere before plunging down to the to the initial state of calm. lowest E. As the arpeggios begin to trace more regular In the second movement, the syncopated motif patterns, the orchestra drifts back in with another heard earlier takes center stage and undergoes a long scale, descending step by step, introducing a spectacular thematic development; a second idea, richly-harmonized Coda, really a super-compressed consisting of ornamental figures around a central recapitulation of the first movement, the piano finally note, appears on glockenspiel, vibraphone and rushing off into an ambiguous future. piano. Jagged melodic lines, sudden interruptions of rhythmic patterns, and emphatic sequences of short, BRYCE DESSNER repeated chords provide continuous excitement, Wires until a brief transition ushers in the third movement, which begins as a lyrical solo for guitar. An espressivo n Born: April 23, 1976, Cincinnati melody made up of wide melodic leaps is taken over n Work composed: 2016, on commission from the by the piano. From the eerie sounds of the guitar and Ensemble Intercontemporain of Paris and NTR, a Dutch broadcasting system, for its Saturday matinees percussion emerges a virtuosic clarinet solo, which in n Premiere: September 24, 2016 in Paris, Matthias turn leads to the frenetic finale, filled with powerful Pintscher conducting ostinatos and wildly scurrying broken chords. After n Instrumentation: solo electric guitar, 2 flutes (incl. a massive orchestral buildup, the syncopated motif piccolo), oboe, 2 clarinets (incl. bass clarinet), 2 bassoons, from the first movement returns, followed once again horn, trumpet, trombone, tuba, timpani, drum set, bass by a complex polyrhythmic texture which keeps drum, crotale, glockenspiel, log drum, marimba, orchestra getting louder and louder until it is suddenly cut off bells, tam-tam, tom-tom, triangle, vibraphone, wood block, upon reaching fortissimo volume. xylophone, piano, strings —All notes by Peter Laki n CSO subscription performances: Premiere n Duration: approx. 14 mins.

cincinnatisymphony.org | FANFARE CINCINNATI | 49 GUEST ARTISTS: Jan 13–14

MATTHIAS Chamber Orchestra (Helsinki). He has curated the PINTSCHER, music segment of the Impuls Romantik Festival in conductor Frankfurt since 2011. In September of 2014 he joined n Previous CSO the composition faculty at the Juilliard School. Performances: Debut LISA HANNIGAN n Read more: n Previous CSO MatthiasPintscher. Performances: Debut com n Read more: LisaHannigan.ie Matthias Pintscher is the Music Direc- Before beginning her solo tor of the Ensemble career, Irish singer/song- Intercontempo- writer Lisa Hannigan rain. Beginning in made a name for herself 2016–17 he also as the vocal partner of fel- took up a post as low countryman Damien Matthias Pintscher, © Andrea Medici Principal Conduc- Rice. In addition to lend- tor of the Lucerne Festival Academy Orchestra. He ing her sultry vocals to continues his partnerships with the BBC Scottish Lisa Hannigan, © Rich Gilligan the albums O and 9, she Symphony Orchestra as its artist-in-association, and also toured with Rice, with the Danish National Symphony Orchestra as bolstering his music with her multi-instrumental artist-in-residence. Pintscher is also named as the talents on the guitar, keyboards, and drums. Hanni- first composer-in-residence and artist-in-focus at gan sometimes performed her own songs, traditional Hamburg’s new Elbphilharmonie concert hall, which tunes, or the occasional cover at the shows, as well. opened in the fall of 2016, and will be featured in a After the professional partnership with Rice ended in series of portrait concerts in its inaugural season. 2007, Hannigan began preparing her own folk songs Equally accomplished as conductor and composer, for the studio, releasing demos on her MySpace page Pintscher has created significant works for the world’s as they trickled out. In 2008, she hit the road as the leading orchestras and regularly conducts throughout opener for ’s U.S. and Canadian tour, and Europe, the U.S. and Australia. her debut solo effort,, was released in Ireland Highlights of the 2016–17 season include guest later that year, with an American release following conducting appearances with The Cleveland Or- in early 2009. The album went double platinum in chestra; the National Arts Centre Orchestra (Ottawa); Hannigan’s homeland, where her whimsical folk-pop the symphony orchestras of Cincinnati, Dallas, and hushed, soft-spoken vocal delivery appealed to Indianapolis and San Diego; Bayerische Rundfunk; critics and consumers alike. She explored similar ter- and Radio Symphonie Orchester Wien. He also takes ritory on her -produced, 2011 sophomore the Ensemble Intercontemporain on tour to Asia and release, Passenger, which again drew accolades both will celebrate the orchestra’s 40th anniversary. Recent at home and abroad. After touring for two years conducting debuts include the Berlin Philharmonic, in support of the album, Hannigan experienced a Los Angeles Philharmonic, National Symphony Or- lengthy bout of writer’s block. She returned in 2016 chestra (Washington, D.C.) and Toronto Symphony. with a new album, , which was produced by A prolific and successful composer, Pintscher’s The National’s Aaron Dessner. music is championed by some of today’s finest performing artists, orchestras and conductors. His AARON DESSNER works have been performed by such orchestras as n Previous CSO Performances: Aaron previously the Chicago Symphony, Cleveland Orchestra, New appeared with the CSO as guitarist in Bryce Dessner’s York Philharmonic, Philadelphia Orchestra, Berlin St. Carolyn by the Sea for a March 2014 MusicNOW concert. Philharmonic, London Symphony Orchestra and n Read more: posthocmanagement.com/client/ the Orchestre de Paris. His works are published Aaron-Dessner exclusively by Bärenreiter, and recordings of his compositions can be found on Kairos, EMI, Teldec, Aaron Dessner is a New York based songwriter/ Wergo and Winter & Winter. multi-instrumentalist/producer, best known as a Pintscher works regularly with leading contempo- member of the Grammy-nominated rock band The rary music ensembles such as the Scharoun Ensemble, National. Their albums Alligator (2005), Boxer (2007) Klangforum Wien, Ensemble Modern and Avanti! and (2010) were named among albums

50 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 13–14 of the decade in publi- BRYCE DESSNER, cations throughout the guitarist world. Their most recent n Previous CSO release, Trouble Will Find Performances: Bryce Me (2013), debuted at previously performed no. 3 on both the U.S. with the CSO during MusicNOW in March of Billboard chart and the UK 2014 (his St. Carolyn by Albums chart. Dessner the Sea) and in March of has also made a name for 2015 (Planetarium). himself as an influential n Read more: producer, working with BryceDessner.com some of the most talented and respected musicians Bryce Dessner is one of the most sought-after Aaron Dessner, © Shervin Lainez in the rock world. Bryce Dessner, © Shervin Lainez Most recently, Aaron composers of his gen- produced Lisa Hannigan’s At Swim (2016) and eration, with a rapidly expanding catalog of works ’s Painting of a Panic Attack (2016). commissioned by leading ensembles. Known to many He also recently produced ’s Bashed as a guitarist with The National, he is also active as Out (2015), which was hailed by many as the band’s a curator—a vital force in the flourishing realm of break-through album and was named BBC 6’s 2015 new creative music. Album of the Year. Other recent production credits His orchestral, chamber and vocal compositions include The Lone Bellow’s Then Came the Morning have been commissioned by the Los Angeles Philhar- (2015) and Australian band ’s album Passerby monic, Ensemble Intercontemporain, Metropolitan (2014), which was featured on many best album of Museum of Art (for the New York Philharmonic), the year lists. Additional artists whose work he has Kronos Quartet, BAM Next Wave Festival, Barbican produced include , Centre, Edinburgh International Festival, Sydney and , and the ’s Festival, eighth blackbird, Sō Percussion, New York AIDS charity compilation Dark Was the Night (2009), City Ballet, and many others. He has worked with on which Aaron collaborated with his brother and some of the world’s most creative and respected bandmate Bryce. musicians and visual artists, including , May 20, 2016 saw the release of Day of the Dead, the , Johnny Greenwood, Justin Peck, Hiroshi follow-up to 2009’s charity album Dark Was the Night. Sugimoto and Matthew Ritchie, among others. His A tribute album to the Grateful Dead, Day of the Dead work Murder Ballads featured on eighth blackbird’s was created, curated and produced by Aaron and album Filament—an album he also produced and his brother Bryce. The compilation is a wide-ranging performs on—won the 2016 Grammy for Best Cham- tribute to the songwriting and experimentalism of the ber Music/Small Ensemble Performance. Last fall Dead which took four years to record, features over Dessner was tapped, along with Ryuichi Sakamoto 60 artists from varied musical backgrounds, 59 tracks and Alva Noto, to compose music for Oscar-winning and is almost six hours long. All profits help fight for director Alejandro Iñárritu’s filmThe Revenant, which AIDS/ HIV and related health issues around the world received a 2016 Golden Globes nomination for Best through the Red Hot Organization. Original Score. Aside from his work as a producer, Aaron co- Dessner’s music—called “gorgeous, full-hearted” founded and curated the Music & Arts by NPR and “vibrant” by The New York Times—is Festival, which took place in July of 2015 and returned marked by a keen sensitivity to instrumental color for a second season in August of 2016, and Crossing and texture. Propulsive rhythms often alternate with Brooklyn Ferry, which took place at the Brooklyn passages in which time is deftly suspended. His har- Academy of Music in 2012 and 2013. He is also a co- monies are expressive and flexible, ranging from the curator of the bi-annual Boston Calling Music Festival. dense block chords of Aheym to the spacious modality of Music for Wood and Strings. Bridging musical languages and communities comes naturally to Dessner, born in 1976 in Cincinnati. After early training on the flute, he switched to classi- cal guitar in his teens. While in high school he started a band with his twin brother, Aaron, also a guitarist. He earned his bachelor’s and master’s degrees from Yale University. While at Yale in the late 90s, Dessner

cincinnatisymphony.org | FANFARE CINCINNATI | 51 GUEST ARTISTS: JAN 13–14 met the other members of the quartet that became Was the Night. A tribute album to the Grateful Dead, Clogs, weaving compositions out of improvisations Day of the Dead was created, curated and produced on classical instruments. Clogs has toured widely, by Bryce and his brother, Aaron. The compilation releasing five albums since 2001. is a wide-ranging tribute to the songwriting and Aheym, commissioned in 2009 by Kronos Quartet, experimentalism of the Dead which took four years was a breakthrough score. It made its debut before an to record, features over 60 artists from varied musical audience of thousands in Brooklyn’s Prospect Park, backgrounds, has 59 tracks and is almost six hours not far from Dessner’s home. Since then, the ensemble long. All profits help fight for AIDS/HIV and related has played the intense, anguished piece hundreds of health issues around the world through the Red Hot times; it served as the centerpiece of a 2013 Kronos Organization. disc devoted to Dessner’s music on the Anti- label. Bryce Dessner’s music is published by Chester St. Carolyn by the Sea followed in 2014 on Deutsche Music Ltd. Grammophon, featuring the lyrical title work and two other Dessner compositions performed by the PEKKA KUUSISTO, Philharmonic under Andre de Ridder. violinist May of 2015 marked the release on Brassland of Music n Previous CSO for Wood and Strings, an album-length work performed Performances: Kuusisto by Sō Percussion on custom-built “chord sticks” that previously performed with the CSO in April lend a shimmering, hammer dulcimer-like quality. of 2007 (Sibelius’ Violin As Dessner’s career has expanded his activities as Concerto) and January of a curator have grown as well, allowing him to bring 2015 (Pēteris Vasks’ Vox diverse artists and communities together in an organic amoris). way. Recently, he was tapped to curate “Mountains n Read more: Harrison- and Waves,” a weekend-long celebration of his mu- Parrott.com/artist/profile/ sic at the Barbican in London in May of 2015, with pekka-kuusisto guests including Steve Reich, eighth blackbird, Sō Described as “one-of-a- Percussion, Caroline Shaw and the Britten Sinfonia. kind” by Toronto’s The In September of 2015, Dessner curated “Sounds from Pekka Kuusisto, © Kaapo Kamu Globe and Mail, Pekka a Safe Harbour,” a weekend of performances at the Kuusisto is internation- Cork Opera House in Ireland. ally renowned for his fresh approach to the repertoire. MusicNOW, the Cincinnati-based contemporary Kuusisto performs a series of prestigious concert music festival he founded in 2006, has featured dates, including debuts at the London BBC Proms Tinariwen, , Joanna Newsom, David with BBC Scottish Symphony Orchestra (Thomas Lang, Grizzly Bear, and the Cincin- Dausgaard), as well as at the Edinburgh International nati Symphony Orchestra, among many others. In Festival as part of a European tour with the Minnesota 2015, MusicNOW celebrated its 10-year anniversary. Orchestra (Osmo Vänskä). He also returns to the Se- To mark the occasion, an album titled MusicNOW: attle Symphony Orchestra, tours with Junge Deutsche 10 Years, comprising the festival’s best live perfor- Philharmonie (Jonathan Nott), and play-directs the mances, was released. Mahler Chamber Orchestra at the Beethovenfest Other recent notable projects include Quilting, Bonn 2016. a 17-minute score co-commissioned with the BBC An advocate of new music, Kuusisto gave the world Symphony Orchestra, premiered in May 2015 by the premiere of Sebastian Fagerlund’s Violin Concerto, Los Angeles Philharmonic conducted by Gustavo Du- leading to a critically acclaimed release of the work damel, and The Most Incredible Thing, a ballet created with Finnish Radio Symphony Orchestra (BIS) in by Dessner, Justin Peck and Marcel Dzama, premiered 2015. He also collaborates frequently with composers in February 2016 by the Ballet. such as Nico Muhly, Daniel Bjarnason and Thomas Dessner now resides in Paris and has been increas- Adès, and premieres a new work by Anders Hillborg ingly active composing for major European ensembles this season with the Swedish Chamber Orchestra. and soloists, including a new commission for the Kuusisto is a gifted improviser and regularly en- legendary Ensemble Intercontemporain and Mat- gages with people across the artistic spectrum. Unin- thias Pintscher in 2016, as well as recent solo works hibited by conventional genre boundaries and noted for violinists Pekka Kuusisto and Jennifer Koh, and for his innovative programming, recent projects have a concerto for renowned pianists Katia and Marielle included collaborations with pioneer of electronic Labeque. May 20, 2016 saw the release of Day of the music Brian Crabtree, as well as Dutch neurologist Dead, the follow-up to 2009’s charity album Dark Erik Scherder at Amsterdam’s Concertgebouw. He

