2 brevard philharmonic | www.brevardphilharmonic.org About the Maestro 4 Letter from the Maestro 5 History of the Brevard Philharmonic 6 Letter from the President 7 OCTOBER 7, 2018 11 ROMANTIC INTRODUCTIONS NOVEMBER 11, 2018 17 THE MAGIC OF MOZART DECEMBER 16, 2018 25 CHRISTMASTIME IN BREVARD MARCH 10, 2019 27 AN AMERICAN CELEBRATION mission statement MAY 12, 2019 29 The Mission of the Brevard BEETHOVEN’S PASTORALE SYMPHONY Philharmonic is to inspire, educate, Brevard Philharmonic Personnel 35 and enrich our audiences through 2018 Contributors 36 exceptional, professional musical Sponsorships 38 performances and community outreach. Board of Directors 44 C Notes 45 Meet Our Staff 48

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www.brevardphilharmonic.org | brevard philharmonic 3 about the maestro

JAMES FELLENBAUM

ames Fellenbaum enjoys an extraordinarily diverse career as a conductor, equally at J home with Symphonic music, Chamber Orchestra repertoire, Pops, Ballet, Opera, Choral-Orchestral, and Film with Live Orchestra. He is thrilled and honored to become the next Artistic Director of the Brevard Philharmonic and is excited to share his love and passion for classical music with the community of Brevard.

James is the Resident Conductor of the Knoxville Symphony Orchestra (KSO) having completed his 12th season with the organization. He conducts a variety of concerts with the KSO and has led the orchestra in a wide array of repertoire, ranging from the complete Brandenburg Concerti to orchestral music from Wagner’s The Ring Cycle. His performances on the Masterworks and Chamber Classics series have garnered such praise as “… a remarkable performance, one that was clean, focused, and razor-sharp in its control, yet passionate and warm in its display,” and “it orchestras, led by the Youth Orchestra, which was one of the most compelling performances of he conducts. In March 2018, the Youth a Beethoven symphony I have yet heard in Orchestra was selected to compete in the Knoxville.” As a frequent conductor on the National Orchestra Festival in Atlanta, sponsored Knoxville News-Sentinel Pops series, he has by the American String Teachers Association, collaborated with such renowned artists as where they won 1st Prize in the Youth Orchestra Kenny G, Chris Botti, Blood, Sweat & Tears, Division. The Youth Orchestra was also Jim Witter, Ann Hampton Calloway, Steve awarded 3rd Prize in The American Prize Lippia, The Indigo Girls, and The Midtown competition–Youth Orchestra division, for Men, along with tributes to Bob Denver, The their 2017-2018 season. James has been a guest Beatles, Elvis, as well as the popular Cirque Music Director of the Symphony of the de la Symphonie. He also excels in Film with Mountains Youth Orchestra and was previously Live Orchestra concerts, including recent the Music Director of the Suburban Youth presentations of The Wizard of Oz, Casablanca, Symphony in Illinois. He has conducted the and Raiders of the Lost Ark. As part of the American Youth Philharmonic, Texas Honors KSO’s Education and Community Partnership Orchestra, and has led many regional and Program, James conducts performances all-state orchestras, as well as hundreds of throughout the city of Knoxville, as well as workshops and clinics. regional communities in east Tennessee and southwest Virginia. He also conducts the James is the Director of Orchestras at the educational programs, including Side-by- University of Tennessee (UT), a position he Side concerts with local high school orchestra has held since 2003. He oversees and conducts programs, and the KSO’s annual Young the Orchestra Program, which includes the People’s Concerts, which are seen by 10,000 Symphony Orchestra – the most prominent elementary students each year. collegiate ensemble in the state – the Chamber Orchestra founded in 2004, the Contemporary Since 2010, James is also the Music Director Music Ensemble founded in 2006 and of the Knoxville Symphony Youth Orchestra dedicated to music written since 1950, and Association. The KSYOA consists of six UT Opera Theater where he oversees orchestral

4 brevard philharmonic | www.brevardphilharmonic.org about the maestro administration, and has conducted past Orchestra (OR), Indianapolis Chamber productions such as Don Giovanni, La Traviata, Orchestra, Orange County Symphony (CA), Il Barbiere di Siviglia, The Turn of the Screw, American Youth Philharmonic, the Symphony Sweeney Todd, Susannah, Cosi fan tutte, Little of the Mountains (TN), the Satu-Mare State Women, and more. Orchestral performances Philharmonic and Sinfonia Bucharest Orchestra at UT have grown in both size and quality of Romania, and the Russe Philharmonic of performances, resulting in invitations to and Vidin Philharmonic of Bulgaria. He was perform in state-wide and regional concerts invited to the 2006 First International Gennady and receiving critical acclaim such as, “With Rozhdestvensky Conductors Competition, where the arrival of James Fellenbaum… the UT he was one of 20 conductors chosen to compete Symphony has developed at an amazing pace into out of 112 applicants from 26 countries around an ensemble that rivals the professional orchestras the world, and finished as a finalist – the only in many communities.” Additionally, the American to reach that round. Orchestra Program has been chosen for two different PBS recording projects, performing as James Fellenbaum holds a Bachelor of Music the classical soundtrack for Appalachia: A History degree in violoncello performance from James of Mountains and People narrated by Sissy Spacek, Madison University and holds a double Masters and the coming The Truth about Trees. degree in violoncello performance and orchestral conducting from Northwestern University. His James has conducted orchestras nationally primary conducting teachers were Victor Yampolsky and internationally, including recent guest and Cliff Colnot in Chicago, David Zinman and conducting engagements with the Amarillo Murry Sidlin at the Aspen Summer Music Festival, Symphony (TX), Brevard Philharmonic (NC), and Pinchas Zukerman and Jorma Panula as part Erie Philharmonic (PA), Springfield Symphony of the Conductors Programme with the National Orchestra (MA), Asheville Symphony Orchestra Arts Centre Orchestra in Ottawa, Canada. (NC), the Portland Columbia Symphony

letter from the maestro Dear Friends, I hope you will enjoy the variety of concert offerings this year, as it is my desire for all of It is with great enthusiasm that I welcome us to hear our beloved favorites, discover new you to the 2018-2019 season of the Brevard pieces of music, and experience some truly Philharmonic – our 42nd season, and my first outstanding solo artists. And, along the way, as Artistic Director and Conductor. It has I also hope we have some fun. been such a pleasure to explore this beautiful community and meet many of you, and I’m Thank you for coming to our concert. I looking forward to our continued relationship invite you to sit back, relax, and enjoy the through our love of music. thrilling classical music you are about to hear on stage from your own orchestra, the Brevard Philharmonic.

www.brevardphilharmonic.org | brevard philharmonic 5 history of the brevard philharmonic Dr. Head put down his baton in 2007, and then Maestro Donald Portnoy served 10 years as the Artistic Director/Conductor of Brevard Philharmonic before stepping down in January 2017. In the last five years the orchestra has flourished and grown, as noted by a Classical Voice of North Carolina he predecessor of what is now Brevard reviewer this past season. “…this orchestra Philharmonic was founded in 1976 has yielded great results with confident Tby Jackson Parkhurst. In creating the features of a very good orchestra of which Brevard Chamber Orchestra, Parkhurst gave the community should be justifiably proud.” outstanding local musicians the opportunity to make music together, at the same time A “new chapter” begins with the 2018- further enhancing the reputation of Brevard 2019 season as we welcome the leadership as a place known for its music-making. Forty- and energy of Maestro James Fellenbaum, one years later, Brevard Philharmonic has who was selected as the Artistic Director/ become a vital part of Transylvania County’s Conductor of the Brevard Philharmonic musical identity. following an extensive fifteen-month search. Coupled with Jim’s programming creativity When Parkhurst left Brevard to join the are our gifted musicians and exceptional guest North Carolina Symphony in 1980, Virginia artists, which will surely deliver inspiring Tillotson, Chair of the Music Department at and outstanding musical performances for Brevard College, took over the leadership of all to enjoy! the orchestra. During her 21-year tenure as conductor, what began as a chamber ensemble Brevard Philharmonic has the distinction of playing in various community venues several performing their five-concert season in Scott times a year became a full orchestra presenting Concert Hall of the Porter Center for the an annual series of concerts at Brevard College Performing Arts at Brevard College which to a loyal community following. has earned a reputation as one of the finest performance halls in the South. Upon Tillotson’s retirement in 2001, Vance Reese, Tillotson’s associate conductor, was named Brevard Chamber Orchestra’s (BCO) principal conductor. In 2003, management of the orchestra was taken over by Brevard College and BCO became its Orchestra-in- Residence. Due to a change in administration at the college and a new set of priorities, the orchestra was disbanded the following year. However, the Brevard Chamber Orchestra Association refused to give up, believing Brevard’s music-loving public valued its community orchestra and that there was a brighter future ahead. This proved to be true in 2005 when the Board of Directors and Dr. Emerson Head joined resources to revive the orchestra, changing its name to the Brevard Philharmonic.

6 brevard philharmonic | www.brevardphilharmonic.org letter from the president Brevard Philharmonic— Uniquely Yours! The Brevard Philharmonic is energized by our new Artistic Director, James Fellenbaum. We are delighted at his eagerness, his humility within the intensity, and his calm amid the passion he brings to us. Jim symbolizes our new beginning, our next step in growth as Brevard’s own professional orchestra. Jim, the Board, and our musicians are excited to move forward together for the Brevard Philharmonic and you - our patrons.

