JANUARY–FEBRUARY 2018

MARIN ALSOP AND BSO AND BMA THE BSO CELEBRATE JOIN FORCES FOR ONE OF MUSIC’S “IMPRESSIONIST GREATEST ICONS MASTERWORKS” ENJOY MORE. WORRY LESS. ENJOYENJOY MORE.MORE. WORRYWORRY LESS.LESS.

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(410)992-1241 (410)992-1241(410)992-1241 JANUARY/ CONTENTS FEBRUARY 2018

2 From the President 4 In Tempo: News of Note 6 BSO Live: Calendar of Events 7 Orchestra Roster 8 100 Years of Bernstein and the BSO celebrate the legacy of one of music’s greatest icons 10 Mozart’s Jupiter JAN 5 –7 16 Concerto Fantasy for Two Timpanists JAN 11 & 14

Off The Cuff: Impressionist Masterworks JAN 12 & 13 22 Tchaikovsky No. 1 JAN 19 –21 26 Diva to Diva: From Ella to Adele JAN 25 –28 28 Stephen Hough Performs Mendelssohn FEB 1–3 31 Pictures at an Exhibition FEB 16–18 COURTESY THE OFFICE 8 35 Rite of Spring FEB 22 & 25

Off The Cuff: Rite of Spring FEB 23 & 24 39 Honor Roll 47 Board of Directors & Staff 48 Impromptu: Qing Li, Violin 4 5 ▼ ON THE COVER Marin Alsop and Leonard Bernstein at the Tanglewood Music Center in 1989

Be Green: Recycle Your Program! Please return your gently used program to the Overture racks in the lobby. Want to keep reading at home? Please do! Just remember to recycle it when you’re through. Connect With Us t

JAN–FEB 2018 / OVERTURE 1 FROM THE PRESIDENT

elcome to this concert by the Symphony Orchestra. With your at- tendance and support, our Worchestra will enrich the lives of more than 350,000 people through our concerts and educational programs this year. This season, we celebrate the legacy of Leonard Bernstein as we commemorate the 100th anniversary of his birth in 2018. Featured on the cover of Overture is a wonderful photo of Music Director Marin Alsop and Leonard Bernstein, and you will enjoy the special article in this edition as we look forward to “To Bernstein with Love” and this centennial celebration.

The leadership and vision of our community QUIRIN JOHNNY have fostered our orchestra that today is a premier cultural asset of our city and the State of Maryland, recognized as one of the world’s most important orchestras. The BSO is entering its second century while achieving extraordinary artistic excellence. As the new year begins, we are delighted to again feature some of our exceptional musicians as soloists with the orchestra. The BSO’s numerous collaborations help to increase our collective impact and provide more value to our community. We invite you to read about our work with the Baltimore Museum of Art on the “Impressionist Masterworks” program, along with a collaboration with the to develop lobby displays highlighting our rich history. We will share more about some of our other many education and other collaborations in the months ahead. This season will continue to be filled with superb performances by our great orchestra, and we look forward to an outstanding 2018–2019 season. If you are FRI, MAR 2 | 8 PM MEYERHOFF not currently a subscriber, we invite you to learn more about the numerous SAT, MAR 3 | 3 PM STRATHMORE benefits, including discounted pricing, priority seating and service, ticket exchange | MEYERHOFF SUN, MAR 4 3 PM privileges and other opportunities. Relive the magic of your favorite We appreciate your faithful attendance at our concerts, and we also hope you will wizard in Harry Potter and the consider making a financial contribution to support the BSO, its programs and Prisoner of Azkaban™ in Concert. Based on the third installment of the numerous people in our city and region who benefit from our educational J.K. Rowling's classic saga, the and community-outreach initiatives. On behalf of our Board of Directors, thrilling tale comes to life as the musicians and staff, thank you for joining us for this performance. BSO performs the score live while Harry soars across the big screen.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17) Peter T. Kjome TICKETS FROM $45 President and CEO BSOMUSIC.ORG Baltimore Symphony Orchestra 1.877.BSO.1444