52 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 13–14 received a special invitation to participate in Imogen TIMO ANDRES, pianist Heap’s residency at London’s Roundhouse and his n Previous CSO solo electronic and improvisation project, with its Performances: Debut roots in Bach’s chorales and the Partita No. 2 in D n Read more: Andres. minor, has also been widely acclaimed. com Last season saw him perform with eminent jazz- Timo Andres is a com- trumpeter Arve Henriksen at the Winter Festival poser and pianist who in Røros; with juggler Jay Gilligan in Minneapolis’ grew up in rural Con- “Aria” venue; and with accordionist Dermot Dunne necticut and now lives in in St. Paul, in a program featuring Bach alongside Brooklyn, NY. A None- Scandinavian traditional music. He also joined forces such Records artist, his with actress Seela Sella and director Kristian Smeds newest album of orches- for a new theatrical production Tabu at the Finnish tral works, Home Stretch, National Theatre, which featured Kuusisto as both has been hailed for its composer and performer. Kuusisto is Artistic Director Timo Andres “playful intelligence and of the award-winning “Our Festival,” which takes individuality,” (), and his debut album place annually in Sibelius’ hometown. for two pianos, Shy and Mighty, met with this review: Kuusisto’s recent concerto highlights include a “…it achieves an unhurried grandeur that has rarely performance at the Metropolitan Museum with the been felt in American music since John Adams came Ensemble of the Lucerne Festival Alumni and Alan on the scene” (The New Yorker). Gilbert as part of the New York Philharmonic’s Andres’ notable works include Strong Language, a Biennial 2016, as well as returns to the Scottish string quartet for the Takács Quartet, commissioned Chamber, City of Birmingham Symphony and by and the Shriver Hall Concert Series, Toronto Symphony orchestras. A keen chamber and The Blind Banister, a piano concerto for Jonathan musician, Kuusisto has recently performed recitals at Biss and the St. Paul Chamber Orchestra. Co-com- London’s Wigmore Hall, Dortmund’s Konzerthaus missioned by the SPCO with Caramoor Center for and Amsterdam’s Concertgebouw, and next season Music and the Arts, and the Orchestra of St. Luke’s, he makes his Carnegie Hall debut in addition to a The Blind Banister was a 2016 Pulitzer Prize Finalist. duo recital with Nico Muhly in Princeton University’s The New York Philharmonic and Biss will perform “Performances Up Close 125” series. Other regular the work in April of 2017. Also this season, Andres chamber partners include Nicolas Altstaedt, Anne has world premieres with the Boston Symphony and Sofie von Otter, Simon Crawford-Phillips, Alexander the Barbican Centre with the Britten Sinfonia. He also Lonquich and Olli Mustonen. performed the world premiere of a piano concerto by Widely recognised for his flair in directing en- Ingram Marshall—written specifically for him—with sembles from the violin, in January of 2016 he became John Adams and the LA Phil, and appeared at the Artistic Director of ACO Collective—a string en- National Arts Centre in Ottawa, where he received semble that connects the musicians of the Australian the City of Toronto Glenn Gould Protégé Prize (Philip Chamber Orchestra with Australia’s most talented Glass selected Andres as the recipient of the award). young professional musicians to deliver innovative Recent highlights include commissions for the New projects across the country. This season also sees World Symphony, Orpheus Chamber Orchestra and him take up the role of Artistic Partner with the St. Los Angeles Chamber Orchestra, and a piano quintet Paul Chamber Orchestra following a longstanding for Jonathan Biss and the Elias String Quartet. He creative collaboration with the ensemble. Other di- has toured the U.S. with fellow composer/performer recting highlights include an acclaimed tour to South Gabriel Kahane and frequently appears with Philip America with Die Deutsche Kammerphilharmonie Glass, performing Glass’s complete piano Etudes Bremen, as well as concerts with Tapiola Sinfonietta, throughout the world. Mahler Chamber Orchestra and Britten Sinfonia. As a pianist, Andres has performed solo recit- Future recording plans include Sibelius’ Violin als for Lincoln Center, Wigmore Hall, the Phillips Concerto with the Tapiola Sinfonietta, featuring Collection, (le) Poisson Rouge and San Francisco Kuusisto as director and soloist and paired with tra- Performances. He appeared at the 2014 Ojai Festival ditional Finnish rune singing. In 2013, Pekka Kuusisto with the Knights Chamber Orchestra and performed was the recipient of the Nordic Council Music Prize. Gershwin’s Rhapsody in Blue in repeat performances with the North Carolina Symphony. Andres earned both his bachelor’s and master’s degrees from the Yale School of Music. He is one-sixth of the Sleeping Giant composers’ collective. n

cincinnatisymphony.org | FANFARE CINCINNATI | 53

SIXTH POPS SERIES PROGRAM

2016–2017 SEASON SAT JAN 21, 8 pm SUN JAN 22, 2 pm Taft Theatre

SMOKEY ROBINSON Damon Gupton, conductor

I HEAR A SYMPHONY: The Symphonic Sounds of Diana Ross Diana Ross, arr. Reineke Stop! In the Name of Love Touch Me in the Morning Ain’t No Mountain High Enough

CARAVAN , arr. Berens

SOPHISTICATED LADY Duke Ellington, trans. Gould

GIGGLING RAPIDS from THE RIVER Duke Ellington, orch. Collier

TAKE THE “A” TRAIN Billy Strayhorn, arr. Newsom and Price

INTERMISSION

Selections by Smokey Robinson will be announced from the stage.

The Cincinnati Pops Orchestra is grateful to PNC, the Pops Series Sponsor. The Cincinnati Pops Orchestra is grateful to Edyth B. Lindner, whose generous underwriting and endowment gifts support these performances. Edyth B. Lindner The Otto M. Budig Family Foundation is the Pops Artist Series Sponsor for these concerts. The Dehan Family is the Artist Sponsor for these concerts. The Cincinnati Pops Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Pops Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. The Dehan Family WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.

cincinnatisymphony.org | FANFARE CINCINNATI | 55 GUEST ARTISTS: Jan 21–22

SMOKEY ROBINSON became Motown’s first no. 1 hit on n Previous Pops Performances: the R&B singles chart. In the years Debut following, Robinson continued to pen n Noteworthy: recorded hits for the group, including “You’ve “You’ve Really Got a Hold on Me,” Really Got a Hold on Me,” “Ooo Baby written by Robinson, and John Lennon Baby,” “The Tracks of My Tears,” considered Robinson an important “Going to a Go-Go,” “More Love,” influence on his music. The Rolling “Tears of a Clown” (co-written with Stones covered Robinson and the Stevie Wonder), and “I Second That Miracles’ hit “Going to a Go-Go.” Emotion.” The Miracles dominated n Read more: SmokeyRobinson.com the R&B scene throughout the 1960s Once pronounced by Bob Dylan as and early 70s and Robinson became America’s “greatest living poet,” vice president of Motown Records, acclaimed singer-songwriter Smokey serving as in-house producer, talent Robinson’s career spans over four scout and songwriter. decades of hits. He has received Robinson also wrote and produced numerous awards, including the Smokey Robinson hits for other Motown greats, includ- Grammy Living Legend Award, NARAS Lifetime ing The Temptations, Mary Wells, Brenda Holloway, Achievement Award, Honorary Doctorate (Howard Marvin Gaye and others. University), Kennedy Center Honors and the National He later turned to a solo career where he continued Medal of Arts Award from the President of the United his tradition of hitmaking with “Just to See Her,” States. He has also been inducted into the Rock ‘n’ “Quiet Storm,” “Cruisin’,” and “Being with You,” Roll Hall of Fame and the Songwriters’ Hall of Fame. among others. Born and raised in Detroit, Robinson founded The He remained vice president of Motown records until Miracles while still in high school. The group was Ber- the sale of the company, shaping the label’s success ry Gordy’s first vocal group, and it was at Robinson’s with friend and mentor Berry Gordy. Following his suggestion that Gordy started the Motown Record tenure at Motown, he continued his impressive tour- dynasty. Their single of Robinson’s “Shop Around” ing career and released several successful solo albums.

1

56 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 21–22

During the course of his 50-year Pops, and internationally. He led career in music, Robinson has ac- the Sphinx Chamber Orchestra on a cumulated more than 4,000 songs national tour with performances at to his credit and continues to thrill Carnegie Hall and a well-reviewed sold-out audiences around the recording (White Pine Music). He is world with his high tenor voice, a winner of the Third International impeccable timing, and profound Eduardo Mata Conducting Com- sense of lyric. Never resting on his petition. Musical collaborations laurels, Smokey Robinson remains include work with Marcus Miller, a beloved icon in our musical Damon Gupton Kenn Hicks, Brian Stokes Mitchell, heritage. Byron Stripling, Tony DeSare, The Midtown Men, Kathleen Battle and Jamie Cullum. DAMON GUPTON As an actor he appeared in the fourth season of n Previous Pops Performances: Gupton previously A&E’s Bates Motel and recently landed the role of Spe- conducted the Pops in January of 2014 and for New cial Agent Stephen Walker on CBS’ Criminal Minds. Year’s Eve 2015. Other television credits include starring roles on The n Noteworthy: Also an accomplished actor, Gupton Player, The Divide and Prime Suspect, as well as guest graduated from the drama division of The Juilliard School. appearances on The Newsroom, Suits, Empire, Rake, Law & Order, Law & Order Criminal Intent, Conviction, The A native of Detroit, Damon Gupton was assistant Unusuals, Third Watch, Hack, Drift and Deadline. He conductor of the Kansas City Symphony 2006–08. He appeared in the Academy Award-winning filmWhip - received his Bachelor of Music Education degree from lash as well as This is Forty, The Last Airbender, Helen the University of Michigan. He studied conducting at Risk, Before the Devil Knows You’re Dead, Unfaithful with David Zinman and Murry Sidlin at the Aspen and The Loretta Claiborne Story. Stage appearances Music Festival and with Leonard Slatkin at the Na- include the Broadway production of Bruce Norris’ tional Conducting Institute in Washington, D.C. He Pulitzer Prize- and Tony Award-winning Clybourne served as American conducting fellow of the Houston Park, Carter’s Way, Superior Donuts, Inked Baby, The Symphony for the 2004–05 season and has made Story, Meg’s New Friend, An American Daughter, True conducting appearances with leading orchestras History and Real Adventures, Treason and Othello. n throughout North America, including the Cincinnati

Victoria Travel Y SINCE 1960 Z MUSIC ALL OVER THE WORLD We can help you enjoy music anywhere— the opera in Santa Fe, concerts in Europe, or the CSO in Asia. Ask Vicky about planning your new adventure.

FRI MAY 5, 2017 • Crossroads Church, Oakley TICKETS ON SALE NOW!