As we listen to the Brevard Philharmonic, we feel the passion – the passion of the composer, the arranger, the conductor, and the musicians. One’s passion is enhanced by what is individually brought into the program in K-5 education. The teachers are Porter Center – previous experiences with a to be praised for having these young students composition, or perhaps the surprise of a new prepared for the experiences we are able to piece. Passion for music is indescribable – a provide. No doubt, we are planting seeds of different reaction from each of us, yet each passion with these young citizens! unique response is created by the whole. Music expresses passion when individual Gifts and talents, willingness and passion words or actions cannot. are diminished without an audience. I thank you for purchasing your ticket. That very act The Board of Directors continues to work confirms the actions of the musicians, the tirelessly to attend to the business of running Board and the community are appreciated. an orchestra – each of us brings unique gifts To the many of you who contribute your and talents to the table, and none of us works money, we sincerely appreciate your gifts. with anything less than enthusiasm and The Brevard Philharmonic simply would not commitment to our mission. On behalf of survive without your generosity and support. the community, I thank our board members for their service to the Brevard Philharmonic. We are indeed fortunate to have the Brevard Philharmonic in this slice of heaven we call There are mandatory elements of this business Brevard. Thank you for being here. Please sit of music that are rarely seen. Behind the back this afternoon and enjoy the passion! scenes, back stage, rehearsal time, office needs, artists’ arrangements, and more create the synergy for all the necessary parts of the whole. Much of this activity is accomplished by volunteers. We are indebted to these Carole Futrelle engaged folks who donate their time to the Board President success of the Brevard Philharmonic.

We are proud to work with young learners and he Transylvania County School System by integrating our Music In the Schools

www.brevardphilharmonic.org | brevard philharmonic 7 8 brevard philharmonic | www.brevardphilharmonic.org

ROMANTIC INTRODUCTIONS

OCTOBER 7, 2018, James C. Fellenbaum, AT 3:00 PM conductor PORTER CENTER, BREVARD COLLEGE Bella Hristova, violin

PETER ILYICH TCHAIKOVSKY Dance of the Tumblers from (1840-1893) The Snow Maiden, Op. 12

JEAN SIBELIUS Violin Concerto, Op. 47 (1865-1957) I. Allegro moderato II. Adagio di molto III. Allegro ma non tanto

Bella Hristova, violin

INTERMISSION

SERGEI RACHMANINOFF Vocalise, Op. 34 (1873-1943)

PETER ILYICH TCHAIKOVSKY The Sleeping Beauty Suite, Op. 66a Introduction Pas de caractère Panorama Waltz Adagio

TODAY’S CONCERT IS SPONSORED BY RENEE BRESLER AND WAYNE STEIFLE.

TODAY’S GUEST ARTIST IS SPONSORED BY JAN AND DOUG HART.

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 11 about the artist

BELLA HRISTOVA, violin

cclaimed for her passionate, powerful performances, beautiful sound, and A compelling command of her instrument, violinist Bella Hristova is a young musician with a growing international career. The Strad has praised, “Every sound she draws is superb.” This season Ms. Hristova continues her characteristically rich and wide-ranging musical career, performing numerous concertos as well as recitals and chamber music.

Ms. Hristova performs standard concerto repertoire and those by American composers Lukas Foss, Samuel Barber, and David Ludwig. Her extensive appearances with orchestra in past seasons include the Orchestra of St. Luke’s with Pinchas Zukerman at Lincoln Center, with the New York String Orchestra under Jaime Laredo at Carnegie Hall, and the Milwaukee Symphony, Buffalo Philharmonic Orchestra, the Pasadena, Austin,

Charleston, Asheville, Greenwich, Vermont, Photography Mazzucco Lisa-Marie photo credit: Kansas City, Delaware, Chautauqua, Columbus symphonies and Orquesta Filarmónica de Boca Ms. Hristova’s recording Bella Unaccompanied del Río, Asturias Symphony Orchestra, Centro (A.W. Tonegold Records) features works for Nacional de la Música-la Orquesta, Estonian solo violin by Corigliano, Kevin Puts, Piazzolla, National Symphony Orchestra, Canada’s Milstein, and J. S. Bach, and her Naxos issue National Arts Centre Orchestra, and Korea’s of de Bériot works received critical acclaim. Cheongju Symphony Orchestra. Performances A proponent of new music and composers, with orchestra during the 2018-19 season Ms. Hristova commissioned iconic American include Sibelius with the Hawaii and Wheeling composer, Joan Tower, to compose “Second symphonies and Brevard Philharmonic, Barber String Force” for Unaccompanied Violin, in with the National Philharmonic Orchestra, 2015, which she premiered and performed in Mendelssohn with the Winnipeg Symphony. recitals throughout the U.S. and abroad.

In recital, Bella Hristova has performed at A sought-after chamber musician, Ms. Hristova Merkin Concert Hall, the Kennedy Center, the performs frequently with The Chamber Music Isabella Gardner Museum in Boston, the Weis Society of Lincoln Center at Lincoln Center’s Center for the Performing Arts, the National Alice Tully Hall, and she tours Korea with Museum of Women in the Arts, the Alys them this season, including a performance at Stephens Center for the Performing Arts, Free the Seoul Arts and Sejong Centers. She has For All at Town Hall, the Shanghai International also performed at many music festivals, including Music Festival, Seoul National University, and the Chamber Music Festival of Thessaly, a nationwide New Zealand tour, performing Greece, Young Concert Artists Festivals in and recording Beethoven’s 10 Sonatas with Tokyo and Beijing, the Musica Viva Festival in acclaimed pianist Michael Houstoun. This Sydney, Australia, and the festivals of Grand season, her schedule brings her performances Teton, Kingston, Lake Tahoe Summerfest, Lake for Music@Menlo, Emerald City Music, Champlain, Brevard, Music@Menlo, Big Sky, Harriman-Jewell Series, Cosmos Club, Linton Chamber Music by the Sea, Music from Angel Chamber Music and Mostly Music New Jersey.

12 brevard philharmonic | www.brevardphilharmonic.org about the artist

Fire, Chamber Music Northwest, Santa Fe and Born in Pleven, Bulgaria to Russian and Marlboro. She has appeared on A Prairie Home Bulgarian parents, Ms. Hristova began violin Companion on National Public Radio. studies at the age of six. At twelve, she participated in master classes with Ruggiero Ricci at the Bella Hristova is the recipient of numerous Mozarteum in Salzburg. In 2003, she entered prizes and awards, including a 2013 Avery the Curtis Institute of Music, where she worked Fisher Career Grant, First Prize in the 2009 with Ida Kavafian (YCA Alumna) and studied Young Concert Artists International Auditions, chamber music with Steven Tenenbom. She First Prize in the 2007 Michael Hill International received her Artist Diploma with Jaime Laredo Violin Competition in New Zealand, and at Indiana University in 2010. Ms. Hristova Laureate of the 2006 International Violin plays a 1655 Nicolò Amati violin, once owned Competition of Indianapolis. She was awarded by the violinist Louis Krasner. YCA’s Helen Armstrong Violin Fellowship, the Mortimer Levitt Career Development Award Bella Hristova appears by arrangement with for Women Artists, and the Gordon and Harriet Young Concert Artists, Inc. www.yca.org Greenfield Foundation Artist Management Fellowship of YCA.

www.brevardphilharmonic.org | brevard philharmonic 13 program notes

About the Music… for a year, and then went to Vienna, where he by Alan M. Rothenberg unsuccessfully auditioned to join the violin section of the Vienna Philharmonic. This Dance of the Tumblers from failure hit Sibelius particularly hard, and he set aside the violin to learn the craft of The Snow Maiden, Op. 12 composition under Karl Goldmark, composer PETER ILYICH TCHAIKOVSKY (1840-1893) of the Rustic Wedding Symphony and other works popular at the time. In 1873, Moscow’s Maly Theater was closed for repairs, so the theater’s three companies—a He also began studying Finnish folk songs theater troupe, an opera company, and a ballet and mythology. His first major work was an ensemble—performed at the Bolshoi Theater. 1892 cantata based on Finnish myths, and was The managers of the companies decided to followed by other pieces based in mythology, take advantage of the large theater’s facilities by including the . Toward the staging a production that would feature all three Swan of Tuonela end of the nineteenth century, Sibelius’ music groups. They turned to playwright Aleksandr began attracting international attention, while Ostrovsky, who created a play based on Russian a Finnish nationalist movement began in folk tales of a young girl, the daughter of the response to the Tsar asserting his power over Spirit of Spring and Father Christmas. Ostrovsky Scandinavia, including Finland. Sibelius’ requested that Tchaikovsky provide the music. music, particularly the tone poem The composer obliged and wrote nineteen pieces Finlandia (1900), became a symbol of Finland’s drive in three weeks. The energetic “Dance of the for independence. Tumblers” foreshadows the ever-popular ballets that would soon come from the composer’s pen. After the success of his first two symphonies, completed in 1899 and 1902, Sibelius began Violin Concerto in D Minor, Op. 47 working on a violin concerto, prompted by Willy Burmester, the leader of the Helsinki JEAN SIBELIUS (1865-1957) orchestra. In early 1903, Burmester promised to Completed in 1905. About the same time: 1904: perform the concerto in Berlin during the spring First radio transmission of music at Graz, Austria. of the following year. But Sibelius, needing James Barrie publishes “Peter Pan.” 1905: Debussy the money, wanted it performed by the end of composes “La mer.” Albert Einstein formulates 1903, even though he had not completed it. the Special Theory of Relativity. 1906: First radio Meanwhile, the composer approached a broadcast in U.S. of voice and music. Norwegian less capable violinist about giving the first explorer Roald Amundsen determines the position performance in Helsinki, and so the first of the magnetic North Pole. performance took place on February 8, 1904 with Sibelius conducting. It was not well received. The music of Jean Sibelius was frequently performed during the first third of the twentieth Sibelius immediately started on revisions, century, but his popularity waned shortly completing them in June 1905. He then thereafter. Only within the last forty years has contacted his German publisher, who suggested his music gained recognition and consistent Karl Halir, the concertmaster of the Berlin admiration. This is particularly the case with Philharmonic, for the first performance of this the Violin Concerto, which did not enter the revised version. Halir presented the new version standard solo repertoire until Jascha Heifetz on October 19, 1905 with composer Richard began performing it in the 1930s, some thirty Strauss conducting. The reviews this time were years after its completion. much better; one German paper said that the concerto reminded one of “the Nordic winter Sibelius’ musical career began as a student at landscape painters who through the distinctive the Helsinki Music Institute, where he studied interplay of white on white, secure rare, violin. He wrote that when he had started sometimes hypnotic and sometimes powerful, playing violin at the age of 14 it “took me effects.” Strauss said, “I know more about music by storm, and for the next ten years it was than Sibelius, but he is the greater composer.” my dearest wish, my overriding ambition, to become a great virtuoso.” He lived in Berlin