2 OVERTURE / BSOmusic.org We can’t tell you who. But we can help you with just about everything else.

All the inspiration you need for your big day. On newsstands throughout the region or purchase online: baltimorebridemagazine.com MICHAEL & CARINA PHOTOPGRAPHY CARINA & MICHAEL BALTIMORE SYMPHONY ORCHESTRA

inTEMPONEWS OF NOTE BSO interview GET TO KNOW: WORDSMITH

amille Saint-Saëns’ Carnival of the Animals is famous for its beautiful solo cello movement, “The Swan,” and its appearances in pop-culture favorites like Fantasia 2000. This CJanuary and February, the BSO collaborates with Baltimore-based hip-hop artist, Wordsmith, who gives a fresh take on the timeless classic with his original narration. While classical repertoire is a relatively recent addition to Wordsmith’s vast entertainment portfolio, music has been a driving force in his life for many years. “I was always an avid music collector, saving my lunch money to buy new tapes weekly. And yeah, I said ‘tapes,’” he laughs. “Coming from an urban/hip-hop background, classical music hasn’t been prevalent in my life, so this is truly a special experience.” American poet Ogden Nash was the first to compose verses for Carnival back in 1949. These served as the starting point for Wordsmith when he set out to tackle his own interpretation. “My goal from there was to create an original narrative that included hip-hop elements, like varying cadences, syllable smashing and poetical flows while remaining clever, funny and metaphoric throughout the movements,” says Wordsmith. “The last step for me was making sure my words could be expressed through action as well; I like to entertain on stage, so I plan to add some nice movements to drive home the narrative even more.” So what can the audience expect from the finished product? “Beautiful music, comedic undertones, witty wordplay and a new experience we can all be proud of!”

4 WORK OF ART BSO and BMA join forces TEMPO for “Impressionist Masterworks” rtistic periods come and go over time, as do the characteristics that define them. Large movements A like Classicism or Romanticism can shape the trajectory of artwork for decades or even centuries, but the ways in which the various elements of those styles manifest in different mediums isn’t always consistent. Central to the BSO’s current season is the examination of how music interacts with and is affected by other artistic disciplines like literature, visual art and dance. As part of this project, the BSO partnered closely with the Baltimore Museum of Art to develop January’s “Impressionist Masterworks” concerts, part of the Off The Cuff series. In these performances, Music Director Marin Alsop and the BSO explore the influence that visual art had on Debussy and Ravel. They consider how elements of Impressionistic Bedford, is an innovative thinker Marin Alsop examines a painting like brush stroke and color translated to music like Marin, so we expect additional painting by Monet with through choices in orchestration and articulation. projects in the future.” the BMA's Senior Curator “We are very fortunate to have in Marin Alsop a Music The Off The Cuff concerts will of European Painting and Sculpture, Katy Rothkopf. Director who values partnerships and collaborations with include projected images of artwork other Baltimore arts institutions,” says BSO VP & General from the BMA’s collection specially selected by Alsop and the Manager Tonya McBride Robles. “The BMA’s Director, Chris Senior Curator of European Painting and Sculpture.

TREASURE TROVE Library of Congress lends artifacts PETER KJOME JOINS BOARD OF CLEVELAND for illuminating displays INSTITUTE OF MUSIC

n another exciting collaboration this season, t its annual meeting last fall, the the BSO is working with the Library of Cleveland Institute of Music I Congress in Washington, D.C. to develop announced that BSO President curated lobby displays for a select number of A & CEO Peter T. Kjome had been named concerts during the winter and spring. These to an ex-officio position on the Institute’s “treasure displays” will feature exhibits of Board of Directors. In this capacity, Kjome, artifacts, manuscripts and memorabilia from the himself having graduated with his Bachelor Library’s archives that will be shown at the Joseph of Music degree from the prestigious music Meyerhoff Symphony Hall and The Music Center conservatory, represents CIM alumni. at Strathmore. “I’m honored to be joining this “It’s been fascinating to explore the distinguished group of leaders in resources of the Library of Congress,” says representing my alma mater,” says Carole Wysocki, the BSO’s Director of Kjome. “It is a privilege to be able to Education and Community Engagement. Photo of Leonard Bernstein from work on behalf of the Institute and the Library of Congress archives. “We’re really looking forward to sharing these to help support its advancement of items with our patrons as a way to enhance music education.” and add depth to the concert-going experience.” Keep an eye out for items related to Bartók’s Concerto for Orchestra (January Congratulations, Peter! 19 & 20), Leonard Bernstein (May 4) and George Gershwin (May 31 & June 1).