513-871-1100

www.victoriatravel.biz

VISITS BY APPOINTMENT: 3330 Erie Avenue = Hyde Park Cincinnati, OH 45208 USA

cincinnatisymphony.org | FANFARE CINCINNATI | 57

ELEVENTH SUBSCRIPTION PROGRAM Ascent Series

2016–2017 SEASON FRI JAN 27, 8 pm SAT JAN 28, 8 pm Taft Theatre

JOHN STORGÅRDS conductor CHRISTIAN TETZLAFF violinist

SCHUMANN Overture to Manfred, Op. 115 (1810–1856)

BARTÓK Concerto No. 2 for Violin and Orchestra (1881–1945) Allegro non troppo Theme and Variations: Andante tranquillo Rondo: Allegro molto

INTERMISSION

NIELSEN Symphony No. 4, Op. 29, The Inextinguishable (1865–1931) Allegro— Poco allegretto— Poco adagio quasi andante— Allegro

The CSO is grateful to Paycor, the CSO’s Ascent Series Sponsor. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Classical Conversations are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:45 pm. Listen to this program on 90.9 WGUC April 2, 2017 at 8 pm and at cincinnatisymphony.org April 3–10.

cincinnatisymphony.org | FANFARE CINCINNATI | 59 PROGRAM NOTES: Jan 27–28 © 2016–17 Cincinnati Symphony Orchestra

Music has the amazing ability to both frame our understanding of the past, while giving us hope for the future. This program is a journey from darkness to light, offering hope amidst dire events in the world’s history. The program opens with Schumann’s Overture to Manfred based upon Byron’s dramatic and tragic poem of overwhelming sorrow. Béla Bartók wrote his Second Violin Concerto in 1938 as his hope for Europe’s future was quickly diminishing, and he began contemplating emigrating to the United States (where he would eventually come in 1940). A work of tremendous expressivity and range, this piece is considered one of the greatest concertos ever written. While Bartók’s Concerto was written in a period of great anxiety, Carl Nielsen’s Fourth Symphony, “The Inextinguishable,” was composed just as World War I was beginning to rage across Europe. In this symphony however, Nielsen decides to address the indefatigable nature of the human spirit, and refers in his notes to the idea that “music is life, and like it inextinguishable.” —Louis Langrée

ROBERT SCHUMANN Schumann suffered periods of severe mental imbal- Overture to Manfred, Op. 115 ance. He was sometimes driven by inner urges that did not let him rest until he finished a composition. n Born: June 8, 1810, Zwickau in Saxony Manfred, for example, was composed at the constant Died: July 29, 1856 near Bonn, Germany urgings of inner voices. It was a particularly appro- n Work composed: 1848–49 n Premiere: (Overture) March 14, 1852, Leipzig, priate project for Schumann. He had just completed Germany—Schumann conducting the opera Genoveva, which concerns a tragic woman. n Instrumentation: 2 flutes, 2 oboes, 2 clarinets, Now he felt the need to reconcile one of his major 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, personality conflicts by putting his efforts into a dra- strings matic composition about a male hero. Just as he was n CSO subscription performances: 10 previous alternately dependent on others and independent of subscription weekends | Premiere: March 1916, Ernst them, just as his behavior vacillated between isolation Kunwald conducting | Most recent: January 2012, Pablo and intimacy, just as he invented two imaginary alter Heras-Casado conducting egos to represent opposing forces in his personality, n Duration: approx. 12 min.

60 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 27–28 just as he struggled with classicism vs. romanticism overture. Thus the music offers no solution, just as in his compositions, so Schumann suffered from a Byron’s Manfred does not resolve his problems. conflict of sexual identity. As a young man he had —Jonathan D. Kramer been intimate with both men and women, and now he sought to reconcile his ambiguity on an artistic level: BÉLA BARTÓK an opera about a woman followed immediately (he Concerto No. 2 for Violin and Orchestra actually began Manfred less than a day after complet- n Born: March 25, 1881, Nagy-szentmiklós, Hungary ing Genoveva) by a dramatic work about a man. Died: September 26, 1945, New York Schumann identified with Lord Byron’s Manfred, n Work composed: August 1937–December 31, 1938 in a melancholy hero full of inner turmoil. Byron’s Budapest poem finds Manfred atop a cliff in the Alps. He feels n Premiere: April 23, 1939, Amsterdam—Willem intense guilt for having destroyed a woman whose Mengelberg conducting; Zoltán Székely, violinist faults were really his own. He is distracted by “a n Instrumentation: solo violin, 2 flutes (incl. piccolo), lovely sound, a living voice, a breathing harmony.” 2 oboes (incl. English horn), 2 clarinets (incl. bass clarinet), 2 bassoons (incl. contrabassoon), 4 horns, Manfred contemplates escape through suicide. He 2 trumpets, 3 trombones, 2 timpani, bass drum, realizes that, should he decide against jumping, he cymbals a2, 3 snare drums, suspended cymbals, tam-tam, may be forced into madness. But he avoids both forms triangle, harp, celeste, strings of self-destruction. The parallels between Byron’s n CSO subscription performances: Ten previous hero and Schumann are extraordinary, and it is no subscription weekends | Premiere: November 1949, Thor surprise that the composer was drawn to Manfred. Johnson conducting; Tossy Spivakovsky, violinist | Most As musicologist Frank Cooper explains: recent: November 2002, Paavo Järvi conducting; Leila Josefowicz, violinist [Schumann] knew all too well Manfred’s dilemmas. n Duration: approx. 36 min. He did not seek the madness Manfred sought—it sought, found and possessed Schumann. His Although an active concert pianist, Bartók wrote tragedy was to go mad while desperately trying much music for violin. Part of the reason for his to cling to sanity and to the art which sanity alone interest in the violin was its important place in can produce. Perhaps that is why Manfred is so Hungarian folk music. He was deeply interested in curious a creation. his native music. He was among the first of many KEYNOTE. Although Schumann composed 15 musical scholars to take folk music seriously as a scenes, the music to Manfred is today known primarily genuine expression of national character. Bartók spent through the overture. The hero’s dilemma is symbol- much of his life collecting, categorizing and studying ized by the very strange opening: three evenly spaced authentic folk tunes. As a composer he strove quite chords that appear in the score as syncopations but deliberately for a style that was an amalgamation of are hard to hear in that manner, since no one in the Hungarian folk idioms and contemporary European orchestra actually plays on the beat. The musician’s art music. His music is therefore unlike that of any dilemma is how to make these chords sound off of his contemporaries (although it has been imitated the beat when the beat itself is inaudible. The three endlessly by subsequent generations—it seems as if chords remain isolated from the ensuing elaborate every would-be composer must pass through a Bartók slow introduction. Nor do they return in any overt phase). Bartók’s style is infused with Hungarian way during the entire yearning, unsettled, romantic rhythms and scales. It is no coincidence, therefore,

WHAT TO LISTEN FOR: n The constantly shifting moods and characters within Schumann’s remarkable Manfred Overture. n The rhapsodic opening of Bartók’s Second Violin Concerto, beginning first with the harp and leading to the wonderfully freeing entrance of the violin soloist. n The dueling two pairs of timpani in the final movement of Nielsen’s Fourth Symphony.

QUESTIONS TO DISCUSS ON THE WAY HOME: n Schumann’s Manfred Overture is highly dramatic, and is meant to set the scene for drama which would then come in a theatrical staging. How did Schumann’s Manfred Overture set the stage (so to speak) for the dramatic works by Bartók and Nielsen that followed on this program? n Both the Bartók and the Nielsen were written during tumultuous periods in the world’s history (World War I and World War II, respectively)—did you hear any of these anxieties and tensions reflected in the music?

cincinnatisymphony.org | FANFARE CINCINNATI | 61 PROGRAM NOTES: JAN 27–28

The composer did not attend the premiere by Székely in Amsterdam. Bartók had already gone to America to see whether or not he could live here. He had to wait until 1944, a year before his death, after he had permanently emigrated to the United States, before hearing a performance of the work. The com- poser was pleased to hear soloist Tossy Spivakovsky perform the concerto in New York. “What delighted me most was the fact that I found nothing amiss with the instrumentation. I did not have to change a thing. Whereas, we all know, orchestral ‘accompaniment’ of the violin is a very ticklish matter.” KEYNOTE. Székely received for his commissioning fee a concerto of major proportions, which treats the violin with great bravura. The violin part explores many special string techniques—tremolo, quarter tones, glissando—but there is not much of the piz- zicato that is a hallmark of Bartók’s string quartets. This plucked sound is instead given to the harp, Bartók with Zoltán Székely. which has unusual prominence. It opens the concerto and is never long absent, particularly in the first two that the violin should play a large part in his output. movements. It is tempting to hear behind the fiery dance-like The second theme in the first movement is some- virtuosity of the Second Concerto a gypsy violinist what notorious, because it uses all twelve tones of the playing his people’s traditional music. chromatic scale, stated in order without duplication. Bartók wrote this concerto during a period of Thus this theme is like a 12-tone row, although it is political turmoil throughout Europe. The German used more like a melody than like a Schoenbergian Reich Music Chamber decided that it needed proof that any composer whose music was to be played in Germany be of Aryan descent. Bartók, who had wanted to remain uninvolved in politics, could not bring himself to participate in such an invasion of VIOLIN LEGENDS: artistic freedom. He refused to fill out the required questionnaire. He later demanded that his music CHRISTIAN not be broadcast where it could be heard in Hitler’s Germany or Mussolini’s Italy. This courageous public TETZLAFF stance cost him much-needed royalty money, yet he felt that it was impossible for a responsible artist to remain aloof from politics in pre-war Europe. While Bartók was debating whether or not to remain in Axis-dominated Europe, he received a commission for a concerto from Hungarian violinist Zoltán Székely. Bartók preferred to compose a set of variations for violin and orchestra, but the virtuoso wanted a full-fledged concerto. Actually, the finished work does use variation techniques. The middle movement is cast as a theme and variations, and the materials of the first movement return in varied form in the finale. When the composer sent the finished score to Székely, the virtuoso was dissatisfied: the ending did JAN 27–28 • TAFT THEATRE not display the solo instrument sufficiently. Bartók complied with the violinist’s wishes and wrote a new JAN 27: ending, but he allowed himself the satisfaction of publishing the work with both endings. The original version is rarely used, however.

62 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 27–28 row. The interesting question is, why did Bartók insert fied by the Third Symphony. He now embraced a this isolated row into a non-12-tone piece? Halsey Ste- more pungent, more dramatic idiom characterized by vens, in his comprehensive study of the composer’s conflict. When the symphony was premiered in 1916, life and works, offers a plausible explanation: parody. it had an immediate impact. The composer’s biggest Bartók is referring to an idiom with which he felt less success, it solidified his reputation as Denmark’s than total sympathy, much as he did with the inane greatest composer. A major tune in the finale of the Fifth Quartet or the Although Nielsen did not believe in explicit pro- Shostakovich quotation in the Concerto for Orchestra. gram music, in which a composition depicts a story The same reasoning may explain the quarter tones in some detail, he did often have a philosophical idea (intervals smaller than a half step) in the solo part in mind while composing. In 1914 he wrote to opera before the end of the first movement. As quarter tones singer Emil Holm about the Fourth Symphony: do not appear elsewhere in the concerto, perhaps they I can tell you that I am well under way with a new occur in this one place as a parody of the avant garde. large-scale orchestral work, a sort of symphony The second movement is a beautifully scored set in one movement, which is meant to represent of variations. Bartók uses the orchestra mostly as a all that we feel and think about life, in the most delicate chamber ensemble. He comes up with some fundamental sense of the word—that is, all exquisite timbres, such as the timpani and string bass that has the will to live and move. Everything punctuations of the solo line in the first variation, or may be included in this concept, and music is a manifestation of life—more so than the other art the later use of harmonics. forms, since it is either completely dead (when it The finale must be heard with the memory of the does not sound) or completely alive—and thus it first movement still fresh. Only then can the transfor- can express the concept of life right from its most mations of melodic materials of the first movement elementary manifestation to the most sublime into the finale be readily followed. The finale is a emotion. marvelous recomposition of the first movement. We In later correspondence, written after the comple- hear two different movements based on the same tion of The Inextinguishable Symphony, Nielsen materials. expanded on this idea: Both Bartók and his music were no strangers to Cincinnati audiences during his lifetime. The Cin- The title The Inextinguishable is not a program but a cinnati Symphony Orchestra, under the direction of pointer to the proper domain of music. It is meant Fritz Reiner, gave the American premiere of his First to express the appearance of the most elementary forces among men, animals, and even plants. Suite and the world premiere of two parts of The We can say, in case all the world was devastated Miraculous Mandarin . As piano soloist, Bartók joined through fire, deluge, volcanoes, etc., and all things the CSO under Reiner to give the American premiere were destroyed and dead, then nature would of the First Piano Concerto in New York in February still begin to breed new life again, begin to push of 1928. The performance was repeated a few weeks forward again with all the fine and strong forces later in Cincinnati. inherent in matter. Soon plants would begin to —Jonathan D. Kramer multiply, the breeding and screaming of birds be seen and heard, man’s aspiration and yearning would be felt. I have tried to represent these CARL NIELSEN “inextinguishable” forces. Symphony No. 4, Op. 29, The Inextinguishable From these ideas we can learn the source of the n Born: June 9, 1865 on the island of Fyn near Odense conflicts in the symphony. Indeed, it contains more Died: October 3, 1931, Copenhagen contrasts than any other Nielsen symphony. We also n Work composed: 1914–1916 n Premiere: February 1, 1916, Copenhagen—Carl learn of the deeper aspects of the composer’s love Nielsen conducting of nature. Nature for him was not simply woods, n Instrumentation: 3 flutes (incl. piccolo), 3 oboes, 3 meadows, brooks and wildlife. It represented a life clarinets, 3 bassoons (incl. contrabassoon), 4 horns, 3 force, indestructible even though an individual life trumpets, 3 trombones, tuba, 2 timpani, strings can perish. A world war kills men but not man. n CSO subscription performances: Seven previous And so, the pastoral beauty of nature conflicts in the subscription weekends | Premiere: October 1965, Max symphony with the tension of destruction, but life Rudolf conducting | Most recent: April 2013, Carlos survives. The work is optimistic: despite deep ten- Kalmar conducting sions, the forces of life—represented by consonant, n Duration: approx. 36 min. diatonic music—triumph in the end. The Fourth Symphony marked a turning point for KEYNOTE. The musical conflicts are not only be- Nielsen. He left behind the idyllic style best exempli- tween different moods and different styles but also -be