14 brevard philharmonic | www.brevardphilharmonic.org program notes

Sibelius biographer Erik Tawaststjerna believes Léo Delibes or Adolphe Adam), Tchaikovsky’s that Sibelius did not write the concerto for three ballet scores—Swan Lake (1875), Sleeping any particular violinist, rather he composed it Beauty (1889) and The Nutcracker (1892)—are “for himself, or rather the kind of virtuoso he now among his most popular works, and are had dreamt of being.” Perhaps this accounts for mainstays of the ballet stage. the extraordinary difficulty of the soloist’s part. The first movement has a unique structure— Sleeping Beauty was written at the request of there are three themes, each of which is Ivan Vsevolozhsky, the director of the Imperial subjected to extended development as it is Theater in St. Petersburg. Vsevolozhsky introduced. Even the cadenza that occurs two- suggested a fairy tale-based storyline, and they thirds of the way in the movement is about eventually settled on the Brothers Grimm theme development, rather than being a chance version of a folktale first put into literary form for the soloist to display flashy technique. in 1697 by Charles Perrault. It is difficult to establish when Tchaikovsky began work on the The second movement is a slow romanza that ballet, but by January 1889, he had completed Tawaststjerna describes as “totally unaffected, most of the first two acts. Work was interrupted inward, at one and the same time lyrical and by trips through Europe, but he finished an light, yet elegiac and melancholy…the movement initial draft in June. In early August, shortly bears witness to an inner peace and equilibrium.” before he completed the orchestration, he Sibelius said that the final movement “must be wrote to his patron Nadezhda von Meck, “… played with absolute mastery. Fast, of course, the music from this ballet will be amongst my but no faster than it can be played perfectly.” best works. The subject is so poetical, it is so Here the composer allows the soloist to place suited for music, that in composing it I was virtuosic display above deep musical thoughts utterly absorbed, and wrote with a fervor and and emotions. passion which always result in work of merit.”

The first performance of the ballet took place Vocalise, Op. 34 in January 1890, at the Mariinsky Theatre in SERGEI RACHMANINOFF (1873-1943) Saint Petersburg. Critical reaction was tepid— one critic described the music as “not balletic.” Rachmaninoff’s song Vocalise is part of the The issue was that Tchaikovsky’s music was fourteen-song collection for voice and piano more complex than the typical ballet score of published in 1915 as opus 34. The other the time, as he was applying symphonic thirteen songs in this set were written in 1912, techniques of thematic development and and for many years it was believed that Vocalise structure. Tchaikovsky was redefining ballet was written at the same time, even though the music, just as Stravinsky’s Rite of Spring would autograph manuscript is clearly dated 1915. do only thirteen years later. The song is wordless—the singer is instructed to use any vowel of their choosing. A few weeks after the ballet’s premiere, Tchaikovsky suggested to his publisher that Countless arrangements of this song, for all pianist/composer Aleksandr Ziloti create a suite kinds of ensembles, have been made over the of excerpts. Tchaikovsky had earlier entrusted years. Interestingly, the January 1916 first public Ziloti with creating piano reductions and proof- performance was also an arrangement—the reading music before publication. The idea composer’s version for voice and orchestra. He was put on hold and left unresolved until six later created the orchestra-only arrangement years after the composer’s death, when Ziloti performed today. finally fulfilled the composer’s wishes.

The Sleeping Beauty Suite, Op. 66a Program Notes © 2018 Alan M. Rothenberg PETER ILYICH TCHAIKOVSKY www.noteperfectnotes.com While the creation of ballet music in the nineteenth century was usually left to composers who specialized in the form (think

www.brevardphilharmonic.org | brevard philharmonic 15 16 brevard philharmonic | www.brevardphilharmonic.org THE MAGIC OF MOZART

NOVEMBER 11, 2018, James C. Fellenbaum, AT 3:00 PM conductor PORTER CENTER, BREVARD COLLEGE Steve Cohen, clarinet

WOLFGANG AMADEUS MOZART Overture to Der Schauspieldirektor, K. 486 (1756-1791)

Concerto for Clarinet and Orchestra in A Major, K. 622 I. Allegro II. Adagio III. Rondo: Allegro

Steve Cohen, clarinet

INTERMISSION

Symphony No. 38 in D Major, K. 504, “Prague” I. Adagio – Allegro II. Andantino III. Finale: Presto

TODAY’S CONCERT IS SPONSORED BY REBECCA AND LAWRENCE LOHR.

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 17 about the artist

STEVE COHEN, clarinet

ctive as both a soloist and chamber performer throughout the U.S. and A around the world, Steve Cohen is the former principal clarinet and frequent soloist with the New Orleans Symphony, later known as the Louisiana Philharmonic. Cohen joined the New Orleans Symphony in 1975 and remained as principal clarinet with its successor, the Louisiana Philharmonic, through May 2004. He was featured as concerto soloist with that orchestra many times and has also been featured as concerto soloist at the Brevard Music Center, where he has played and continues to play principal clarinet each summer since 1979. In the summer of 2016 he was featured as soloist in John Adams’ Gnarly Buttons at the Brevard Music Center. In the summer of 2010, he was featured as soloist on the Copland Clarinet Concerto with Keith Lockhart and the Brevard Music Center Orchestra. He has toured in the U.S. as principal clarinet with the Texas Opera Theater and throughout Europe as principal Quartet, the Dempster St. Pro Musica and the clarinet with the Seoul Philharmonic Chicago Chamber Musicians. He performed Orchestra. He returned to Korea to be a in February 2015 as guest soloist with guest artist and master class clinician at the the Hendersonville Symphony Orchestra in Seoul Philharmonic’s Clarinet Festival in 1998. North Carolina and also was recently in Tokyo He maintains an active yearly solo, chamber and Osaka, Japan with a tour of master classes music, and master class schedule and has and recitals in the fall of 2014. He has performed solo recitals and master classes guest taught at the Oberlin Conservatory, throughout the U.S., Canada, Europe, Korea, University of Southern California, and Indiana China, Taiwan, Bangkok and Japan. He University. Previously on the faculty of the performed at the ICA conventions in several Cincinnati College-Conservatory and Louisiana cities, including in Porto, Portugal, in August State University, he is an artist/clinician for of 2009 and was guest artist and teacher at Buffet clarinets and a Legere reed artist. For the International Music Course in Guimaraes, 2015-16 he was also Visiting Professor of Portugal, returning in September of 2011. Clarinet at the University of Texas at Austin Moving to Chicago in 2005 to become clarinet in addition to his Northwestern duties and professor and coordinator of the winds, brass has performed most recently with the Miro and percussion at Northwestern University he Quartet on their series there as well as on the plays as principal clarinet with the Music of Friends of Music series in New Orleans in the Baroque orchestra, has played on numerous April of 2018. He hosted the 2001 International occasions with the Chicago Symphony including Clarinet Association Convention in New on Eb clarinet. He has also played with the Orleans and has written many articles for Chicago Lyric Opera orchestra, and as a the magazine for this organization. New chamber musician throughout the Chicago York City born to a Juilliard trained clarinetist, area and beyond. His many collaborations his teachers have included, Loren Kitt, Larry include the Lincoln Quartet, the Miro McDonald, Karl Leister and Robert Marcellus.