5 BSO KEY UPCOMING EVENTS MARCH/APRIL 2018 events at The Music Center at Strathmore [S] and at the Joseph Meyerhoff Symphony Hall [M]

MOVIE WITH ORCHESTRA FAMILYliveSUPERPOPS Tchaikovsky with Harry Potter and the St. Patrick’s Vegas Nights with Balanchine Prisoner of Azkaban™ Celebration Frankie Moreno THU, APR 26, 8 PM M in Concert SAT, MAR 17, 11 AM M THU, APR 12, 8 PM S SUN, APR 29, 3 PM S

FRI, MAR 2, 8 PM M JONATHAN CARNEY, CONDUCTOR FRI, APR 13, 8 PM M MARIN ALSOP, MUSIC DIRECTOR S JONATHAN JENSEN, PENNY WHISTLE SAT, APR 14, 8 PM M BALTIMORE SCHOOL FOR THE ARTS SAT, MAR 3, 3 PM DANCERS ELLEN PENDLETON TROYER, SUN, APR 15, 8 PM M SUN, MAR 4, 3 PM M IRISH FIDDLE STAGED BY DEBORAH WINGERT COACHED BY HEATHER WATTS Relive the magic of your favorite JACK EVERLY, PRINCIPAL POPS This St. Patrick’s Celebration CONDUCTOR wizard in Harry Potter and the TCHAIKOVSKY // ROMEO AND JULIET features bagpipes, Irish dancers FRANKIE MORENO, VOCALIST FANTASY-OVERTURE Prisoner of Azkaban™ in Concert. and musicians of the BSO TCHAIKOVSKY // SUITE FROM Frankie Moreno returns to the Based on the third installment of performing traditional Irish music. SWAN LAKE J.K. Rowling’s classic saga, fans of BSO with his signature blend TCHAIKOVSKY // SERENADE all ages can now experience the of rock, soul and swing. FOR STRINGS IN C MAJOR Rachmaninoff’s (CHOREOGRAPHY BY GEORGE thrilling tale as the BSO performs BALANCHINE© THE GEORGE the score live while Harry soars Transcendent FAMILY BALANCHINE TRUST) across the big screen. Fantasy Ballet to Flamenco FRI, MAR 23, 8 PM M SAT, APR 14, 11 AM M Marin Alsop conducts an SUPERPOPS SAT, MAR 24, 8 PM S all-Tchaikovsky program NICHOLAS HERSH, ASSOCIATE that includes the Serenade From SUN, MAR 25, 3 PM M CONDUCTOR nd for Strings, which inspired to 42 Street ANNA MENENDEZ, FLAMENCO DANCER PETER OUNDJIAN, CONDUCTOR NICOLE KELSCH, PRINCIPAL DANCER, choreographer George Balanchine THU, MAR 8, 8 PM S YAO GUANG ZHAI, CLARINET BALLET THEATRE OF MARYLAND to transform it into a ballet. FRI, MAR 9, 8 PM M RACHMANINOFF // THE ISLE Journey from the grace and SAT, MAR 10, 8 PM M OF THE DEAD OFF THE CUFF power of ballet to the color and SUN, MAR 11, 3 PM M WEBER // CLARINET CONCERTO IN E-FLAT MAJOR flair of flamenco. This program Tchaikovsky with JACK EVERLY, PRINCIPAL POPS TCHAIKOVSKY // SYMPHONY NO. 2 includes selections from