cincinnatisymphony.org | FANFARE CINCINNATI | 63 PROGRAM NOTES: JAN 27–28 tween different tonal areas. The Nielsen Fourth is not to be interrupted, in a most dramatic and unexpected so much in a key as “into” a key—E major. Nielsen’s manner, by a consonant march-like transformation great originality lies in his approach to tonality. The of itself. It is subsequently treated in a tense and dis- symphony does not establish its key at the outset. sonant manner in the brass. It is furthermore the last Rather, E major is the goal melody in the first move- of all the struggles. When “I can tell you that I am well ment. Its relationship to it finally emerges toward under way with a new large- the folk-like tune of the the end of the first, third scherzo, also in clarinets and fourth movements, scale orchestral work, a sort of joined by bassoons, is it does so with trium- symphony in one movement, thus quite evident. Even phant affirmation. This the intense opening of the is a markedly different which is meant to represent all adagio is related to this approach to tonality from that we feel and think about life, melody. The tune returns that used by earlier com- in the most fundamental sense of in its original form when posers. Most tonal music the finale triumphantly is in a key. It gains its the word.”—Carl Nielsen achieves the goal key of drama from how that key, E major. once established, is threat- The most striking fea- ened, how the music moves away from it and how ture of the finale is the duel between two sets of it returns. The stability of the tonic is never in doubt. timpani, which Nielsen indicates should be placed far Rather, the interest lies in how the key is reachieved. apart from each other. Twice during the last move- In Nielsen’s Fourth, however, the ultimate outcome ment, the timpani erupt into a fierce dialogue. Nielsen is less sure, so that there is an undercurrent of unrest asks the percussionists to play in a menacing manner. in even the most lyrical passages. The emergence of The intrusion of the drum battle anticipates Nielsen’s E major is an affirmation, not a reaffirmation. subsequent use of the snare drum as antagonist in the Nielsen’s idea of a one-movement symphony Clarinet Concerto and Fifth Symphony. was not entirely lost when he completed the four- Nielsen provided a brief preface in the score of The movement Inextinguishable. The movements follow Inextinguishable: one another without pause—a relatively common Under this title the composer has endeavored device in the 19th-century symphony. But Nielsen to indicate in one word what the music alone is goes further. No movement other than the last really capable of expressing to the full: the elemental Will ends. The first disintegrates into a transition to the of Life. Music is Life and, like it, inextinguishable. second. The second also falls away in preparation for The title given by the composer to this musical the dramatic re-entrance of the high violins (which work might therefore seem superfluous; the play mostly pizzicato accompaniments throughout composer however has employed the word to underline the strictly musical character of his the second movement) at the beginning of the third. subject. It is not a program but only a suggestion The third is linked to the fourth by a virtuosic string of the right approach to the music. transition. In addition to the links between movements, Just as life persists, so the first movement’s lyrical Nielsen ties the symphony together by common the- theme remains throughout and returns at the close to its original form. Just as life grows to order from matic material, most notably the second theme of the chaos, so the symphony achieves the stability first movement. This long, leisurely, lyrical melody, of E major by the end. Just as life’s struggles are first heard in the clarinets, returns often throughout subsumed by Life itself, so the battling timpani in the remainder of the piece. Shortly after its initial the finale are subsumed into the overall texture, as development, it is relaunched in the clarinets, only the music sweeps to its triumphant close. —Jonathan D. Kramer

64 | FANFARE CINCINNATI | cincinnatisymphony.org

GUEST ARTISTS: Jan 27–28

JOHN CHRISTIAN STORGÅRDS TETZLAFF, violinist conductor n Previous CSO n Previous CSO Performances: Tetzlaff Performances: has performed five times Storgårds has led previously with the the CSO three CSO, most recently in times before, most February of 2012. recently in January n Noteworthy: of 2014. Tetzlaff has recorded n Noteworthy: the Bartók Violin John Storgårds, © Marco Borggreve Storgårds studied Concerto No. 2 with the violin with Chaim London Philharmonic Taub and was concertmaster of the Swedish Radio and conductor Michael Symphony Orchestra under Esa-Pekka Salonen before Gielen (CSO Music beginning conducting studies with Jorma Panula and Christian Tetzlaff, © Giorgia Bertazzi Director 1980–86), on Eri Klas. Virgin Classics. n Read more: JohnStorgards.com n Read more: Christian-Tetzlaff.com

Principal Guest Conductor of the BBC Philharmonic Christian Tetzlaff, born in Hamburg, Germany in Orchestra as well as Canada’s National Arts Centre 1966 and now living in Berlin, is one of the most Orchestra Ottawa and Artistic Partner of the Munich sought-after violinists and exciting musicians on the Chamber Orchestra, John Storgårds has a dual career classical music scene. Concerts with Tetzlaff often as a conductor and violin virtuoso and is widely recog- become an existential experience for interpreter and nized for his creative flair for programming. He is also audience alike; familiar works suddenly appear Artistic Director of the Lapland Chamber Orchestra. in an entirely new light. He also frequently turns Storgårds appears with such orchestras as WDR his attention to forgotten masterpieces like Joseph Sinfonieorchester Köln, Bamberger Symphoniker, Or- Joachim’s Violin Concerto, and he works to establish chestre Philharmonique de Radio France, Orchestra important new works in the repertoire, such as Jörg Sinfonica Nazionale della RAI Torino, Royal Scottish Widman’s Violin Concerto, which he premiered. He National Orchestra, BBC Symphony, CBSO, all the has an unusually extensive repertoire and gives ap- major Nordic orchestras, including the Helsinki Phil- proximately 100 concerts every year. Tetzlaff served harmonic Orchestra where he was Chief Conductor as artist-in-residence with the Berlin Philharmonic, 2008–2015. Further afield, he appears with the Syd- participated in a concert series over several seasons ney, Melbourne, New Zealand and NHK symphony with New York’s Metropolitan Opera Orchestra, and orchestras, as well as the Boston, St. Louis, Toronto appears regularly as a guest with ensembles including and Vancouver symphony orchestras, The Cleveland the Vienna and New York philharmonic orchestras, Orchestra and the New York Philharmonic. the Concertgebouw Orchestra and London’s leading Highlights of this season include Storgårds’ re- orchestras. In 1994 Christian Tetzlaff founded his own turn to the BBC Proms with the BBC Philharmonic string quartet, which has received awards such as Orchestra. He gives debut appearances with the the Diapason d’or. The trio he formed with his sister Gewandhausorchester zu Leipzig, Orchestre National Tanja Tetzlaff and pianist Lars Vogt was nominated de France and Rundfunk-Sinfonieorchester Berlin for for a Grammy. Christian Tetzlaff has also received a concert at the Philharmonie. numerous awards for his solo recordings. Storgårds’ vast discography includes highly ac- He plays a violin made by German violin maker claimed cycles of Sibelius’ and Nielsen’s symphonies Peter Greiner and teaches regularly at the Kronberg for Chandos Records. Other successes have included Academy. a disc of works by Rautavaara, which received a In the 2016–17 season Christian Tetzlaff can be expe- Grammy nomination and a Gramophone Award rienced on four continents with, among others, New in 2012. His recording of Pēteris Vasks’ Second York’s MET Orchestra, the Los Angeles Philharmonic, Symphony and Violin Concerto, also featuring him Chicago Symphony, London Philharmonic Orchestra as soloist, won the Cannes Classical Disc of the Year and Sydney Symphony Orchestra, and as artist-in- Award in 2004. Storgårds’ recording of concertos residence with the Netherlands Philharmonic. Tours for theremin and horn by Kalevi Aho received the take him to East Asia with the Scottish Chamber distinguished ECHO Klassik award in 2015. Orchestra and to the U.S. with Lars Vogt. With the He received the Finnish State Prize and the Pro Tetzlaff Quartet or in trio with Tanja Tetzlaff and Lars Finlandia Prize in 2012. Vogt, he will be in Paris, London, Amsterdam, Berlin and other European cities. n

66 | FANFARE CINCINNATI | cincinnatisymphony.org at the Blue Ash Golf Course  ....

    2016–2017 SEASON  SAT JAN 28, 10:30 am .... Taft Theatre

KEITARO HARADA, conductor Reilly Nelson, soprano Emma Hutton, child soprano Miss Hutton appears courtesy of Cincinnati Children’s Choir, Robyn Lana, director

OVERTURE to DIE FLEDERMAUS Johann Strauss, Jr.

TOY SYMPHONY in C Major, H. 11/47 Franz Joseph Haydn Allegro Menuetto Finale: Allegro

GREEN EGGS AND HAM Robert Kapilow

The CSO extends its sincere appreciation to the George L. & Anne P. Heldman Fund of The Greater Cincinnati Foundation for its tremendous support of the Lollipops Family Concerts for the 2016–17 season. Additional support provided by The Cincinnati Symphony Club.

F A M I L Y F U N 28–30, 20 at the TAFT THEATRE JUNE 1 PR 17 0, A 20 17  

TICKETS ON SALE NOW! cincinnatipops.org 513.381.3300

cincinnatisymphony.org | FANFARE CINCINNATI | 69 4th Annual

A Tasty Fundraiser for the YMCA of Greater Cincinnati! Saturday, February 25 10:30 a.m.–12:30 p.m. Anderson Pavilion 8 West Mehring Way, Cincinnati, OH 45202 Guests will enjoy food & drink, “play with your food” stations and kid-friendly coooking demos. at the door. Children’s & Adult Tickets are $10 per guest/$15 per guest Ticket price includes all food & drink plus (1) token for Carol Ann’s Carousel. All ticket proceeds support the YMCA of Greater Cincinnati. Purchase tickets at cincinnatimagazine.com/cmevents or call Chris Ohmer at 513.562.2777. BOARDS

n BOARD OF DIRECTORS (as of September 1, 2016) Officers Randi S. Bellner Marvin Kolodzik James B. Reynolds* Francie S. Hiltz, Chair Paul M. Booth Peter E. Landgren Sandra Rivers Otto M. Budig, Jr., Trish Bryan* Tad Lawrence Jack Rouse Treasurer and Vice-Chair of Finance Harold Byers Wendy S. Lea Ann H. Santen Robert W. McDonald, Secretary Myra Chabut Spencer Liles* Pamela Schmitt Dianne Dunkelman, Christopher C. Cole Edyth B. Lindner* Dennis L. Schoff Vice-Chair of Volunteerism Peter G. Courlas Patricia Gross Linnemann Pamela Scott Thomas Charles Garber, Alvin H. Crawford, M.D. Mark Luegering Edgar L. Smith, Jr. Vice-Chair of Facilities Dennis W. Dern Timothy J. Maloney Thomas Stegman * Dianne M. Rosenberg, Shaun Ethier bruce d. mcclung William D. Stenger Vice-Chair of Leadership Development Mrs. Charles Fleischmann III* Bernard L. McKay Ken L. Stone Rosemary Schlachter, Susan S. Friedlander* Sue McPartlin Theodore W. Striker, M.D. Vice-Chair of Patron Development Jane Garvey Anne Mulder Randolph L. Wadsworth, Jr.* James E. Schwab, Immediate Past Chair L. Timothy Giglio Elizabeth Reitz Mullenix Patricia Wagner Sheila J. Williams, Joseph W. Hagin Stephen R. Mullin Nancy Walker* Vice-Chair of Community Engagement Carol C. Hake Christopher Muth Geraldine B. Warner Patti Heldman Eric V. Oliver Warren Weber Directors Joseph W. Hirschhorn* Marilyn J. Osborn Diane West Jessica C. Adelman Sandra F.W. Joffe Thanh T. Pham Stacey G. Woolley Lars C. Anderson Lois Jolson J. Marvin Quin II* Honorable Tyrone K. Yates Kathleen Barclay Peter E. Koenig Thomas H. Quinn, Jr. Shau Zavon *Director Emeritus

n BOARD OF OVERSEERS (as of December 9, 2016) The Board of Overseers are devotees of classical music and all things Orchestra related. With annual gifts of $5,000 or more for an individual and $7,500 or more for an organization, donors gain unique access to the people who make the music happen and a behind-the-scenes view into the workings of the Orchestra. To learn more about becoming a member, contact Rachel Kirley in the Philanthropy Department, 513.744.3291.