18 brevard philharmonic | www.brevardphilharmonic.org program notes

About the Music… overture and four arias to be inserted into the by Alan M. Rothenberg play. Although he probably wrote the music in less than a day, the arias are of considerable Few composers truly merit a concert devoted difficulty, and the overture hints at the entirely to their works. There are but a handful masterworks Mozart was to produce later of composers whose output is varied enough that year—The Marriage of Figaro and the to present the emotional and intellectual “Prague” Symphony. variety needed for a single satisfying concert, but certainly Wolfgang Amadeus Mozart (1756-1791) falls into this elite group. The Concerto for Clarinet and Orchestra numbers alone are staggering: in just 35 in A Major, K. 622 years, he produced 41 symphonies, 21 operas, 25 piano concertos, 16 concertos for other Composed in 1791. About the same time: 1790: instruments, 26 violin sonatas, 6 full mass The Rosetta Stone is discovered, Philadelphia settings, and innumerable smaller instrumental becomes capital of the U.S. 1791: Bill of Rights and vocal pieces. He transformed each of ratified, Berlin’s Brandenburg Gate completed, these forms into something new and different 1792: Washington D.C is founded, Beethoven from what came before, and Mozart’s music becomes a pupil of Haydn. has become the exemplar of what we now call the “Classical Era.” The youngest member of the orchestral wind/ brass section, the clarinet evolved from a Often a surface of beautiful melody and clear sixteenth century recorder-like single- texture obscures the technical virtuosity of reed instrument called a chalumeau. As Mozart’s music. None of his music sounds instrumental ensembles grew larger, the soft- mechanical or “cookie cutter,” and many voiced chalumeau became less useful. The works, especially the later ones, contain a development of the chalumeau into the larger depth of personal emotion that is not found and louder clarinet is attributed to Johann in the music of his contemporaries. These Christoph Denner (1655-1707). paradoxical combinations—simplicity and complexity, immediacy with emotional depth— It is possible that Mozart heard early clarinets makes Mozart’s music stand apart from the during his Salzburg childhood, but his travels countless composers whose music was more through Europe brought him into contact with popular at the end of the eighteenth century newer, more capable clarinets and with more but have been virtually forgotten today. capable clarinetists. He also encountered a lower pitched instrument called a basset horn, roughly equivalent to the modern alto Overture to Der Schauspieldirektor clarinet. Mozart was particularly impressed with the clarinetists he heard during his 1777 Der Schauspieldirektor (“The Impresario”) owes visit to Mannheim, Germany, where the court its existence to the Viennese ruler’s love of orchestra was filled with excellent players. In music and entertaining. In February 1786, a 1778 letter to his father, Mozart wrote, “If Joseph II gave a party in honor of his visiting only we had clarinets, too! You cannot imagine sister and her husband, the Governor of the glorious effect of a symphony with flutes, the Austrian Netherlands. As part of the oboes and clarinets!” He began including entertainment, he held a musical competition, clarinets and basset horns in his music; his with performances of short operas by both first symphony to require the clarinet was the Court composer Antonio Salieri and Mozart. “Paris” symphony of 1778 (K. 297/300a). Salieri won the competition with an Italian opera poking fun at opera conventions. Shortly after his move to Vienna from his Mozart’s contribution was music for a German native Salzburg in 1781, Mozart met Anton play about a beleaguered theater owner. Stadler, once of the preeminent clarinet virtuosos of the time. Mozart composed the It’s something of a stretch to call Der Clarinet Concerto and the Clarinet Quintet Schauspieldirektor an opera—Mozart described for Stadler, although there is little documentary it as a “play with music,” as he wrote only an www.brevardphilharmonic.org | brevard philharmonic 19 program notes evidence of how these masterpieces came The second movement Adagio is one of about. All we have are some manuscript Mozart’s most sublime. Mozart rarely wrote fragments that offer interesting possibilities. music in this slow tempo, and its presence It is possible Mozart initially intended the here indicates a movement of considerable quintet (1789, K. 581) for an extended-range gravity—yet the music sings with an almost clarinet that Stadler had modified so that it operatic aria quality. The finale is in the blend could play lower than the standard clarinet. of sonata and rondo form Mozart created for We also know that Mozart originally started his piano concertos, where even the rondo writing the Clarinet Concerto for the basset theme itself is subject to development. Towards horn, as evidenced by a manuscript—in Mozart’s the end there are brief silences that seem to hand—of part of the concerto’s first movement. indicate an emotional conflict of some kind. Mozart and Haydn scholar H.C. Robbins Why Mozart abandoned the basset horn Landon describes this movement by quoting version of the concerto will probably never be Shakespeare’s A Winter’s Tale: “[The] heart known, but there is now general agreement dances, but not for joy.” among musicologists that it was completed in October 1791 and intended for performance on Stadler’s extended-range instrument. Stadler Symphony No. 38 in D Major, K. 504, “Prague” premiered the concerto the next month in Prague and continued to perform it while Composed in 1786. About the same time: 1784: touring through Europe and Russia. Beaumarchais publishes the play “The Marriage of Figaro.” 1785: Friedrich Schiller publishes While the autograph manuscript of the “Ode to Joy.” 1786: William Playfair produces concerto’s final version was lost shortly after the first line and bar charts. 1787: Constitutional the composer’s death, in 1801 the concerto Convention in Philadelphia. was published in an altered form that made it playable on a standard clarinet. It was in this When he moved to Vienna, Mozart planned to form that the concerto became the cornerstone make his living primarily as a virtuoso pianist. of the solo clarinet repertoire and has achieved Things went well for a few years, but by 1786 great popularity. (The original version for Mozart seemingly wore out his welcome. extended range clarinet was reconstructed in Piano concertos were becoming less popular, the 1970s, and many clarinetists now perform and Mozart was receiving few commissions. the concerto on a “basset clarinet,” a modern In his study of Mozart’s Vienna years, scholar version of Stadler’s extended-range instrument.) Volkmar Braunbehrens writes that Mozart’s “compositions became more demanding and The Clarinet Concerto is Mozart’s last uncompromising, less ‘entertaining’… Since completed instrumental piece, and unlike his his existence [in Vienna] was not assured by other concertos for wind instruments, it is a contracts or permanent employment, he was substantive work, comparable to the piano entirely dependent on public acceptance of concertos in sophistication and depth of works written for the artistic ‘free market.’” feeling. The range of moods and subtlety required of the soloist far exceeds any previous Mozart decided to use his new opera The clarinet work. After the orchestral tutti at the Marriage of Figaro—a satire of aristocratic beginning, the soloist takes center stage for society—as a way to measure his future in almost the entire piece. While the soloist has Vienna. He supervised almost every aspect of moments of technical virtuosity, the overall the production himself. But the length and mood of the first movement is lyrical and complexity of the opera caused some difficulty, serene. The movement also has an unusual as did the controversial subject matter; the structural feature—it has the typical sonata opera premiered at the Vienna National form sections (exposition, development, and Theater in May 1786 and had a run of only recapitulation), but each section ends with a nine performances. restatement of a portion of the opening music.

20 brevard philharmonic | www.brevardphilharmonic.org Mozart had several friends in Prague, and a The symphony is in three movements, performance there of Figaro in December 1786 somewhat unusual since the standard format was such a success that they invited him to of a symphony was by now four movements, visit the city. He arrived in January 1787 with an innovation that was partially Mozart’s two new works: a piano concerto, and a new own doing. Yet the “Prague” symphony is no symphony. The people of Prague welcomed throwback to an earlier time. It begins with Mozart with open arms, and he received a a slow introduction, something he did only commission from the Prague Theater. That once before, in the 1783 “Linz” symphony. commission resulted in the opera Don Giovanni. Mozart biographer Robert Gutman writes that this introduction has the character of “a It was once assumed that the new symphony herald to some solemn, mysterious ceremony,” Mozart brought with him in January 1787 and that the spirit of the following Allegro was composed specifically for this trip, but “derives from Figaro.” The second movement he had actually written it during the previous Andante is filled with unexpected melodic month, before he was invited to the city. and harmonic turns, foreshadowing the Mozart conducted the first performance of complexity of Mozart’s three final symphonies it during this visit, and it has since become yet to come. The Finale is, according to associated with Prague. In 1797, the Prague Michael Steinberg, “a movement that has schoolmaster who taught Mozart’s son Carl strength without heaviness, crackling energy wrote that the symphony “is always a favorite of rhythm, a challenge to the most virtuosic in Prague, although it has no doubt been of orchestras, and, as always, grace.” heard a hundred times.”

Program Notes © 2018 Alan M. Rothenberg www.noteperfectnotes.com

www.brevardphilharmonic.org | brevard philharmonic 21 22 brevard philharmonic | www.brevardphilharmonic.org www.brevardphilharmonic.org | brevard philharmonic 23 24 brevard philharmonic | www.brevardphilharmonic.org CHRISTMASTIME IN BREVARD

DECEMBER 16, 2018, AT 3:00 PM James C. Fellenbaum, PORTER CENTER, conductor BREVARD COLLEGE

LEROY ANDERSON A Christmas Festival

ARR. LEROY ANDERSON Suite of Carols It Came Upon a Midnight Clear O Little Town of Bethlehem Pastores a belén

PETER ILYICH TCHAIKOVSKY Christmas Waltz from The Seasons

LEROY ANDERSON Sleigh Ride

GEORGE FRIDERICH HANDEL And the Glory of the Lord from The Messiah

JOHN RUTTER Three Kings of Orient

FRANZ GRUBER/ARR. CHIP DAVIS Stille Nacht

PETER WILHOUSKY/ Carol of the Bells ARR. RICHARD HAYMAN

ARR. PHILIP GORDON A Tribute of Carols

GEORGES BIZET Farandole from L’Arlesienne Suite No. 2

TODAY’S CONCERT IS SPONSORED BY JAN AND DOUG HART.

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 25

AN AMERICAN CELEBRATION

MARCH 10, 2019, AT 3:00 PM James C. Fellenbaum, PORTER CENTER, conductor BREVARD COLLEGE

FRANCIS SCOTT KEY Star Spangled Banner LUCAS RICHMAN A Western Fanfare ARR. CALVIN CUSTER The American Frontier AARON COPLAND Shaker Variations AARON COPLAND Hoedown JAY UNGAR Ashokan Farewell JOHN WILLIAMS Hymn to the Fallen ARR. BOB LOWDEN Armed Forces Salute

INTERMISSION

ARR. MAURICE PERESS Overture to West Side Story ARR. CUSTER Duke Ellington! A Medley for Orchestra RICHARD ROGERS/ARR. BENNETT Selections from South Pacific PETER ILYICH TCHAIKOVSKY 1812 Overture JOHN PHILIP SOUSA Stars and Stripes Forever

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 27 28 brevard philharmonic | www.brevardphilharmonic.org BEETHOVEN’S PASTORALE SYMPHONY

MAY 12, 2019, James C. Fellenbaum, AT 3:00 PM conductor PORTER CENTER, BREVARD COLLEGE Sean Chen, piano

ROBERT SCHUMANN Piano Concerto in A Minor, Op. 54 (1810-1856) I. Allegro affettuoso II. Intermezzo – Andantino grazioso III. Allegro vivace Sean Chen, piano

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 6 in F Major, (1770-1827) Op. 68, “Pastorale” I. Allegro ma non tropo. Awakening of cheerful feelings on arrival in the countryside. II. Andante molto mosso. Scene by the brook. III. Allegro. Merry gathering of country folk. IV. Allegro. Thunder. Storm. V. Allegretto. Shepherd’s Song. Cheerful and thankful feelings after the storm.