Bizet’s IN C MINOR, “LITTLE RUSSIAN” Balanchine CONDUCTOR Carmen and Tchaikovsky’s TED KEEGAN, VOCALIST FRI, APR 27, 8:15 PM S Peter Oundjian transports you Swan Lake Suite. KRISTEN PLUMLEY, VOCALIST SAT, APR 28, 7 PM M BEN CRAWFORD, VOCALIST with Rachmaninoff’s The Isle of BALTIMORE CHORAL ARTS SOCIETY, the Dead. BSO Principal Clarinet Mahler’s Titan MARIN ALSOP, MUSIC DIRECTOR ANTHONY BLAKE CLARK, Yao Guang Zhai showcases the BALTIMORE SCHOOL FOR THE ARTS MUSIC DIRECTOR S DANCERS versatility of the clarinet, and THU, APR 19, 8 PM M STAGED BY DEBORAH WINGERT Join Jack Everly, Broadway Tchaikovsky’s “Little Russian” FRI, APR 20, 8 PM COACHED BY HEATHER WATTS singers and the Baltimore climbs to joyful heights. SAT, APR 21, 8 PM M TCHAIKOVSKY // SERENADE Choral Arts Society for favorites MARKUS STENZ, PRINCIPAL GUEST FOR STRINGS IN C MAJOR including Phantom of the Opera Symphonic Dances CONDUCTOR (CHOREOGRAPHY BY GEORGE and . JONATHAN CARNEY, VIOLIN BALANCHINE© THE GEORGE FRI, APR 6, 8 PM M DARIUSZ SKORACZEWSKI, CELLO BALANCHINE TRUST) SAT, APR 7, 8 PM S RYO YANAGITANI, PIANO Schubert the Great SUN, APR 8, 3 PM M BEETHOVEN // CONCERTO FOR VIOLIN, Experience the musical and S CELLO AND PIANO THU, MAR 15, 8 PM MARKUS STENZ, PRINCIPAL GUEST visual journey of Tchaikovsky’s M MAHLER // SYMPHONY NO. 1 FRI, MAR 16, 8 PM CONDUCTOR IN D MAJOR, “TITAN” Serenade for Strings performed SAT, MAR 17, 8 PM M ARABELLA STEINBACHER, VIOLIN by dancers from the Baltimore Beethoven’s unique Triple School for the Arts. LAHAV SHANI, CONDUCTOR BEETHOVEN // SYMPHONY NO. 1 NIKOLAI LUGANSKY, PIANO IN C MAJOR Concerto features two BSO KORNGOLD // VIOLIN CONCERTO leaders, Concertmaster Jonathan PROKOFIEV // PIANO CONCERTO NO. 2 IN D MAJOR Carney and Principal Cello BSA Dancers IN G MINOR RACHMANINOFF // SYMPHONIC SCHUBERT // SYMPHONY NO. 9 DANCES Dariusz Skoraczewski. Experience IN C MAJOR, “THE GREAT” the massive orchestral forces of The BSO presents Beethoven's Mahler’s “Titan.” Lahav Shani leads Schubert’s First Symphony and Arabella Symphony in C Major. Nikolai Steinbacher performs MUSIC BOX Lugansky performs Prokofiev’s Korngold's Violin Concerto. In The Treetops Piano Concerto No. 2, a piece Rachmaninoff’s Symphonic of herculean virtuosity. Dances brings a beautiful sense SAT, APR 21, 10 AM of melody to the Dies Irae chant. & 11:30 AM M MEG GOLDMAN MEG