Ms. Jessica Adelman, The Kroger Co. Mrs. Charles Fleischmann Mr. and Mrs. Timothy Maloney Elizabeth C. B. and Paul G. Sittenfeld Adleta Group, Mr. Robert Adleta Susan Friedlander § Elizabeth and Brian Mannion, MD Mr. and Mrs. Gerald Skidmore § Romola N. Allen § Frost Brown Todd, Mr. Bernard McKay Alan Margulies and Gale Snoddy Ms. Genevieve Smith Mr. Anatole Alper Dr. and Mrs. Harry F. Fry Andrew and Jean Martin Michael and Donnalyn Smith Mr. and Mrs. Lars C. Anderson, Sr. Ms. Jane Garvey Rhoda Mayerson Tom and Dee Stegman § Martha G. Anness § Richard D. Gegner Mr. and Mrs. Jonathan McCann William D. Stenger Dr. Norita Aplin and Stanley Ragle § Mrs. Philip O. Geier § Mr. Bernard McKay Mary S. Stern Mrs. William T. Bahlman, Jr. § Rebecca Gibbs and Anne Mulder Laura Kimble McLellan § Laurence G. Stillpass Mrs. Katy Barclay Dr. Lesley Gilbertson and Mrs. Susan M. McPartlin Mr. Ken Stone and Stone Financial Bartlett & Co., Jane Vanderhorst Dr. William Hurford Mercy Health, Mario Cicchinelli Retirement Planning Mr. Randi Bellner and U.S. Bank Mr. and Mrs. Michael H. Giuliani Messer Construction Co., Kathleen C. Daly Theodore W. and Carol B. Striker Mary Bergstein Clifford J. Goosmann and Mr. James A. Miller Mrs. Roy Sweeney Mr. and Mrs. Allan Berliant Andrea M. Wilson Linda and James Miller Taft Stettinius & Hollister, Rosemary H. and Frank Bloom § Priscilla Garrison Haffner § Mr. and Mrs. David A. Millett Mr. Jeffrey Schloemer BMES, John Moore Mr. Joseph Hagin Monarch Construction, Mr. Ron Koetters Delle E. Taylor Robert L. Bogenschutz Dr. and Mrs. Edward Hake Mrs. James Monroe § Ms. Anne D. Thomas Dr. and Mrs. John and Suzanne Bossert § David G. Hakes George and Sarah Morrison III Mr. and Mrs. Harold M. Thomas Chris and Karen Bowman Tom and Jan Hardy § Mr. and Mrs. Christopher Muth § Laura G. Thomson Mr. and Mrs. Frederick E. Bryan, III § Mr. and Mrs. Brian E. Heekin Anne Nethercott § Towers Watson, George Morrison Mr. Otto M. Budig, Jr. Mrs. Anne P. Heldman § Ohio National Financial Services, Toyota Motor Eng. & Mfg. Co. N.A., Inc., Edward and Susan Castleberry Mr. and Mrs. Fred Heldman Mr. Gary T. “Doc” Huffman David Fleischer CCI Design, Inc., Molly and Tom Garber Patricia Henley § Marilyn J. and Jack D. Osborn § UBS, Mr. Troy DeBord CES/Link, Ms. Deborah Spradley David C. Herriman Arlene Palmer Dale and Joyce Uetrecht CFM, Ms. Jamie Jewell Mr. and Mrs. Joseph W. Hirschhorn § John and Farah Palmer Larry Uhlenbrock Ms. Geraldine V. Chavez Mrs. Harry M. Hoffheimer Dr. and Mrs. John Parlin United Dairy Farmers, Mr. Brad Lindner Robert and Debra Chavez HORAN, Terry Horan § Paycor, Bob Coughlin Mr. and Mrs. Gregory Waddell Chemed Corp., Sandra E. Laney Ann Hubbard and Louis D. Bilionis Daniel and Susan Pfau Sallie and Duck Wadsworth § Cincinnati Symphony Club Dr. Murray Jaffe Joseph A. and Susan E. Pichler Nancy C. Wagner § Michael L. Cioffi Dr. and Mrs. Stephen Joffe PNC Bank, Kay Geiger Patricia M. Wagner § Sheila and Christopher C. Cole Johnson Investment Counsel, PricewaterhouseCoopers LLC, Mr. and Mrs. Paul H. Ward § Coney Island, Rob Schutter Mr. Dean Moulas Evelyn L. Cole Ginger and David W. Warner Corporex Companies, LLC, Lois and Dick Jolson Terry and Marvin Quin Warren and Pam Weber Mr. William Butler Frank Jordan § Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Gary and Diane West § Peter G. Courlas § Mr. Mace C. Justice § Vicky and Rick Reynolds Western Pacific Holdings, Dr. and Mrs. Alvin Crawford Mr. and Mrs. Lorrence T. Kellar Melody Sawyer Richardson § Chiun-Teng Cheng Mrs. Thomas E. Davidson § Dr. and Mrs. Lionel King Ellen Rieveschl § Western & Southern Financial Services, The Dehan Family Mr. and Mrs. Kevin Kline Elizabeth and Karl Ronn § Mr. Don Wuebbling Dennis W. and Cathy Dern Mrs. Thomas Klinedinst, Sr. Dianne and J. David Rosenberg Mrs. Harris K. Weston (Alice) Mr. and Mrs. Steve Dessner Florence and Ron Koetters Nancy and Ed Rosenthal Mrs. James W. Wilson, Jr. Amy and Trey Devey § Marvin P. Kolodzik § Moe and Jack Rouse § Vance and Peggy Wolverton Mr. and Mrs. Albert C. Dierckes, Jr. Michael and Marilyn Kremzar Mr. and Mrs. Thomas R. Ruthman World Pac Paper, LLC, Edgar Smith and Nancy and Steve Donovan Kroger, Ms. Katy Barclay Ann and Harry Santen Toni Robinson-Smith Marjorie Drackett Mrs. Anne I. Lawrence Martha and Lee Schimberg Eric B. Yeiser Dianne Dunkelman Mr. and Mrs. Jeffrey W. Lazarow Mark S. and Rosemary K. Schlachter § Betsy and Alex C. Young § Mrs. David Ellis, Jr. Ms. Wendy Lea and Centrifuse Pamela F. Schmitt Mr. and Mrs. James M. Zimmerman Emory P. Zimmer Insurance Agency, Mr. Louis Levin Harold C. Schott Foundation, Anonymous (5) Baker D. Bahlman Daniel R. Lewis Francie and Tom Hiltz Ernst & Young, Mr. Scott Trosset Mr. and Mrs. Brad Lindner Vivian and Jim Schwab § Denotes members of The Thomas Mr. Shaun Ethier and Empower Edyth B. Lindner David and Abby Schwartz Schippers Society. Individuals who have MediaMarketing Calvin and Patricia Linnemann § Ladislas & Vilma Segoe Family made a planned gift to the Cincinnati Fifth Third Bank Foundation, Ms. Heidi Jark Whitney and Phillip Long Foundation, Mr. David Ellis Symphony Orchestra are eligible for Dr. and Mrs. Carl G. Fischer Mark and Tia Luegering Irwin and Melinda Simon membership in The Thomas Schippers Mr. and Mrs. James T. Fitzgerald Macy’s, Mr. Matthew Q. Stautberg Mr. Murray Sinclaire Society. For more information, please contact Ron Cropper at 513.744.3365.

cincinnatisymphony.org | FANFARE CINCINNATI | 71 It’s time for a new identity.

One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need.

By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613

OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO FINANCIAL SUPPORT

2016–2017 SPONSORS The Cincinnati Symphony Orchestra and the Cincinnati Pops sponsors are an integral part of the Orchestra’s vibrant performances whether supporting a series, a concert or an artist. For information on becoming a sponsor, contact Mary McFadden Lawson at 513.744.3272. We are proud to be partners with the following organizations:

PLATINUM BATON CIRCLE ($50,000+)

Tom & Molly Garber

Anonymous Thomas J. Emery Memorial

Dr. and Mrs. Lois and Dick Florence and Ron Edyth B. Lindner The H.B., E.W. and F.R. Luther The Margaret McWilliams Dr. John & Louise Mulford Stephen Joffe Jolson Koetters Charitable Foundation, Fifth Rentschler Fund of the Greater Fund for the CSO Third Bank and Narley L. Haley, Cincinnati Foundation Co-Trustees Jacob G. Schmidlapp Harold C. Schott The John A. Schroth Ginger & David W. Trusts, Fifth Third Foundation/Francie Louise Taft Semple Ms. Genevieve Tom and Dee Jackie and Roy Family Charitable Trust, Foundation Smith Stegman Sweeney Warner Bank, Trustee and Tom Hiltz, PNC Bank, Trustee Trustees

GOLD BATON CIRCLE ($25,000–$49,999)

The Cincinnati Symphony Club

Sue Friedlander Ann & Gordon Mr. Mace C. Justice The Patricia Kisker Getty Foundation Foundation

Jeffrey & Jody Lazarow Ohio Valley The Ladislas & and Janie & Peter Schwartz Mr. Daniel R. Lewis MusicNOW Family Fund of the Greater Foundation, Fifth Vilma Segoe Family Cincinnati Foundation Third Bank, Agent Foundation

CONDUCTOR’S CIRCLE ($10,000–$24,999)

Rosemary and Crosset Family Mrs. Thomas R. Mr. & Mrs. Robert L. Frank Bloom Fund Davidson Lawrence

The August A. Rendigs, Jr. and The John C. Anne Heldman Marvin P. Kolodzik Anne Lawrence The Daniel & Susan Helen J. Rendigs Foundation, Griswold Foundation Pfau Foundation W. Roger Fry, Trustee, and the firm of Rendigs, Fry, Kiely & Dennis Rosemary and Mark William D. The Sutphin Family The Wohlgemuth The Eric B. Yeiser Family Schlachter Stenger Foundation Herschede Foundation Foundation

CONCERTMASTER’S CIRCLE ($5,000–$9,999)

Queen City (OH) Chapter M MINNILLO & J ENKIN S CO . LPA,ATTO RNEY S AT L AW

The Willard & Louis D. Bilionis & Dr. and Mrs. The Dehan James M. Ewell Jean Mulford YOT Full Circle Surgery Ann Hubbard John E. Bossert Family Foundation Charitable Fund Foundation

ARTIST’S CIRCLE ENCORE CIRCLE Clark Schaefer Hackett Delta Dental $3,000–$4,999 $2,500–$2,999 The ASCAP Foundation The Amphion Foundation EY Paul and Cynthia Booth, COBCO Enterprises LLC Hightowers Petroleum Co. CE Power Solutions The J.M. Smucker Company Cincinnati USA Convention and Visitors Bureau Ohio CAT RiskSource Clark-Theders

cincinnatisymphony.org | FANFARE CINCINNATI | 73 FINANCIAL SUPPORT 2016–2017 Sponsors, cont. ARTSWAVE Partners ArtsWave provides significant support to the Orchestra. The CSO and Pops thanks all who generously participate in the ArtsWave Campaign, including employees at the following partner companies. P&G Fifth Third Bank and the Fifth Third Bank Foundation JANUARY 2017 GE ArtsWave Partners | The Kroger Co. Procter & Gamble: CSO, Jan. 5/7 The Kroger Co.: Pops, Jan. 21–22 Macy’s, Inc. Western & Southern Financial Cincinnati Bell GE: Pops, Jan. 8 The Fifth Third Bank Foundation: U.S. Bank CSO, Jan. 27–28 Cincinnati Children’s Hospital Medical Center PNC: CSO, Jan. 13–14 The Cincinnati Insurance Companies Toyota Motor Engineering & Manufacturing North America, Inc. Great American Insurance Group Ohio National Financial Services Duke Energy PNC Frisch’s Restaurants Convergys Corporation Enquirer Media

PERMANENT ENDOWMENTS Endowments provide stability for the Orchestra, help us attract and retain world-class musicians, and allow us to concentrate on fulfilling our core mission to seek and share inspiration. We extend our deep gratitude to the donors who have provided permanent endowments to enrich lives today and in perpetuity. For more information about endowment gifts, contact Ron Cropper at 513.744.3365. ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair Anna Sinton Taft Chair The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Brenda & Ralph Taylor Chair Kate Foreman Young Peoples Fund The Marc Bohlke Chair James P. Thornton Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Nicholas Tsimaras-Peter G. Courlas Chair Macy’s Foundation Otto M. Budig Family Foundation Chair Jo Ann & Paul Ward Chair Vicky & Rick Reynolds*+ Mary Alice Heekin Burke Chair Matthew & Peg Woodside Chair William R. Schott Family** Peter G. Courlas-Nicholas Tsimaras Chair Mary M. & Charles F. Yeiser Chair Western-Southern Foundation, Inc. Ona Hixson Dater Chair Anonymous Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Susan S. & William A. Friedlander Chair+ Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Charles Gausmann Chair Mr. & Mrs. Val Cook Corbett Educational Endowment** Susanne and Philip O. Geier, Jr. Chair+ Nancy & Steve Donovan* Belmon U. Duvall Fund Emma Margaret & Irving D. Goldman Chair Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Charles Frederic Goss Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund David G. Hakes & Kevin D. Brady Chair Mrs. Frederick D. Haffner, Ford Foundation Fund Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Cello Fund Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Harold B. & Betty Justice Chair Musical Excellence Music Director Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Josephine I. & David J. Joseph, Jr. Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Scholarship Fund Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Elma Margaret Lapp Trust Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Lawrence A. & Anne J. Leser* Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner** Nina Browne Parker Trust Ida Ringling North Chair PNC Financial Services Group Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair The Procter & Gamble Fund Rieveschl Fund The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Thomas Schippers Fund in Honor of William A. Friedlander+ Melody Sawyer Richardson* Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Endowment Fund*+ Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ The Harold C. Schott Foundation, Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Francie and Tom Hiltz Endowment Fund+ Lucien Wulsin Fund The Morleen & Jack Rouse Peggy Selonick Fund for Great Artists Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Dee and Tom Stegman Endowment Fund*+ CSO Pooled Income Fund Emalee Schavel Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair for Great Artists Serge Shababian Chair U. S. Bank Foundation* *Denotes support for Annual Music Program Fund Melinda & Irwin Simon Chair+ Sallie and Randolph Wadsworth Endowment Fund+ **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence

74 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops extends our heartfelt thanks to the donors who support our work, providing nearly one third of the funding needed to bring great music to Cincinnati and the world. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting Pamela Taylor at 513.744.3239.