TODAY’S CONCERT IS SPONSORED BY A. STUART FENDLER FAMILY TRUST

TODAY’S GUEST ARTIST IS SPONSORED BY CAROL AND JIM SMEATON.

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 29 about the artist

SEAN CHEN, piano

ailed as a charismatic rising star with “an exceptional ability to connect H with an audience combined with an easy virtuosity” (Huffington Post), 29-year- old American pianist Sean Chen, third prize winner at the 2013 Van Cliburn International Piano Competition and recipient of the DeHaan Classical Fellowship as the winner of the 2013 American Pianists Awards, has continued to earn accolades for “alluring, colorfully shaded renditions” (New York Times) and “genuinely sensitive” (LA Times) playing. He was named a 2015 fellow by the prestigious Leonore Annenberg Fellowship Fund for the Performing Arts.

Mr. Chen has performed with many prominent orchestras, including the Fort Worth, Hartford, Hudson Valley, Indianapolis, Knoxville, Louisiana Philharmonic, Milwaukee, North Carolina,

Pasadena, Phoenix, Plano, San Diego, Santa Fe, Photography Mazzucco Lisa-Marie photo credit: Tucson, and New West Symphony Orchestras, as well as the Philadelphia, Indianapolis, and of British Columbia, Spotlight Awards at the South Bay Chamber Orchestras, collaborating Los Angeles Music Center, Young Artist World with such esteemed conductors as Leonard Piano Festival, and several Music Teachers’ Slatkin, Gerard Schwarz, Nicholas McGegan, Associations throughout the country as either Miguel Harth-Bedoya, Marcelo Lehninger, a masterclass teacher or resident artist. Nir Kabaretti, James Judd, George Hanson, Hector Guzman, and Boris Brott. Solo recitals Mr. Chen has been featured in both live and have brought him to major venues worldwide, recorded performances on WQXR (New York), including Jordan Hall in Boston, Subculture WFMT (Chicago), WGBH (Boston), WFYI in New York City, the American Art Museum (Indianapolis), NPR’s From the Top, and at the Smithsonian in Washington, D.C., American Public Media’s Performance Today. the National Concert Hall in Taipei, Het Additional media coverage includes a profile Concertgebouw in Amsterdam, and the Salle featured on the cover of Clavier Companion in Cortot in Paris. May 2015, recognition as “One to Watch” by International Piano Magazine in March 2014, and As a result of his relationship with both inclusion in WFMT’s “30 Under 30.” orchestral musicians and audience members, Mr. Chen has made return appearance with His CD releases include La Valse, a solo several orchestras, including the San Diego recording on the Steinway label, hailed for Symphony, Santa Fe Symphony, Columbus “penetrating artistic intellect” (Audiophile Indiana, Indianapolis Chamber, Carmel Audition); a live recording from the Cliburn Symphony, and Sunriver Festival Orchestras. Competition released by harmonia mundi, Lauded for his natural charisma and praised for his “ravishing tone and cogently approachable personality, Mr. Chen is contoured lines” (Gramophone); and an album particularly in demand for residencies that of Michael Williams’s solo piano works on the combine performances with master classes, Parma label. Mr. Chen has also contributed to school concerts, and artist conversations. He the catalog of Steinway’s new Spirio system, has visited institutions such as the Cleveland and is a Steinway Artist. School of Music, Indiana University, University

30 brevard philharmonic | www.brevardphilharmonic.org about the artist

A multifaceted musician, Mr. Chen also earned his Bachelor and Master of Music transcribes, composes, and improvises. His from Juilliard, meanwhile garnering several transcription of Ravel’s La Valse has been awards, most notably the Paul and Daisy Soros received with glowing acclaim, and his encore Fellowship for New Americans. He received improvisations are lauded as “genuinely his Artist Diploma in 2014 at the Yale School brilliant” (Dallas Morning News). His Prelude of Music as a George W. Miles Fellow. His in F# was commissioned by fellow pianist teachers include Hung-Kuan Chen, Tema Eric Zuber, and subsequently performed in Blackstone, Edward Francis, Jerome Lowenthal, New York. An advocate of new music, he has and Matti Raekallio. also collaborated with several composers and performed their works, including Lisa Bielawa, Mr. Chen is currently living in Kansas City, Michael Williams, Nicco Athens, Michael Missouri and is an Artist-in-Residence at Gilbertson, and Reinaldo Moya. the University of Missouri, Kansas City. His wife, Betty, is a violinist with the Kansas Born in Florida, Mr. Chen grew up in the Los City Symphony. When not at the piano, Angeles area of Oak Park, California. His Mr. Chen enjoys tinkering with computers. impressive achievements before college include the NFAA ARTSweek, Los Angeles Music Center’s Spotlight, and 2006 Presidential Scholars awards. These honors combined with diligent schoolwork facilitated offers of acceptance by MIT, Harvard, and The Juilliard School. Choosing to study music, Mr. Chen

www.brevardphilharmonic.org | brevard philharmonic 31 program notes

About the Music… Instead, he encouraged Clara to explore more by Alan M. Rothenberg serious piano repertoire; his voluminous writings and sketchbooks show evidence of numerous Piano Concerto in A Minor, Op. 54 early attempts at composing a concerto. His ROBERT SCHUMANN (1810-1856) first completed piano and orchestra piece was the 1841 one-movement Fantasy for Piano Completed in 1845. About the same time: 1844: and Orchestra. While working on the Fantasy, Robert and Clara Schumann meet violin virtuoso he wrote to Clara that it would be “a hybrid Joseph Joachim, for whom Schumann would of symphony, concerto and sonata; I cannot later write a concerto. 1845: Elisabeth Barrett write a concerto for virtuosos and have to meets Robert Browning and begins writing “Sonnets think of something else.” It appears that the from the Portuguese.” Premiere of Mendelssohn’s Fantasy was never performed; no less than Violin Concerto. 1846: Adolphe Sax patents the three publishers turned it down for publication. saxophone. Future president Millard Fillmore establishes the University of Buffalo, NY. Schumann revised the Fantasy in 1845, adding two movements, resulting in his only Born to a middle-class family in the small piano concerto. First performed in Dresden German city of Zwickau, Robert Schumann’s in December 1845, with Clara as soloist, it musical life began with piano lessons at the did not receive a particularly warm reception. age of seven. Over his parents’ objections, he Clara called it a “beautifully interrelated soon decided that he would devote his life to whole,” but Liszt—normally one of Schumann’s music. In 1828, he graduated from secondary greatest supporters—called it a “concerto school and, in deference to his mother’s without piano.” The concerto found its wishes, moved to Leipzig to study law. audience after subsequent performances—an Schumann skipped most of his law classes and 1847 performance in Prague drew this comment became a piano student of Friedrich Wieck. from Clara: “Robert’s concerto gave extraordinary pleasure. I succeeded very well in it.” Wieck’s daughter Clara was a promising pianist who had already performed throughout In the first movement the relationship between Europe. When Robert heard violin virtuoso the solo piano and the orchestra is one of Niccolò Paganini’s playing in 1830, he gave dialogue and cooperation. The piano is often up law, began studying piano in earnest, and heard accompanying the winds, particularly became smitten with Clara. To strengthen the solo clarinet. Wary of virtuosity for its his hands for the demands of being a concert own sake, Schumann included a written pianist, he used a stretching device called a cadenza for the soloist towards the end of chiroplast, which caused permanent damage the movement. Of the second movement to his right hand. His career as a pianist cut Intermezzo, eminent musicologist Joseph short, he concentrated on composition, turning Kerman wrote: “call it childlike, call it out an extraordinary amount of music in a demure… here is quintessential Schumann at short time, most of it intended for performance his very best, pure in sentiment and consummate by Clara. He wrote to her that “you make me in workmanship. To the unusual propensity complete as a composer as I complete you. for dialogue in the first movement it responds Every one of your thoughts comes from my with even more variously nuanced and more soul, as all my music is only thanks to you.” pervasive dialogue.” In the third movement the relationship changes, and the orchestra’s role They married in 1830, and Robert’s composition is predominately one of accompaniment to efforts continued to focus on creating music the piano’s buoyant waltz-like figurations. that would display Clara’s pianistic talents. Clara was mainly interested in virtuoso pieces that would show off her technique, music that Schumann did not feel capable of creating.