6 OVERTURE / BSOmusic.org ORCHESTRA ROSTER 2017–2018 SEASON MARIN ALSOP, MUSIC DIRECTOR, HARVEY M. AND LYN P. MEYERHOFF CHAIR

Jack Everly, Principal Pops Conductor Markus Stenz, Principal Guest Conductor Nicholas Hersh, Associate Conductor and Artistic Director of BSYO

FIRST VIOLINS CELLOS E-FLAT CLARINET HARP Jonathan Carney ∫ Dariusz Skoraczewski † ∫ Lin Ma Sarah Fuller** Concertmaster, Principal, Joseph Acting Principal Ruth Blaustein and Rebecca BASSOONS Rosenberg Chair Meyerhoff Chair Fei Xie* KEYBOARD Wyatt Underhill † Chang Woo Lee Principal Lura Johnson** Acting Associate Associate Principal Harrison Miller Sidney M. and Miriam MUSIC DIRECTOR Concertmaster, Lachezar Kostov Acting Principal Friedberg Chair Wilhelmina Hahn Assistant Principal Bassoon Waidner Chair Bo Li ∫ Julie Green Gregorian ORCHESTRA Marin Alsop Boram Kang Seth Low Assistant Principal PERSONNEL Acting Assistant Esther Mellon Schuyler Jackson Jinny Kim Marin Alsop is an inspiring and Concertmaster Kristin Ostling Director of powerful voice in the international music Kenneth Goldstein Se-Doo Park CONTRABASSOON Orchestra Personnel Wonju Kim Lukasz Szyrner David P. Coombs Matthew Urquhart scene who passionately believes that Gregory Kuperstein Assistant Personnel “music has the power to change lives.” Gregory Mulligan BASSES HORNS Manager She is recognized across the world for Rebecca Nichols* Robert Barney Philip Munds E. Craig Richmond Principal, Willard and Principal, USF&G LIBRARIANS her innovative programming and for her Kevin Smith Lillian Hackerman Foundation Chair Michael Ferraguto deep commitment to education and the Ellen Pendleton Troyer Chair Gabrielle Finck Principal, development of audiences of all ages. Andrew Wasyluszko David Sheets Associate Principal Constance A. and Jina Lee** Associate Principal Lisa Bergman Ramon F. Getzov Chair Her success as Music Director of the Tian Zhao** Timothy Dilenschneider Austin Larson Raymond Kreuger Baltimore Symphony Orchestra has Mark Huang Joy Branagan** Associate been recognized by the extension of her SECOND VIOLINS Jonathan Jensen Qing Li Eric Stahl TRUMPETS STAGE PERSONNEL tenure until 2021. After her appointment Principal, E. Kirkbride Drew Banzhaf** Andrew Balio Ennis Seibert in 2007, Alsop launched OrchKids, and Ann H. Miller Chair Principal, Harvey Stage Manager which provides music education and Ivan Stefanovic † FLUTES M. and Lyn P. Todd Price Associate Principal Emily Skala Meyerhoff Chair Assistant Stage instruments to Baltimore’s underserved Angela Lee ∫ Principal, Dr. Clyde René Hernandez Manager youth. She became Music Director of Assistant Principal Alvin Clapp Chair Assistant Principal Charles Lamar the Symphony Orchestra in Audrey Wright Marcia Kämper Nathaniel Hepler Audio Engineer Leonid Berkovich Lauren Sileo** Matthew Barker Mario Serruto 2012 and made history in 2013 as the Leonid Briskin Electrician first female conductor of the BBC’s Last Holly Jenkins PICCOLO TROMBONES Night of , which she returned Julie Parcells Marcia Kämper Aaron LaVere * On leave Sunjoo Park Acting Piccolo Principal, Alex Brown ** Guest musician to conduct in 2015. Christina Scroggins* & Sons Chair Performing with an Alsop conducts the world’s major James Umber OBOES John Vance instrument (†) or a bow (∫) orchestras including the Charles Underwood Katherine Needleman on loan to the BSO from the Principal, Robert H. and BASS TROMBONE private collection of the Gewandhaus Orchestra, Royal family of Marin Alsop. VIOLAS Ryda H. Levi Chair Randall S. Campora Concertgebouw Orchestra and the ∫ Lisa Steltenpohl Melissa Hooper The musicians who perform London Philharmonic Orchestra. As Principal, Peggy Assistant Principal TIMPANI for the Baltimore Symphony Meyerhoff Michael Lisicky James Wyman Orchestra do so under the a student of Leonard Bernstein, Alsop Pearlstone Chair Principal terms of an agreement is central to his 100th-anniversary Noah Chaves Christopher Williams between the BSO and ENGLISH HORN the Local 40-543, AFM. celebrations, Bernstein’s Associate Principal Jane Marvine Assistant Principal Karin Brown Kenneth S. Battye and at the Ravinia Festival, where she serves Assistant Principal Legg Mason Chair PERCUSSION as Musical Curator for 2018 and 2019. Jacob Shack Christopher Williams She recently concluded a 25-year tenure Peter Minkler CLARINETS Principal, Lucille Sharon Pineo Myer YaoGuang Zhai Schwilck Chair as Music Director of the Cabrillo Festival Delmar Stewart Principal John Locke of Contemporary Music in California. Jeffrey Stewart Lin Ma Brian Prechtl Alsop is the only conductor to receive Mary Woehr Assistant Principal Ford Musician Awardee Jenni Seo** William Jenken the MacArthur Fellowship and was recently appointed Director of Graduate Conducting at the . She attended the and Music Director Emeritus , , which awarded her an Gonzalo Farias, BSO-Peabody Conducting Fellow Honorary Doctorate in 2017.