PLATINUM BATON Mrs. Philip O. Geier § CONCERTMASTER’S Mr. Ken Stone and CIRCLE Marvin P. Kolodzik § CIRCLE Stone Financial Retirement Planning Doris M. and Charles B. Levinson Fund * Delle E. Taylor Gifts of $50,000 and above Linda and James Miller Gifts of $5,000–$9,999 Nancy C. Wagner § The Louise Dieterle Nippert Joseph A. and Susan E. Pichler Fund* Dr. Norita Aplin and Stanley Ragle § Patricia M. Wagner § Musical Arts Fund Terry and Marvin Quin Mr. and Mrs. William T. Bahlman, Jr. § Mr. and Mrs. Warren Weber Mr. and Mrs. Frederick E. Bryan, III § Irwin and Melinda Simon Mrs. Katy Barclay Mrs. James W. Wilson, Jr. The Otto M. Budig Family Foundation § Dale and Joyce Uetrecht Robert L. Bogenschutz Vance and Peggy Wolverton § Sheila and Christopher C. Cole Mr. and Mrs. Gregory Waddell Chris and Karen Bowman Betsy and Alex C. Young § Susan Friedlander § Mr. and Mrs. Paul H. Ward § Ms. Geraldine V. Chavez Anonymous (2) Molly and Tom Garber, CCI Design, Inc. Gary and Diane West § Michael L. Cioffi George L. and Anne P. Heldman Fund* § Eric B. Yeiser Family Foundation Peter G. Courlas § Francie and Tom Hiltz, Harold C. Schott Jodelle S. Crosset ARTIST’S CIRCLE Foundation The Lewis and Marjorie Daniel Foundation Gifts of $3,000–$4,999 Dr. and Mrs. Stephen Joffe CONDUCTOR’S CIRCLE The Dehan Family Stuart and Sarah Aitken Lois and Dick Jolson Gifts of $10,000–$14,999 Mr. and Mrs. Steve Dessner Mrs. Cecile D. Allyn Florence and Ron Koetters Ms. Jessica Adelman and The Kroger Co. Amy and Trey Devey § Yousef Aouad Mrs. Anne I. Lawrence Mr. and Mrs. Lars C. Anderson, Sr. Mr. and Mrs. Albert C. Dierckes, Jr. Thomas P. Atkins Daniel R. Lewis Martha G. Anness § Dianne Dunkelman Mrs. Thomas S. Benjamin Edyth B. Lindner Mr. Randi Bellner and U.S. Bank Mr. Shaun Ethier and David and Elaine Billmire Marilyn J. and Jack D. Osborn § Mary Bergstein Empower MediaMarketing In Memory of Herbert R. Bloch, Jr. Margaret McWilliams Rentschler Fund* Mr. and Mrs. Allan Berliant Dr. and Mrs. Carl G. Fischer Mr. and Mrs. Joseph Brinkmeyer § Dianne and J. David Rosenberg § Edward and Susan Castleberry Dr. and Mrs. Harry F. Fry Mr. and Mrs. Larry Brueshaber Ms. Genevieve Smith Robert and Debra Chavez Ms. Jane Garvey Janet and Bruce Byrnes Tom and Dee Stegman § Mrs. Thomas E. Davidson § Richard D. Gegner Dr. and Mrs. Charles O. Carothers Mrs. Roy Sweeney Emory P. Zimmer Insurance Agency Dr. Lesley Gilbertson and Miss Norma L. Clark § Mr. and Mrs. Randolph L. Wadsworth, Jr. § Mr. and Mrs. James T. Fitzgerald Dr. William Hurford Drs. David and Nina Clyne Ginger and David W. Warner Mr. and Mrs. Michael H. Giuliani Clifford J. Goosmann and Mary Ellen and Thomas G. Cody Anonymous (1) Mr. Joseph Hagin Andrea M. Wilson Mr. and Mrs. Michael D. Connelly Tom and Jan Hardy § Dr. and Mrs. Edward Hake Stephen J. Daush GOLD BATON CIRCLE Mr. and Mrs. Brian E. Heekin Mr. and Mrs. Fred Heldman Jim and Elizabeth Dodd Mr. and Mrs. Joseph W. Hirschhorn § Betty M. Duncan Gifts of $25,000–$49,999 Patricia Henley § Ann Hubbard and Louis D. Bilionis Mrs. Harry M. Hoffheimer Mrs. Diana T. Dwight Mrs. Charles Fleischmann Frank Jordan § Jane F. and David W. Ellis Fund* § David C. Herriman Dr. Murray Jaffe Mrs. Thomas Klinedinst, Sr. Mr. and Mrs. Lorrence T. Kellar* Ann A. Ellison Mr. Mace C. Justice § Mrs. Anne I. Lawrence Marlana and Walter Frank Mr. and Mrs. Jeffrey W. Lazarow Dr. and Mrs. Lionel King Ms. Wendy Lea and Centrifuse Michael and Marilyn Kremzar Carol S. Friel Calvin and Patricia Linnemann § Levin Family Foundation Mr. and Mrs. Otto P. Geier Vicky and Rick Reynolds Mark and Tia Luegering Whitney and Phillip Long Dr. and Mrs. Brian A. Mannion Dr. and Mrs. James M. Greenberg Moe and Jack Rouse § Mr. and Mrs. Timothy Maloney Mr. and Mrs. Robert R. Heidenreich Ann and Harry Santen Alan Margulies and Gale Snoddy Rhoda Mayerson Andrew and Jean Martin Dr. and Mrs. Robert S. Heidt, Jr. Mark S. and Rosemary K. Schlachter § Mrs. Susan M. McPartlin Drs. Robert C. Hodges and Anthony A. McIntire Vivian and Jim Schwab Mr. and Mrs. Jonathan McCann George and Sarah Morrison III Mr. Bernard McKay Drs. Marcia Kaplan and Michael Privitera William D. Stenger Dr. and Mrs. John Parlin Takashi and Chiseko Kato Larry Uhlenbrock Mr. James A. Miller The Daniel & Susan Pfau Foundation Mr. and Mrs. David A. Millett Mr. and Mrs. Richard Kovarsky Mrs. Harris K. Weston (Alice) Melody Sawyer Richardson § Peter E. Landgren and Wodecroft Foundation Mrs. James Monroe § Pamela F. Schmitt Mr. and Mrs. Christopher Muth § Judith Schonbach Landgren Mary S. Stern Arlene Palmer Elizabeth and Terry Lilly SILVER CIRCLE Laurence G. Stillpass John and Farah Palmer Mrs. Robert Lippert Gifts of $15,000–$24,999 Theodore W. and Carol B. Striker August A. Rendigs, Jr. Foundation Thomas and Adele Lippert Mr. Anatole Alper Ms. Anne D. Thomas Ellen Rieveschl § Mrs. Vladimir Lukashuk Rosemary H. and Frank Bloom Mr. and Mrs. Harold M. Thomas Elizabeth and Karl Ronn § Miami University College of Creative Arts Special Fund *§ Tomcinoh Fund* Nancy and Ed Rosenthal Mr. and Mrs. David W. Motch Dr. and Mrs. John and Mr. and Mrs. James M. Zimmerman Mr. and Mrs. Thomas R. Ruthman Mr. Scott Nelson and Dr. Susan Kindel Suzanne Bossert § Anonymous (2) Martha and Lee Schimberg Mr. and Mrs. Robert S. Olson Dr. and Mrs. Alvin Crawford David and Abby Schwartz John and Francie Pepper* Dennis W. and Cathy Dern Mr. Murray Sinclaire Mr. John W. Plattner Nancy and Steve Donovan Elizabeth C. B. and Paul G. Sittenfeld Ann Ruchhoft Marjorie Drackett Mr. and Mrs. Gerald Skidmore § Elizabeth Schulenberg Priscilla Garrison Haffner § Michael and Donnalyn Smith Mr. and Mrs. William A. Starr

Deborah Spradley and Neal Craig of the CES Links Fund with CSO Director of Education JMR visits with some of the smallest guests Guests of Paycor, Ascent Series Sponsor, with Louis and Community Engagement Ahmad Mayes at of Lollipops sponsor UDF following the first Langrée and Branford Marsalis at the One City, One a reception celebrating the upcoming Classical Saturday morning concert. Symphony performance on Nov. 26. Roots concert on Dec. 1 at the Taft Theatre.