32 brevard philharmonic | www.brevardphilharmonic.org program notes

Symphony No. 6 in F Major, The Sixth Symphony is unique in Beethoven’s Op. 68, “Pastorale” symphonic output for several reasons. It is the only symphony in five, rather than the LUDWIG VAN BEETHOVEN (1770-1827) customary four, movements. While this may seem contradictory to the “formal symphonic Completed in 1808. About the same time: 1807: structure” mentioned earlier, the listener will Composer Ignace Pleyel founds a pianoforte note that the third and fourth movements factory in Paris. 1808: Casa Ricordi, the largest are linked scherzos, essentially creating a publisher of Italian music, is established. 1809: single movement in two distinct sections. In Washington Irving publishes “Rip van Winkle.” addition, the Sixth is the only symphony to which Beethoven himself attached descriptive Beethoven’s love of nature was profound— subtitles—not only to the symphony as a his letters frequently include statements like whole, but also to each individual movement. “no one can love the country as much as I do. Taken together, these subtitles, along with For surely woods, trees, and rocks produce the descriptive nature of the music, result in the echo which man desires to hear.” He took a piece that can be considered an early daily walks through Vienna’s parks, and spent “symphonic tone poem.” the summer months at various villages near the city. Many of his most important works The first movement, “Awakening of cheerful were written during those summer sojourns. feelings on arrival in the countryside,” is in the An artist friend of his once wrote “I encountered traditional sonata-allegro, a form that relies Beethoven several times on my walks, and it on tension and conflict to create a sense of was most interesting to see him, a sheet of drama. But from the opening bar—violins music paper and a stump of pencil in his and cellos playing an open fifth, an evocation hand, stop often as if listening, and then of “rustic music”—there is calm and an overall write a few notes on the paper.” sense of well-being. The gentle triple meter and regular phrases contribute to the Music on pastoral themes was common as far atmosphere of serenity. The second movement, back as the Middle Ages. There are countless “Scene by the Brook,” is an afternoon idyll. examples of short pieces, and the occasional The brook murmurs along the expansive multi-movement work, that depict the natural countryside, and, towards the end, we hear world. Beethoven was the first, however, to birdcalls, explicitly marked in the score as place these sound-pictures within a formal those of the Nightingale (flute), Quail (oboe), symphonic structure. The first indication we and Cuckoo (clarinet). have of Beethoven’s interest in writing a large- scale piece on pastoral themes is found in a The third movement, “Merry Gathering sketchbook he used in 1803. At the time, he of Country Folk” is filled with rustic and was working intensely on the Third Symphony, boisterous dancing, interrupted by the fourth but this sketchbook also contains snippets of movement “Thunderstorm.” The storm is music that would eventually find their way one of the most explicit instances of musical into some forty works. One of these sketches characterization in all of Beethoven. We hear includes a few bars of a melody in triple time the initial rain showers, the rumbling of with the comment “the deeper the brook, distant thunder, the full-on arrival of the the lower the note.” He worked in earnest on storm, and finally the clearing of the clouds. the Sixth through most of 1808, and the first The fifth movement “Shepherd’s Song. public performance took place as part of the Cheerful and thankful feelings after the storm” famous (or perhaps more accurately, infamous) begins with clarinet, followed by horn. The concert of December 22, 1808. This four-hour atmosphere and some of the themes of the concert also included the first performances first movement return, but now with a sense of the Fifth Symphony, the Fourth Piano of prayerfulness and thanksgiving. Concerto, the Choral Fantasy for Piano, Chorus and Orchestra, and a few other pieces. Program Notes © 2018 by Alan M. Rothenberg www.noteperfectnotes.com

www.brevardphilharmonic.org | brevard philharmonic 33 34 brevard philharmonic | www.brevardphilharmonic.org brevard philharmonic personnel

VIOLIN VIOLONCELLO FRENCH HORN Kristine Fink Candler, Ben Smith, principal Rex Gallatin, principal concertmaster Carol Bjorlie Anthony Ammons Paul Stroebel, Aaron Coffin Christopher Caldwell principal second violin Patricia K. Johnston Richard Chappell Kirsten R. Allen Erin Klimstra Julie Ledford Audrey Bass Norman Malenke Don Wauchope Simone Little Beach Bruce McLean Callie Brennan Nora Naughton TRUMPET Renee Bresler Kelly Piepho Larry Black, principal Sarah Hettich Cammisano Betty Tang Brian Garland Joanne Cohen Chris Imhoff Ralph Congdon DOUBLE BASS William Shank Lydia Elam Leo Bjorlie, principal Peter Voisin Karen Entzi Michael DeTrolio Michelle Guthrie Keith Freeburg TROMBONE Cheryl Hagymassy Harry Jacobson Zsolt Szabo, principal Lillian Hall Sara Nichols L. Rienette Davis Carlos Herandez Vance Reese Patrick N. Duncan Sarah Hurd Alex van Duuren Rachael Kistler-Igo PICCOLO Mary Irwin Linda Threatte BASS TROMBONE Kathryn McLean Sabrina Kumar Matthew Anderson Tania Moldovan Michael Perry FLUTE TUBA Monique Pinelli Rosalie Morrow, principal Michael Schallock Christopher Stevens Linda Lancaster Carolyn Tackett TYMPANI Michele Tate OBOE Byron Hedgepeth, principal Elizabeth Terry Andrew Parker, principal Aleta Tisdale MaryAllyeB Purtle Diana Zerby PERCUSSION Acya Yayman Linda Carrillo, principal Joshua Dunn VIOLA ENGLISH HORN Justin Mabry Cameron Rehberg, principal Carleton Alexander Tom Reaves Lucie Fink Austin Williams Sarah Kehrberg CLARINET Margery Kowal Stephen Loew, principal Jason McCoy KEYBOARD Charles Morrow Henrietta Neeley Patricia Black Emily Shelton Poole Kendra Rempel BASSOON HARP Amanda Tant Jennifer Anderson, principal Claire Stam Anastasia Yarbrough Rosalind Buda Karen Molnar MANAGER Dorian Neuendorf Carla Wright Will Peebles LIBRARIAN Kendra Rempel

www.brevardphilharmonic.org | brevard philharmonic 35 2018 contributors

e invite you to partner benefactors Roberta & Bob Miller with the Brevard Larry & Carol Newton Philharmonic and help $500-$999 W Karla Atkinson O.P Taylor’s Toy Store support its mission of creating Barbara Beal Private Mountain Communities and providing the finest possible Dorothy Chapman Quality Heating and Cooling orchestral music. The combination Lucille & Peter Chaveas R. Griffin & Associates Inc. Comporium Jill A. Roberts of gifts from all sources assists the John & Julia Royall Brevard Philharmonic to serve the Chuck & Edie Dunn Nancy & Fred Granros Nancy Scharsich cultural and educational needs of Griffin Waste Mary Beth & Phillip Shumate the entire regional community. William Holmes Martine C. Stolk Gifts as of 8/15/18 Margaret & Gus Napier Tino Home Design Inez & Bob Parsell Susan D. Toscani Judy & Don Patrick Harriett & John Vanderschaaf director's circle Gloria & Jim Sanders Beverly & David Yeager $10,000 and above Brida Smith Geri & Bill Hambley Transylvania Arts Council supporters Jan & Doug Hart Aleta & Ed Tisdale $100-$249 UPS Anonymous (2) producers Don Wauchope Ray Tuers $5,000-&9,999 Rose Wimsatt & Peter V. Reilly, Jr Linda & John Austin Audrey Love Foundation WSQL Sally & Gene Baker Renee Bresler & Wayne Steifle Susan & Dick Bir Kristine & John Candler sustainers Joanna M. Bliss Carole & Ted Futrelle Gail & Charles Blunt MountainSide Homebuilders $250-$499 Anonymous (2) Joshua Braun in memory of Jacquelyn & Bruce Rogow Bonnie Arbuckle Renee and Arnold Braun Suzanne & Jim Bailey Marilyn Carlson underwriters Joan & Terry Barham Carol & John Carrano $2,500-$4,999 Susan & Michael Becker JC Cecconi A.S. Fendler Family Foundation Chris & Steve Bergner Fred Cohn GlenLaurel Partners Charles Brendle in memory of Ann & Robert Commarota Carol & Jim Smeaton Isabel & John Nichols Elisabeth Curwen Harriet & Kenneth Walls Broad Street Wines Louise & Robert Disney Marie & Mark Campanini Mary Dryselius patrons Russell N. Chappell Jr. Ruth M. Duncan $1,000-$2,499 Roberta Carver & Glenn Cockerham Steve Felix in memory of Dr. Mary F. Argus Leslie & Art Cole Lorna & Manney Felix Ginny & Warren Bedell Dalton Wholesale Floors of Paul C. Feste Paula & David Bonner Gordon County Anita Goldschmidt Dugan's Pub Nancy & Joe DePippo Kathryn & David Gresham Sandra & Wes Eastman Don Eckelmann Pat & William Gross Empire Distributors Carol & Sid Elliot Sandy Harrington Kris Fulmer Fisher Realty Cris & Jim Hedgpeth GBS Building Supply Glenco Fireplaces, Etc., Inc. Carol & John Helbling Hampton Inn Glenco Foam and Insulation, Inc. Karen Henegar Rebecca & Lawrence Lohr Matanuska Lodge, Judith & William Hollenack John Luzena Glacier View, Alaska Bill & Mary Kay Jennings Harriette & Mike McLain Yvonne & Charles Goldsmith Susan Klopp Carolyn C. Mills Carolyn Gordon-Loebig Lin & Ken Kolb Reed & Jack Parker Lynn Hupe John Leigh Larry Rabinowitz Leonard Dumpsters June Litchfield Jinks & Gayle Ramsey Adelaide Hart Kersh Nancy & Hal Martin Isabel K. Richardson Lynn & Larry Klein Brenda & Tom Maund Lynn & Phil Seymour Joan & Malcolm Macdonald Mary Ann & Robert McGarry Aleen Steinberg Barbara Meyer Jack McGoldrick Sysco Food Service Eleanor Mercer Elizabeth O. Taylor Henning Meyn Lynn Williams

36 brevard philharmonic | www.brevardphilharmonic.org 2018 contributors

Marie & Ray Miller contributors Suzanne & John Jack Linda Muir up to $99 James Keeley Phyllis S. Nesbitt Anonymous Leslie & Jerry Keir Lynn & Tom Penn Emily Bryson Dottie & Leo Kosiba Jeanne & Donald Puchala Anahita Anvari-Clark in memory of Ursula & Les Lilliman Carlene Ragan Richard and Kathi Clark Kit & Jim Lyday Elizabeth Rahn Elizabeth Bates & Roy Penchansky Joanie & D.L. Miller Jane Robertson Judy & Dennis Berman Suzanne & Jim Null Betsy & Tim Robinson Joan & David Bloom Susan Parker Sylvia Ronneburger Charles Briedis Pamela & Christopher Pazoles Joy Ryder Sherry Brooks Kerry Purselle Adair Sanders Libby & Jerry Brown Paty & Alan Roman Sandra Purcell & Associates Cascade Power Co. Janie & Robert Sargent Christine Schmidt & Renie Cottingham Howard Shea David Warinner Marite & Robert Currier Tom Shetler Donna Johnston & Charles Stohr Lavoe Davis Parke Sickler Marcy & Bob Stoner Susan & Ron Davis Raymond Stadnick Karol & Bill Strang Amy Diehl Patricia S. Black & Carole & Frank Taylor Carol & Jim Dolan Dr. Charlie W. Steele Linda W. Thompson Nancy Dunbar Linda Steinfeld Barbara & Don Turner J. Eddy & A. Green Ellen & Don Stinchcomb Millie & Ron Vanmeter Kathy & Ralph Filson Caroline & David Trickey Cecile B. Voso Kathleen & Richard Fudge Charles Van Hagan Carol & James Walker David Goodman Ann Wallace & Nick Nichols Monica & Bruce Williams Suzy Greene M & M Williamson William Hagler Susan Windsor Judith & Phil Ham Edie Wunderlich Virginia & Roger Hein