JAN–FEB 2018 / OVERTURE 7 100 YEARS of Bernstein Marin Alsop and the BSO celebrate the legacy of one of music’s greatest icons

BY DEVON MALONEY

hen it comes to influential associated with other giants of classical music figures in 20th-century like Bach, Beethoven and Brahms. American music, it Across the country and around the world, doesn’t get much bigger celebrations are underway to honor the man than Leonard Bernstein. who left this indelible mark on the music W Not only a composer world. Born on August 25, 1918, Bernstein and conductor, but also a deeply committed would have celebrated his 100th birthday this educator and humanitarian, Bernstein’s year, and orchestras, festivals and artists from name connotes the same legendary status Boston to Budapest are paying tribute. WALTER SCOTT

8 OVERTURE / BSOmusic.org omposer anniversaries come and go, sometimes “ without much fanfare,” says BSO Senior Artistic C Planning Manager Izabel Zambrzycki. “But Bernstein’s is one that truly stands out.” The Baltimore Symphony Orchestra maintains its connection to Leonard Bernstein through Music Director Marin Alsop. Alsop met Bernstein in 1989 at the Tanglewood Music Center, and the experience of working with Bernstein directly has given her a truly unique perspective on his music. “Having that time with him allowed me to understand what a complex, multi-dimensional, yet fun person he was,” says Alsop. “It has given me the freedom to truly enjoy his music, just as I so thoroughly enjoyed him as a person.” At Tanglewood, Alsop was the winner of the Koussevitzky Prize, an award named after famed conductor (From top to bottom) Marin with her mother in City. Leonard Bernstein with (with whom Bernstein himself had studied) given for outstanding Marin at the Tanglewood Music Center student conducting. She still vividly recalls her first encounters in 1989. Marin Alsop leads the BSO at the with Bernstein that summer. Joseph Meyerhoff Symphony Hall. “Working with Bernstein was even better than I could have imagined,” says Alsop. “A dream come true! His focus, attention As for celebrating Bernstein’s 100-year and generosity were humbling and inspiring.” anniversary, Alsop and the BSO join the Growing up in New York as the child of two professional party in May with a program titled, musicians, Alsop had early and abundant exposure to classical “To Bernstein With Love.” Featuring a music. She knew conducting was for her after attending one of broad selection of Bernstein’s works, the Bernstein’s Young People’s Concerts, which he had launched upon concerts showcase the complexity and taking over as Principal Conductor of the . diversity of his compositions, from On From then on, she looked up to Bernstein and closely followed the Town, to Serenade, to West Side Story. not only his conducting career, but also his work outside of the “This program is designed to highlight concert hall. “I admired his extraordinary commitment to the many different sides of Bernstein— the composer and his incredible sense of narrative,” she says from serious to pure fun,” Alsop says. of Bernstein’s approach to music. “But I also respected his “The program in May has something devotion to education and equality.” for everyone,” adds Zambrzycki. “It Music education and reaching new audiences were crucial to shows Bernstein’s depth as a composer Bernstein. The televised Young People’s Concert series allowed and underscores Marin’s relationship with him. She was able to him to connect with young audience members like work directly with Bernstein on these pieces and Alsop and with those watching at home. Through “Working with consult with him on his vision, ideas and thoughts. these performances, Bernstein was able to make Marin would sit with him and read through his classical music available to all, and he became a Bernstein was marked scores — what an inspiration that must recognizable presence throughout the country for even better have been for a young conductor!” people young and old. than I could Surely, such experiences would be the envy of “Bernstein is one of the biggest reasons that have imagined. every young conductor today. But now the shoe orchestras are still able to thrive,” says Zambrzycki. is on the other foot, and Alsop is the one offering “Many people had the chance to see him live or on A dream come guidance and leadership. She reflects on the ways television through the Young People’s Concerts, and true! His focus, in which her time with Bernstein influences the most conductors on the podium today try to carry attention and way she mentors aspiring young musicians and out the dreams he had for symphony orchestras. generosity conductors: “Bernstein’s generosity inspired me to We’re still so affected by him and his legacy.” were humbling always try to give back and accept young conduc- Education and the accessibility of music are tors where they are while trying to help them be causes Alsop has championed as well. In addition and inspiring.” the best they can be.” to starting the BSO’s OrchKids program, which MARIN ALSOP In this sense, Bernstein’s legacy lives on through provides music education and academic instruction the work of Alsop and others who knew him. Of to children in Baltimore City, she was recently appointed Director all the celebrations, concerts and tributes to Bernstein taking of Conducting at the Peabody Institute, where she has the place over the course of the next year, this might very well be the opportunity to shape and mentor the next generation. most meaningful honor of all.