cincinnatisymphony.org | FANFARE CINCINNATI | 75 FINANCIAL SUPPORT

Kay Geiger of PNC Bank and her husband, Jack, greet Bob Graeter (center) and his guests visit with JMR and Melinda Doolittle and JMR following the Holiday Pops Melinda Doolittle following the Holiday Pops performance performance on Dec. 2. on Dec. 3. Sarah Thorburn Mrs. Joyce Elkus Mr. and Mrs. George Perbix SYMPHONY CIRCLE Robert and Audrey Varley § David and Kari Ellis Fund* Alice and Burton Perlman Gifts of $750–$1,499 Christopher and Nancy Virgulak Mr. Erwin F. Erhardt III Phillip and Karen Pflaumer Mr. and Mrs. James R. Adams § Dr. Barbara R. Voelkel Dr. and Mrs. Alberto Espay Alice and David Phillips Tracy Agyemang and Ebow Ivory Vroom Mr. and Mrs. James L. Wainscott Gail F. Forberg § Mr. and Mrs. Robert T. Pike Drs. Frank and Mary Albers Jim and George Ann Wesner Ms. Jacqueline S. Francis Mr. and Mrs. David A. Powell Jeff and Keiko Alexander § JoAnn Wieghaus Richard Freshwater Michael and Katherine Rademacher Helen T. Andrews Anonymous (1) Yan Fridman Dr. and Mrs. Leonard M. Randolph, Jr. Nancy J. Apfel Frank and Tara Gardner Marjorie and Louis Rauh Carole J. Arend § ENCORE CIRCLE Mr. and Mrs. James R. Gardner James W. Rauth § David Axt and Susan Wilkinson Gifts of $1,500–$2,999 Theresa Deters Gerrard Mrs. Robert S. Read Dr. Diane S. Babcock § Mr. and Mrs. Richard N. Adams Dr. and Mrs. Ralph Gianella Dr. and Mrs. Robert Reed Robert and Beth Baer William and Janet Albertson L. Timothy Giglio Diane and Alex Resly Mr. and Mrs. Carroll R. Baker Mr. and Mrs. Richard H. Allen Mary and Jack Gimpel Sandra Rivers Mrs. Polly M. Bassett Romola N. Allen § Mrs. Jocelyn Glass Dr. and Mrs. Jack F. Rohde Judy A. Bean Arne and Sharon Almquist John B. Goering Dr. Raymond H. Rolwing Dava L. Biehl § Dr. Victor and Dolores Angel Dr. and Mrs. Glenn S. Gollobin Marianne Rowe § Randal and Peter Bloch Dr. Bruce Aronow Joseph N. Green James Rubenstein and Bernadette Unger Lucille and Dutro Blocksom § Ms. Laura E. Atkinson Mr. and Mrs. Gary Greenberg James and Mary Russell Martha Bolognini Mr. and Mrs. Thomas B. Avril Dr. and Mrs. Jack Hahn Dr. and Mrs. Michael Scheffler Mr. and Mrs. Kenneth Borisch Robert and Janet Banks Dr. Donald and Laura Harrison Mr. and Mrs. Peter A. Schmid Chris and Tom Buchert Mr. and Mrs. Robert T. Betz Mr. John L. Harrison James Schubert Donald L. and Kathleen Field Burns Rexford and Sharon Bevis Emma D. Hartkemeier Rev. Dr. David V. Schwab John Byczkowski Jane Birckhead Ms. Elizabeth A. Harty Theodore Schwartz and Minette Hoffheimer Ms. Deborah Campbell § Drs. Bennett and Helene Blitzer Irmgard and Horst Hehmann Dr. and Mrs. Carl M. Sedacca Shannon and Lee Carter Rebecca Bolce and Keith Wood Mr. and Mrs. John S. Heldman § Mrs. Mildred J. Selonick § Amy and Robert Catanzaro Mr. and Mrs. John P. Boorn Dr. James and Ms. Susan Herman Mrs. Robert B. Shott § Mike and Shirly Chaney Cynthia Booth Ms. Janet Hickman Sue and Glenn Showers Catharine W. Chapman § Glenn and Donna Boutilier Elizabeth and Lawrence Hoyt Ms. Joan Smith Leland M. and Carol C. Cole § Dr. and Mrs. William Bramlage In Memory of Benjamin C. Hubbard § William A. and Jane Smith Dr. Margaret Conradi Thomas A. Braun III § Doug and Melanie Hynden Ellen and Clark Sole Mr. and Mrs. Patrick Cunningham Rachelle Bruno and Stephen Bondurant Barbara M. Johnson Jeff and Juddy Solomon Fund* Mr. and Mrs. Charles E. Curran III § Mrs. Ann J. Bunis Mr. Timothy Juenke Harold and Faye Sosna John and Lynne Curtiss Stephen and Diedra Burns Don and Kathy King Howard and Nancy Starnbach Mr. and Mrs. Henry F. Dabek, Jr. Linda Busken and Andrew M. Jergens § Jeff and Mary Ann Knoop Bill and Lee Steenken Stephen and Cynthia DeHoff Anna K. and G. Gibson Carey Carol Louise Kruse Elizabeth A. Stone Robert B. Dick, Ph.D. Joan Carlin Mrs. John H. Kuhn § Brett Stover § Jeannie Donaldson Paul and Judy Carlson Kevin L. Langston Patricia Strunk § Shirley and Roy Duff Tom Carpenter and Lynne Lancaster Rita and Pete LaPresto Mrs. Sally Sundermann Ms. Ruth Engel Dr. Julia H. Carter Richard and Susan Lauf Bunny and Frank Szecskay Hardy and Barbara Eshbaugh Becky and Sam Cassidy Mary Mc and Kevin Lawson Ralph C. Taylor § Barbara Esposito-Ilacqua Mr. and Mrs. Martin Chambers Philip and Judy Leege Kathy Teipen Mr. Laughton Fine Mrs. Jackson L. Clagett III § Mrs. Jean E. Lemon § Susan and John Tew Mrs. Nancy Finke Bob and Tisha Clary Mr. Peter F. Levin § Mr. and Mrs. Ronald Tinklenberg Ashley and Bobbie Ford Michael and Minnie Clements Drs. Douglas Linz and Ann Middaugh J. Titchener Gregrick A. Frey and Karen L. Frey Susan and Burton Closson Ms. Merlanne Louney Janet Todd Linda P. Fulton Dr. and Mrs. John M. Collins Mr. and Mrs. Clement H. Luken, Jr. Mr. William Trach Mrs. Nicholas Giannestras Dr. Pearl J. Compaan Jacqueline M. Mack and Nydia C. Tranter § Ms. Louise J. Gissendaner Jack and Janice Cook Dr. Edward B. Silberstein Dick and Jane Tuten § Dr. and Mrs. Charles J. Glueck Mr. and Mrs. Richard J. Coomes Mandare Foundation Mrs. Ronald F. Walker Donn Goebel and Cathy McLeod Randy K. and Nancy R. Cooper Mr. and Mrs. Donald Marshall Robert and Antoinette Warden Steven and Shelley Goldstein Dr. Youssef and Suzanne Costandi David Martin Dr. and Mrs. Galen R. Warren Ms. Arlene Golembiewski Robin Cotton and Cindi Fitton Lynn and Glen Mayfield Donna A. Welsch Thomas W. Gougeon Martha and David Crafts Dr. bruce d. mcclung and Mr. Jerry DeFilipps Mary E. West Mr. Don Gray Mr. and Mrs. John Crittenden Eleanor S. McCombe Virginia Wilhelm Lesha and Samuel Greengus Drs. Fuheid and Ingrid Daoud Ms. Amy McDiffett Sheila Williams and Bruce Smith Kathy Grote § in loving memory of Mr. and Mrs. James Dealy Stephanie McNeill Cathy S. Willis Robert Howes George Deepe and Kris Orsborn Charles and JoAnn Mead Ronna and James Willis Mr. Louis Guttman Red and Jo Deluse Mary Ann Meanwell Gene Wilson William P. Hackman § Bedouin and Randall Dennison Mrs. Patricia Misrach Andrea Wiot William and Joanne Harvey Jon and Susan Doucleff § Mr. and Mrs. David Moccia § Mrs. Barbara A. Witte § Deborah Hauger, MD Mrs. Jack E. Drake Mrs. Sally A. More Steve and Katie Wolnitzek Mr. and Mrs. Donald L. Henson Patricia Dudsic Dr. and Mrs. William H. Newell Wright Brothers, Inc. Mr. and Mrs. Stephen Hicks Rev. Virginia A. Duffy Dr. Cora Ogle Don and Carol Wuebbling Karlee L. Hilliard § Ms. Maureen Dunne Mr. and Mrs. Eric Oliver Mr. Tyrone K. Yates Ruth C. Holthaus Dr. and Mrs. Stewart B. Dunsker Gary and Nancy Oppito Dr. and Mrs. Marvyn H. Youkilis Mr. and Mrs. Terence Horan The Dyer Family Mr. and Mrs. Joe Orndorff Mr. and Mrs. Dan Zavon Mr. David Huberfield Mr. and Mrs. John G. Earls § Patricia and Morris Passer Anonymous (8) Mr. and Mrs. Bradley G. Hughes Mr. Jimmy C. Edwards Dr. Manisha Patel and Dr. Michael Curran Mr. and Mrs. Michael C. Hughes Jerome H. and Jean K. Eichert Poul D. and Jo Anne Pedersen Mrs. Thomas Huheey

76 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

Mr. and Mrs. Marshall C. Hunt, Jr. Mr. and Mrs. Robert D. Phelps Dr. Tammy Turner-Vorbeck and GIFTS IN-KIND Yuzo and Shinobu Imoto Sandy Pike § Mr. Dave Vorbeck Mrs. Charles Fleischmann III Dr. Maralyn M. Itzkowitz Mr. Paul E. Potter Stephen F. Voellmecke Family Comics 2 Games Heidi Jark and Steve Kenat Mr. Phillip Potter Mr. and Mrs. Jason R. Waggoner FRCH Design Worldwide Mr. and Mrs. Robert Judd Barbara S. Reckseit § Mary and Jack Wagner § Dr. and Mrs. Edward H. Hake Susan Kamon and David Blazer David and Marilyn Reichert § Nancy F. Walker Lightborne Mr. and Mrs. Geoffrey Keenan Dr. Robert Rhoad and Kitsa Tassian Rhoad Sarella Walton Scottish Rite Valley of Cincinnati Dr. Robert W. Keith and Becky and Ted Richards Chad and Betsy Warwick The Phoenix Ms. Kathleen Thornton Mr. and Mrs. Marcus Rose Herman and Margaret Wasserman Taft Stettinius & Hollister Dr. Patrick G. Kirk and Ryan and Kara Rybolt Music Fund Nancy C. Wagner Mrs. Mary M. Vondrak Mrs. Richard B. Salzer Elizabeth Weber Patricia M. Wagner John and Lynn Klahm Mr. and Mrs. Robert A. Sanders In Memory of Milton and Helen Weber Ms. Molly Wellmann Marie and Sam Kocoshis Jeffrey S. Schloemer and Marcia A. Banker Greg and Diane Wehrman Mr. and Mrs. Gary West Steven Kohler Ms. Pamela Schneider Ted and Mary Ann Weiss Diane and Matt Kolleck Mr. George Schober E. E. West List as of December 9, 2016 Kathleen B. and Michael C. Krug Fund* Timothy W. Schraw Franklin H. White * Denotes a fund of The Greater Mrs. Joseph A. Lane Mary D. Schweitzer Dianne Whitten Cincinnati Foundation Charles and Jean Lauterbach Pamela Scott Mr. and Mrs. Robert L. Wilson, Jr. § Denotes members of The Thomas Dr. and Mrs. Brad Lemberg Martha S. Seaman § Mrs. Richard Wurzelbacher Schippers Society. Individuals who have Dr. and Mrs. Lynn Y. Lin Alfred and Carol Shikany Mr. John M. Yacher made a planned gift to the Cincinnati Mr. and Mrs. James A. Link Mr. Eli E. Shupe, Jr. David and Sharon Youmans Symphony Orchestra and Cincinnati Paula and Nick Link Rennie and David Siebenhar Mr. and Mrs. Robert L. Zierolf Pops are eligible for membership in The Mrs. Marianne Locke Dr. Toni Robinson-Smith and John and Mary Ann Zorio Thomas Schippers Society. For more Al and Mary Lopez Mr. Edgar L. Smith, Jr. Mrs. Beth Zwergel information, please contact Ron Cropper Mr. and Mrs. David B. Lopez Kenneth and Janet Smith Anonymous (17) 513.744.3365. Marshall and Nancy Macks Dr. and Mrs. Robert Sefton Smith Mr. and Mrs. Dean Matz Dr. and Mrs. Roger D. Smith Drs. Brian and Janice McConville David and Sonja Snyder Dr. Janet P. McDaniel Phillip and Karen Sparkes The Cincinnati Symphony Orchestra is grateful for Mr. and Mrs. Michael McDonnell Mr. and Mrs. John A. Spiess Robert and Heather McGrath Matt and Shannon Stautberg the support of the following: Daniel and Elizabeth McMullen Mr. and Mrs. Timothy Stautberg Dr. and Mrs. C. Nelson Melampy John Steele, Sr. Dr. and Mrs. Richard A. Meyer Dr. Jean and Mrs. Anne Steichen Dr. Stanley R. Milstein § Mark and Anne Stepaniak Ms. Mary Lou Motl Ms. Judy H. Stewart Stephen and Kristin Mullin § Stephanie and Joseph Stitt David and Beth Muskopf Mr. and Mrs. Richard Stradling, Jr. Mr. William Naumann Amy Summerville and Michael Wolfram Jim and Marty Neumeister Mrs. Robert D. Swanson Dr. James Newberne Carol Thaman Matt Nitzberg and Family Mr. and Mrs. Alexander Thomson Mr. and Mrs. John Noelcke Cliff and Diane Thornsburg Dr. and Mrs. Thomas W. Osborn, III Neil Tollas and Janet Moore Marilyn Z. Ott Fran Turner Paul and Roberta Pappenheimer

JANUARY 2017 Who’s a Group? You’re a Group!

The Cincinnati Symphony Orchestra and Cincinnati Pops are pleased to welcome the following groups to concerts this month: • Discover our specially priced tickets for groups of 10 or Pops, Jan. 8 more! Howard Financial • Find out how you can Rendigs, Fry, Kiely & Dennis orchestrate a profitable fundraising event Pops, Jan. 21–22 for your local organization. Alpha Kappa Alpha—Sigma Omega Anderson Senior Center Contact CSO Group Sales: Berkeley Square 513.744.3590 or Cedar Village csogroupsales.org Circle of African-American Leaders for the Arts Howard Financial Mt. Zion Baptist Church Seasons Retirement Community

CSO, Jan. 27 New Horizons String Orchestra

cincinnatisymphony.org | FANFARE CINCINNATI | 77 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Ron Cropper at 513.744.3365.