Festival of Trees 2018 The Brevard Philharmonic strives to make a difference in our community. This year, we are participating in the Festival of Trees where all proceeds go to The Children’s Center, which provides services to neglected children and their families in Transylvania County. The trees will be on display at the Porter Center from November 30th through December 2nd.

www.brevardphilharmonic.org | brevard philharmonic 37 sponsorships Living with the Joy of Great Music in Brevard YOU have the power to insure that YOUR Brevard Philharmonic continues to uphold the standards set by you and those who came before you in search of affordable, quality, orchestral experiences. Ticket sales cover only 42% of what it costs to bring you extraordinary live symphonic music, host international guest artists of distinction, expose each elementary grade of Transylvania County’s public schools to the elements of a live orchestra – all here in Brevard!

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Music in the Schools Concert Sponsorship – $4000 This sponsorship enables all Transylvania County fifth-graders the experience of a live orchestra concert in the Porter Center. -Recognition in the MIS press releases -Recognition in the program book

Concert Sponsorship – $3000 -Your choice of available concerts to sponsor -Two tickets to sponsored concert -Recognition in press release, program book, and website -Recognition on concert poster in the lobby -Recognition at all donor functions

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38 brevard philharmonic | www.brevardphilharmonic.org ADDITIONAL OPPORTUNITIES FOR SUPPORTING YOUR ORCHESTRA

Like most performing arts organizations, revenue from ticket sales covers only a fraction of the total expenses for our concerts. If Brevard Philharmonic makes a difference in your life, and you appreciate that we have a year-round orchestra in our community, please consider supporting Brevard Philharmonic through one of the following means:

Gift (Bequest) in your will is a gift to be made from your residuary estate. Leaving a percentage or fixed dollar amount of your residuary estate to Brevard Philharmonic ensures that the tradition of Brevard Philharmonic continues in our community for future generations. Your assets remain with you during your lifetime and your planned giving arrangements are revocable at any time. Your notification of an intended bequest will be recognized in the Brevard Philharmonic program book as a Planned Gift.

Corporate Matching Contributions are often available to nonprofit organizations such as Brevard Philharmonic through matching gifts programs. Current or retired employees of corporations offering these programs are encouraged to take advantage of this opportunity, thereby increasing the size of their gift. This is an easy way for you to potentially double your contribution to Brevard Philharmonic, and both you and your employer will be recognized in the program book as having made a matching gift.

ENDOWMENTS The Brevard Philharmonic gratefully acknowledges those who contribute to our endowment funds and long-term gifts. These help ensure the financial security of our mission.

Virginia W. Ramsey Fund for Music in the Schools William G. & Geraldine M. Hambley Endowment The Community Foundation of Western North Carolina

If you would like to establish a fund or contribute to an existing fund, please call the Brevard Philharmonic office at (828)-884-4221 or email [email protected]

The Mission of the Brevard Philharmonic is to inspire, educate, and enrich our audiences through exceptional, professional musical performances and community outreach.

For further information please contact the Brevard Philharmonic office at 884-4221 to speak with the president, Carole Futrelle, or the treasurer, Mike McLain.

www.brevardphilharmonic.org | brevard philharmonic 39

music in the schools

All fifth graders in Transylvania County are treated to a full orchestra experience

usic in the Schools is Brevard and enjoy learning the history of the violin Philharmonic’s very special outreach family (and bows) and hearing the sound of the Mprogram to the elementary school different instruments in their various registers. students of Transylvania County. Through live performances and demonstrations, many of The brass family is introduced to the fourth which take place right at the County Schools grade by Pyramid Brass covering the history and Brevard Academy, this program introduces of brass instruments and how the sounds the students to the four families of instruments are produced, including the physics of low that make up the symphony orchestra. and high notes.

“Meet the Orchestra” is the Kindergarten As a cumulative experience of the Music in program introducing students to each of the the Schools program, fifth graders are treated families in the orchestra with an overview to a full orchestral concert by the Brevard of strings, woodwinds, brass, and percussion. Philharmonic Orchestra at Brevard College Porter Center. This past spring’s concert was First grade enjoys the Camerata Antiqua, a directed by Dr. Jeremy Gibbs, Transylvania professional recorder ensemble, who discuss County Schools Chief Academic Officer and woodwinds and play a variety of songs Brevard Philharmonic Advisory Board member. including early music. It featured An American Salute by Morton Gould, Peer Gynt Suite by Grieg, and showcased Due to the enormous size of the percussion 5th grader Emma Bailey as guest conductor for family, Porter Center is the setting for the Sousa’s El Capitan. second grade percussion program. All second graders in the county (including private and The Brevard Philharmonic extends sincere home schooled) are invited for an exciting appreciation to JACQUELYN AND BRUCE demonstration of the percussion family and ROGOW for their generous sponsorship of sound of the massive pipe organ as demonstrated the Music in the Schools program. Additional by Brevard College students and faculty. sponsors include C Notes, other BP donors, the Virginia W. Ramsey Fund for Music in Third graders are treated to a presentation of the Schools, and the NC Council for the Arts. the string family by the Opal String Quartet

www.brevardphilharmonic.org | brevard philharmonic 41 Brevard Philharmonic 2018-2019 season repertoire

OCTOBER 7, 2018- ROMANTIC INTRODUCTIONS Dance of the Tumblers from The Snow Maiden Op. 12 Peter Tchaikovsky Violin Concerto, Op. 47 Jean Sibelius Bella Hristova, violin Vocalise, Op. 34 Sergei Rachmaninoff The Sleeping Beauty Suite, Op. 66a Peter Tchaikovsky

NOVEMBER 11, 2018-THE MAGIC OF MOZART Overture to Der Schauspieldirektor, K. 486 Wolfgang Amadeus Mozart Concerto for Clarinet and Orchestra in A Major, K. 622 Wolfgang Amadeus Mozart Steve Cohen, clarinet Symphony No. 38 in D Major, K. 504, “Prague”

season Wolfgang Amadeus Mozart

9 DECEMBER 16, 2018-CHRISTMASTIME IN BREVARD A Christmas Festival, It Came Upon a Midnight Clear, O Little Town of Bethlehem, Pastores a belén, Christmas Waltz, Sleigh Ride, And the Glory of the Lord, Three Kings of Orient, Stille Nacht, Carol of the Bells, A Tribute of Carols, Farandole from L’Arlesienne Suite No. 2

MARCH 10, 2019-POPS: AN AMERICAN CELEBRATION Star Spangled Banner, A Western Fanfare, The American Frontier, Shaker Variations, Hoedown, Hymn to the Fallen, Armed Forces Salute, Overture to West Side Story, Duke Ellington! A Medley for Orchestra, South Pacific, 1812 Overture, Stars and Stripes Forever

MAY 12, 2019-BEETHOVEN’S PASTORALE SYMPHONY Piano Concerto in A Minor, Op. 54 Robert Schumann Sean Chen, piano 2018-201 Symphony No. 6 in F Major, Op. 68, “Pastorale” Ludwig van Beethoven

42 brevard philharmonic | www.brevardphilharmonic.org www.brevardphilharmonic.org | brevard philharmonic 43 board of directors board of Mary Beth Shumate staff directors Carol Smeaton 2018-2019 Carolyn Smith ADMINISTRATOR Don Wauchope Dusty Campbell PRESIDENT Carole Futrelle ORCHESTRA The Advisory Board is a MANAGER place of honor that has been Carla Wright VICE-PRESIDENT established for those who have Kristine Candler faithfully served the Brevard Philharmonic. Members are LIBRARIAN TREASURER asked to be on-call for the Kendra Rempel Mike McLain Board of Directors to share their experience and expertise. PRODUCTION SECRETARY MANAGER ADVISORY BOARD Erika Maciula Judy Patrick MEMBERS Karla Atkinson MEMBERS AT LARGE HEAD USHER Jeremy Gibbs Rosalie Hale Renee Bresler David Goodman Glenn Cockerham Adelaide Hart Kersh EDUCATION Leslie Cole John Luzena Jan Hart OUTREACH Layton Parker Mary Beth Shumate Larry Lohr Jinks Ramsey Lib Mason Manuel Reyes-Otálora Barbara Meyer Ed Tisdale

VISIT US ONLINE AT www.BrevardPhilharmonic.org

Program Repertoire C Notes Guest Artist Bios & Videos Order Tickets Photos Email Us Blog Pages Volunteer Music in the Schools Donate

44 brevard philharmonic | www.brevardphilharmonic.org c notes

rganized in Spring 2011, C Notes is a vital supporting affiliate of the Brevard Philharmonic with an original target of 100 members donating $100 annually to help fund the Brevard OPhilharmonic and its community outreach programs. Thanks to the enthusiastic willingness of our community to support and serve, membership in C Notes has consistently exceeded its goals. The funds collected for this Philharmonic guild are spent on funding the costs of additional musicians for specific concerts, providing monies for more rehearsal time, supporting the cost of outstanding guest artists, and providing additional funding as needed for the Music in the Schools Program. Since its inception, C Notes has generously furnished refreshments for orchestra members and provided housing for out-of-town musicians.