Bill Harnish & John Harnish Melody Sawyer Richardson Dr. & Mrs. Thomas Todd * Mrs. Jay Harris * Ellen Rieveschl Nydia Tranter* Dr. & Mrs. Morton L. Harshman ** Elizabeth & Karl Ronn Dick & Jane Tuten * Mary J. Healy* Moe & Jack Rouse* Mr. & Mrs. Robert Varley * Frank G. Heitker* Marianne Rowe * Thomas M. Vaughn* Dr. Ira & Linda Abrahamson * Anne Heldman * Solveiga Rush Mr. & Mrs. Randolph Wadsworth, Jr. * Mr. & Mrs. James R. Adams * Betty & John Heldman * Ms. Emalee Schavel ** Jack K. & Mary V. Wagner Jeff & Keiko Alexander * John Hermanies * Rosemary & Mark Schlachter ** Nancy C. Wagner * Mrs. Robert H. Allen * Ms. Roberta Hermesch * Mr. & Mrs. Arthur F. Schmitt * Patricia M. Wagner * Mrs. Charles William Anness Karlee L. Hilliard* Mrs. William R. Seaman Mr. & Mrs. Paul Ward * Dr. Norita Aplin & Stanley Ragle Mr. & Mrs. Joseph W. Hirschhorn Dr. & Mrs. William Blake Selnick * Debie Crosset Warkany * Jean L. Appenfelder Daniel J. Hoffheimer ** Mrs. Mildred J. Selonick* Jo Anne & Fred Warren* Carole J. Arend * Mr. & Mrs. Edward A. Hogan * Joyce Seymour Anne M. Werner * Donald C. Auberger, Jr. * Kenneth L. Holford * Mrs. Robert B. Shott * Gary & Diane West * Dr. Diane Schwemlein Babcock Mr. & Mrs. Terence L. Horan ** Sarah Garrison Skidmore Mary West Mr. & Mrs. William T. Bahlman, Jr. ** Evelyn V. Hess Howett, M.D. Adrienne A. Smith Charles Wilkinson Henrietta Barlag Mrs. Benjamin C. Hubbard Roberta L. Sontag * Sarah E. Wilkinson Peggy Barrett Isabelle F. Hugo* Marie Speziale Harriet C. Wilson * Jane & Ed Bavaria * Carolyn R. Hunt Mr. & Mrs. Christopher L. Sprenkle* Mrs. Monte Witte * Dava L. Biehl * Mrs. William H. Hutcherson, Jr. Michael M. Spresser Vance & Peggy Wolverton Walter Blair * Mary Ellen Hutton Susan Stanton * Mrs. Joan R. Wood Lucille & Dutro Blocksom * Julia M. F. B. Jackson * Barry & Sharlyn Stare Harris Wright ** Rosemary & Frank Bloom ** Michael & Kathleen Janson * Mrs. Edward P. Staubitz * Betsy & Alex C. Young ** Fay Boeh * Andrew MacAoidh Jergens Dee & Tom Stegman* Dr. & Mrs. Daryl Zeigler Dr. John and Suzanne Bossert Jean C. Jett Mary & Bob Stewart * Anonymous (28) Mollie H. Bowers-Hollon Mrs. Morse Johnson * Brett Stover Ronald Bozicevich Frank Jordan Dr. Robert & Jill Strub * * Schippers Society Member Thomas A. Braun, III Margaret H. Jung Patricia M. Strunk for 10 or more years Joseph Brinkmeyer Rosalind Juran * Ralph & Brenda Taylor * ** Schippers Society Member Mr. & Mrs. Frederick Bryan, III * Mace C. Justice ** Conrad F. Thiede for 20 or more years Harold & Dorothy Byers Karen Kapella* Minda F. Thompson New Schippers members are in bold Deborah Campbell & Eunice M. Wolf Dr. & Mrs. Steven Katkin * Carrie & Peter Throm* Dimitra A. Campbell ** Paul C. Keidel * Myra Chabut ** Dr. Robert A. Kemper * Catharine W. Chapman Mrs. Paul N. Kibler* Jean & Matthew Chimsky Alan and Jill Kinstler Mrs. Jackson L. Clagett III* Rachel Kirley and Joseph Jaquette Norma L. Clark Marvin Kolodzik * Lois and Philip Cohen Randolph & Patricia Krumm Stanley & Frances Cohen * Mrs. Theresa M. Kuhn Leland M. & Carol C. Cole Owen & CiCi Lee * Grace A. Cook * Audrey Kuethe Leeser* Jack and Janice Cook Mrs. Jean E. Lemon Mr. & Mrs. Charles Cordes ** Mr. & Mrs. Peter F. Levin * Peter G. Courlas & Nick Tsimaras ** George & Barbara Lott ** Mr. & Mrs. Charles E. Curran III** Mr. & Mrs. Ronald Lyons * Amy & Scott Darrah Marilyn J. Maag Meredith & Will Darrah, children Margot Marples Caroline H. Davidson Allen & Judy Martin Harrison R.T. Davis* Mrs. Thomas H. McCrary * Miriam Deshon* Laura Kimble McLellan Amy & Trey Devey Dr. Stanley R. Milstein Robert W. Dorsey Mrs. William K. Minor Jon & Susan Doucleff Mr. & Mrs. D.E. Moccia Mr. & Mrs. John Earls * Mr. & Mrs. James Monroe * Dale & Lillian Eickman * Mrs. Arthur E. Motch, Jr. * Linda and Harry Fath Kristin and Stephen Mullin Alan Flaherty Ms. Maryjane N. Musser * Mrs. Richard A. Forberg Christopher & Susan Muth Guy & Marilyn Frederick ** Patti Myers Susan Friedlander ** Anne Nethercott* Mr. & Mrs. Nicholas Fry* Susan & Kenneth Newmark* Mrs. Charles W. Fryer* Dr. & Mrs. Theodore Nicholas Linda P. Fulton Patricia Grignet Nott H. Jane Gavin Jane & Erv Oberschmidt * . Mrs. Philip O. Geier * Julie & Dick Okenfuss * it Kenneth A. Goode** Jack & Marilyn Osborn * ir Clifford J. Goosmann & Andrea M. Wilson The Palmer Family—Cletus and Sp Mrs. Madeleine H. Gordon Mary Lou, David and Kathy, d J. Frederick & Cynthia Gossman* Bill and Jamie * an Kathy Grote Sandy Pike * ind Esther B. Grubbs, Marci Bein, Mindi Hamby Mrs. Harold F. Poe ** t, M William Hackman* Anne M. Pohl* r Hear Priscilla Garrison Haffner Mr. & Mrs. Robert C. Porter, Jr. for you David G. Hakes* Irene & Daniel Randolph * Vincent C. Hand & Ann E. Hagerman James W. Rauth Tom and Jan Hardy Barbara S. Reckseit William L. Harmon Edward J. Requardt *

78 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION

OFFICE OF THE PRESIDENT Logan Kelly Ron Cropper Ellen Graham Trey Devey Manager of Education Programs Director of Special Campaigns Group Sales Manager President Carol Dary Dunevant Teresa N. Ahrenholz Ricardo Mesina Lauren Roberson Ensembles & Musician Training Philanthropy Assistant Graphic Designer Executive Assistant to the President Coordinator Penny Hamilton Michelle Lewandowski ARTISTIC ADMINISTRATION & COMMUNICATIONS Philanthropy Assistant Subscription Coordinator PRODUCTION Christopher Pinelo Robert McGrath Vice President of Communications FINANCE PATRON SERVICES Vice President & General Manager Richard Freshwater Supervisors Meghan Berneking Vice President & Danielle Mahone Zan Burkhardt Director of Communications Chief Financial Officer Matthew White Production Assistant Lee Snow Scott Eckner Representatives Heather L. Stengle Digital Communications Manager IT Manager Erica Archer Director of Operations Jonathan Dellinger Melissa Knueven Will McCoy Justin Exposito Andy Gurley Communications Assistant Systems Support Specialist Elizabeth Fricke Production Manager Kyle Wynk John Geiger PHILANTHROPY Elizabeth Schmidt Alex Magg Mary McFadden Lawson Human Resources Manager Operations Project Coordinator Jessica Smithorn Vice President of Philanthropy Megan Inderbitzin-Tsai Kenji Ulmer Sam Strater Rachel B. Kirley Payroll Administrator Andrea Vos-Rochefort Director of Artistic Administration, Director of Individual Giving Cincinnati Pops Orchestra Judy Prinz and Donor Services Receptionist RIVERBEND MUSIC CENTER/ Isaac Thompson PNC PAVILION/TAFT Emily Selzer Melissa Scott THEATRE/MUSIC & EVENT Director of Artistic Administration, Leadership Giving Manager CSO Director of Data Systems MANAGEMENT INC. Pamela Taylor The Hulbert Taft, Jr. Marissa Goodman Kathleen Curry Individual Giving Manager Data Entry Clerk Center for the Assistant Artistic Administrator Performing Arts, J. Ralph Corbett Kristi Reed Sharon D. Grayton Pavilion Ahmad Mayes Grants Manager Director of Education & Community Data Services Manager PNC Pavilion at Engagement Hannah Johnson Tara Williams Riverbend Music Center Director of Events Charmaine Moore Data Entry Analyst Michael Smith Community Engagement and Sarah Maguire Eric Smith Vice President of Project Diversity Manager Volunteer Manager Controller Development & Riverbend Music Center Monica Putnick Accounting Manager Matthew Dunne General Manager Brandy Hauser Accounting Clerk Amy Dahlhoff Concessions Manager & Kristina Pfeiffer Special Events Coordinator Accounting Manager Ryan Jaspers The new face of Rosie Rothhaar Event/Operations Manager Accounting Clerk Buddy Roger’s Music James Kirby Kelly Saylor Assistant Operations Manager A Commitment of Excellence Accounting Clerk for the beginner and the professional Lane Kolkmeyer MARKETING & SALES Assistant Marketing Manager We are YOUR specialists Sherri Prentiss Michele Ferrara in woodwind, brass Vice President of Marketing Corporate Sales Manager and percussion M. Todd Bezold Rosemarie Moehring Director of Marketing, Subscriptions Marketing Manager Amy E. Catanzaro Ed Morrell Director of Sales General Manager Erica Keller Jennifer Schoonover Director of Audience Engagement Premium Seat Program Manager Kaitlyn Driesen Kelly Benhase Audience Engagement Manager Box Office Manager Erica Reid Holly Dickman Director of Marketing, Assistant Box Office Manager Special Projects Monty Wolf Heather Brown Plant Operations Manager Box Office Manager 1939 W Galbraith Rd Katie Murry Rick McCarty Cincinnati, Ohio 45239 Marketing Manager, Subscriptions Marketing Director 513-931-6780 Joan Wright www.buddyrogers.com Andrew Duncan Marketing Manager Receptionist

cincinnatisymphony.org | FANFARE CINCINNATI | 79 CODA by Chris Pinelo

ore great music is coming to a concert broadcasts produced by WGUC and make computer, tablet or smart phone them available for on-demand streaming for one near you! week. You’ll be able to listen to that week’s con- For decades, radio listeners have cert broadcast anytime and anywhere around the Menjoyed one-time broadcasts of Cincinnati Sym- world on your computer, tablet or smart phone. phony Orchestra subscription concerts on Classical The streaming link will also feature program notes, 90.9 WGUC. As is customary, the season’s worth article and review links and photos. of concert broadcasts starts in January with the It’s simple. A new concert airs each Sunday at opener recorded this past September. That program 8 p.m. on WGUC, and starting at 10 a.m. the follow- featured Music Director Louis Langrée conducting ing day, that particular broadcast will be available Beethoven’s “Emperor” Concerto with the legendary at cincinnatisymphony.org for you to listen any Emanuel Ax and closed with Shostakovich’s Sym- time for seven days. When 10 a.m. rolls around on phony No. 5. This celebrated performance, described Monday of the following week, that concert gets by the Enquirer’s Janelle Gelfand as “gripping” and swapped out for the most recent concert broadcast. “stunning,” airs Sunday, January 8 at 8 p.m. on In January alone, CSO IN CONCERT will feature WGUC. In the past, that beautiful concert broadcast on-demand streaming of amazing CSO perfor- would have happened once and if you missed, well, mances featuring Lang Lang, Hilary Hahn, and you missed it. the groundbreaking presentation of Fauré’s Pelléas In partnership with our friends at 90.9 Classical et Mélisande—all led by CSO Music Director Louis WGUC, we are pleased to introduce CSO IN CON- Langrée. CERT this month, a new streaming service on the Happy listening! n Orchestra’s website that will take these wonderful

UP NEXT AT THE TAFT THEATRE

80 | FANFARE CINCINNATI | cincinnatisymphony.org THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.

OR

Remaining focused on the long term.

Medically speaking, checking one’s reflexes Raymond James advisor employs a slow and is an important test of the nervous system. steady approach to financial planning. It’s a However, in our overly deliberate opinion, rigorously thorough process in which every the doctor’s office is the only place decision is made with the long where knee-jerk reactions should term in mind. When you sit down be considered a positive. Especially with a Raymond James financial when it comes to investing. We advisor, they will take the time to realize that it’s only natural to want tailor a plan just for you. And help Holding on during the to react impulsively to a down day or ups and downs. Typically you stick to it during the ups. And a sound strategy. two, but we believe remaining stead- downs. For over 50 years, our advisors fast is the more prudent financial decision. have quietly served clients differently. Go to And while there is a time and place to take lifewellplanned.com to learn more. It’s time action, it should be done thoughtfully. As to find out what a Raymond James financial opposed to rapidly. Which is why every advisor can do for you. LIFE WELL PLANNED.

John Ryan Managing Director Investments, Complex Manager

201 East Fifth Street, Suite 2500 Cincinnati, OH 45202 T (513) 287-6763 // F: (513) 287-6788 [email protected] // raymondjames.com/johnryancapitaladvisory

©2014 Raymond James & Associates, Inc., member New York Stock Exchange/SIPC. Raymond James is a registered trademark of Raymond James Financial, Inc. 13-BR-InCr-0433 EG 1/14

13-BR-InCr-0433 BadDay_FullPg_Color_All.indd 1 1/16/14 4:53 PM