The members of the C Notes guild are the first people to step up and volunteer. You will see our C Notes members ushering, serving, hosting, and providing backstage assistance as needed. The Brevard Philharmonic is a stronger arts organization because of this invaluable guild. Some C Notes members are also ticket holders, additional donors, and sponsors. The Brevard Philharmonic appreciates and is enriched by the generosity of the gifts of C Notes Guild.

To be part of C-Notes and for more information about how you can assist and sustain the needs of the Brevard Philharmonic, please call 828-884-4221 or visit www.brevardphilharmonic.org.

2018 C Notes Members Kris Fulmer Jinks Ramsey Carole Futrelle Linda Randall Judy Andersen Kathleen Garofalo Elaine Raynolds Bonnie Arbuckle Anita Goldschmidt Katinka P. Remus Karla Arkinson Carolyn Gordon-Loebig Isabel K. Richardson Linda Austin Nancy Granros Jacquelyn Rogow Polly Averette Geri Hambley Penny Roubion Sally K. Baker Sandra Harrington Claire M. Rouse Elizabeth Bates Jan Hart Gloria Sanders Nancy Beale Elisabeth Illg-Reyes Janie Sargent Susan Becker Carlene Jerome Nancy Scharsich Susan A. Bir Adelaide Hart Kersh Dorothy Semans Joanna Bliss Janice Kimball Lynn Seymour Gail Blunt Eleanor S. Kirlin Mary Beth Shumate Paula Bonner Kathryn G. Kitahata Virginia Simpson Joshua Braun Susan G. Klopp Carol Smeaton Renee Bresler Betty Lamberton Lila Stewart Susan Tillotson Bunch Tine Liegerot Anne Stoutamire Poo Cabe Celeste Lockard Mildred Tanenbaum Jacolyn Campbell Linda Locks Carole S. Taylor Kristine Candler Rebecca Lohr Elizabeth Taylor Carol Ann Carrano Virginia MacDonald Linda Thompson Leslie Chepenik Suzanne Macoy Aleta Tisdale Chloe Coger Lib Mason Susan D. Toscani Karen Cole Mary Alice McBrayer Harriett Vanderschaaf Leslie Cole Leslie McLachlan Ellie Vibert Elizabeth Creech Harriette McLain Cecile B. Voso Elizabeth Curwen Barbara Meyer Harriet Walls Maggie Di Rocco Marie K. Miller Don Wauchope Mary Dryselius Inez Parsell Carol Weinhofer Joy Evans Judy Patrick Happy Wilkerson Carolyn Fredley Veronica Peterman Rose E. Wimsatt

www.brevardphilharmonic.org | brevard philharmonic 45 donate your instrument drive

o you have a band or orchestra instrument tucked away in a closet or attic, playable Dbut no longer being played? The Brevard Philharmonic is seeking donated instruments for ‘Music In The Schools,’ our outreach program to Transylvania County Schools.

Brevard Philharmonic's Music In the Schools program is holding the ‘Donate Your Instrument’ (DYI) drive to provide instruments to middle and high school band and orchestra teachers in Transylvania County Schools. This will make it possible for students to play these instruments in school and check them out for practice at home. The availability of free instruments will enable more students to learn an instrument and participate in middle and high school music programs. It is © Susan Chambers also hoped that DYI will enable Brevard Middle Rosman High School Band students with their donated instruments School to expand a small string group to the first ever BMS orchestra. the purchase of instruments or restore used Why is it so important to provide the opportunity instruments to playing condition. Please for all children to play a musical instrument? make checks payable to Brevard Philharmonic, Research shows that music education boosts with ‘DYI’ on the memo line. students’ math, computer, and language skills. And playing in the school band or orchestra provides You may bring a band or orchestra instrument, students with another way to express themselves. or your cash or check, to the Brevard Philharmonic office. The office is located at 521 Whether children are already musically aware, North Broad St., Brevard, NC. The orchestra or discover a new passion through this program, phone number is 828-884-4221; please call first the investment and effort is more than worth it. to confirm the office is open. That’s why Music In The Schools is asking you support the ‘DYI’ drive this year. If you prefer, bring your instruments and/or cash/check donations to the next BP Concert. If you don’t have an instrument to donate, You will receive a receipt for your donation cash donations are also welcome to support as Brevard Philharmonic is a non-profit 501(c)(3) organization.

We are grateful to the following DYI donors of both cash and instruments: Anonymous Dennis Berman Renee Bresler Derry Coob David Morrow Transylvania Historic Society Harriet & Kenneth Walls

© Susan Chambers Aleta Tisdale presented Lincoln Walker a violin at a Brevard Philharmonic concert.

46 brevard philharmonic | www.brevardphilharmonic.org house concert-june 2018

delaide Kersh, a guest at the June Brevard Philharmonic House Concert Fundraiser Acaptured the flavor of this intimate, special event in her Transylvania Times editorial…

A “House Concert” and pre-season fundraiser to launch the 42nd year of the Brevard Philharmonic was held on June 7th in the home of John and Kristine Candler. Three outstanding musicians — violinists Paul Huang and Danbi Um and pianist Jessica Xylina Osborne — performed at a magnificent evening of enjoyable solo and ensemble music that captured the attention of the audience. James C. Fellenbaum, the new artistic director and conductor of the Brevard Philharmonic, was also in attendance and was introduced to the attendees.

The violinists, Paul Huang and Danbi Um, were full of exuberance and passion in their performance, impeccable in musicianship and beautifully matched in interpretation, tone and technique.

Jessica Xylina Osborne was an outstanding accompanist — most sensitive to the musical intent, balance and tempos of the violinists, and, as a soloist, produced outstanding tonal contrasts and spectacular dynamics, especially in her performing of the Wagner/Liszt “Liebestod.”

At the end of the program the musicians spent time with the audience answering questions about their lives and the music. It was an unforgettable experience, and we are truly grateful to the Brevard Philharmonic for sponsoring this inspiring, magnificent musical opportunity and to the guests whose donations will enable this orchestra to bring exceptional artists to future concerts.

Paul Huang Danbi Um Jessica Xylina Osborne Our thanks to the sponsors and guests who all contributed to the success of this event! platinum sponsors guests Lynn Hupe Kristine and John Candler Anonymous Adelaide Kersh and Jan and Doug Hart Anonymous Harvey Miller Susan and Michael Becker Becky and Lawrence Lohr gold sponsor Chris and Steve Bergner John Luzena Carol and Jim Smeaton Charles Brendle in memory of Harriette and Michael McLain Isabel and John Nichols Barbara Meyer silver sponsors Renee Bresler and Wayne Steifle Carol and Larry Newton Anonymous Marie and Mark Campanini Mr. and Mrs. Jack Parker Joan Barham Kristine and John Candler Judy and Don Patrick Renee Bresler and Wayne Steifle Glenn Cockerham Ms. Virginia Ramsey Matanuska Lodge, Leslie and Art Cole Isabel K. Richardson Glacier View, Alaska Nancy and Joe DePippo Jacquelyn and Bruce Rogow Harriette and Michael McLain James Fellenbaum Julia and John Royall Stuart Fendler Joy Ryder Carole and Ted Futrelle Gloria and Jim Sanders Yvonne and Charles Goldsmith Nancy Scharsich Sandy Harrington Mary Beth Shumate Jan and Doug Hart Carol and Jim Smeaton Karen A. Henegar Raymond Tuers

www.brevardphilharmonic.org | brevard philharmonic 47 meet our staff

Dusty Campbell, Administrator Dusty is responsible for the administrative operations of the box office, ticket production, the database, the website, advertising, and public relations. She also provides support for the Board of Directors in all of their endeavors. Dusty has been joyfully serving the Brevard Philharmonic since 2013. She finds it to be an honor to work for such an amazingly gifted group of people and a pleasure to serve our extraordinary patrons. If you have any questions or comments about the Brevard Philharmonic, Dusty is the person to contact. Carla Wright, Orchestra Manager Carla is responsible for hiring and writing contracts for musicians, keeping attendance at rehearsals, preparing payroll, and maintaining archival records of personnel. Another responsibility is ensuring necessary information is distributed, keeping all orchestra members informed of any changes that may occur. Carla is starting her 11th year with the BP after having spent 30+ years as a public school orchestra director in Dallas and San Antonio, Texas. Erika B. Maciula, Production Manager As Production Manager for the Philharmonic, Erika can usually be found backstage during rehearsals and performances. She views this position as one with the responsibility to ensure everyone has what they need to focus on the music. This means making sure the stage is properly set for each event and any movement of people, instruments, or equipment happens in a timely manner, coordinating between the orchestra and the sound/lighting staff of the Porter Center, and ensuring the equipment and percussion needed for each concert and event is available. Erika thoroughly enjoys getting to hear amazing music when she comes to work and is immensely grateful for the opportunities the Philharmonic provides to our community. As a mother with young children, her favorite concert is always the Music in Schools program because she loves to see the joy and concentration on the faces of the children. Kendra Rempel, Librarian Kendra’s responsibilities include the research and procurement of the repertoire for the Brevard Philharmonic’s concert series each season. Working in coordination with the Orchestra Manager and the Conductor, Kendra ensures the needed preparations, distributions, and returns are handled according to schedule. She is entering her third season serving as the Assistant Librarian and performing with the orchestra as well.

“You have just read the section, Meet Our Staff. These part-time employees, the active board, and our new Artistic Director, James Fellenbaum, will ensure the 2018-2019 season will truly be one of the best ever!” –Carole Futrelle, BP Board President

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