JAN–FEB 2018 / OVERTURE 9 MOZART’S JUPITER

Since his triumphant debut with the Minnesota Orchestra in 1999, Labadie JOSEPH MEYERHOFF SYMPHONY HALL has become a regular presence on the Friday, January 5, 2018, 8pm podiums of the major North American Sunday, January 7, 2018, 3 pm orchestras, including the Atlanta, Boston,

MUSIC CENTER AT STRATHMORE Chicago, Detroit, Montreal and Toronto Saturday, January 6, 2018, 8pm symphony orchestras; the Cleveland and Philadelphia orchestras; the Colorado, St. Louis, Houston and San Francisco symphonies; the Los Angeles and New Bernard Labadie, conductor York philharmonics; and the Handel and Emily Skala, flute Haydn Society. Sarah Fuller, harp International engagements in the Wolfgang Amadeus Mozart Eine kleine Nachtmusik, K. 525 past seasons have brought Labadie to Allegro conduct the Bayerischen Rundfunks Romance: Andante Symphony Orchestra, Orchestre Menuetto: Allegretto Nationale de France, Academy of Rondo: Allegro Ancient Music, Orchestra of the Age of Enlightenment, BBC Royal Scottish Mozart Concerto in C Major for Flute, Harp National Orchestra, Melbourne Symphony and Orchestra, K. 297 Orchestra, Orchestra of the Collegium Allegro Andantino Vocale Ghent, Royal Concertgebouw Rondo: Allegro Orchestra, Royal Northern Sinfonia, Swedish Chamber Orchestra, WDR Emily Skala Sarah Fuller Sinfonieorchester (Cologne) and Zurich Chamber Orchestra. INTERMISSION On the opera podium, Labadie has served tenures as artistic director of Mozart Symphony No. 41 in C Major, K. 551, “Jupiter” L’Opéra de Québec and L’Opéra de Allegro vivace Montréal. He made his Metropolitan Andante cantabile Opera debut during the 2009–2010 Allegretto season with Mozart’s The Magic Flute, a Molto allegro work that he also led at the Cincinnati Opera in 2011 and in which he made his The concert will end at approximately 9:45 pm on Friday and Saturday long-awaited debut with the Canadian and 4:45 pm on Sunday. Opera Company in 2017. Other operatic highlights include Handel’s Orlando with Glimmerglass Opera, Mozart’s Così fan tutte at the Mostly Mozart Festival and PRESENTING SPONSOR: Mozart’s Lucio Silla with Santa Fe Opera. SUPPORTING SPONSOR: Recently, he performed Handel’s Theodora and Handel’s Samson in concert form to huge critical acclaim. Bernard Labadie’s extensive discography About the Artists du Roy and La Chapelle de Québec, both includes many critically acclaimed of which he founded and continues to recordings on the Dorian, ATMA and Bernard Labadie lead as music director. With these two Virgin Classics labels, including Handel’s Bernard Labadie has ensembles, he regularly tours Canada, Apollo e Dafne and a collaborative established himself the U.S. and Europe in major venues and recording of Mozart’s Requiem with worldwide as one of festivals such as Carnegie Hall, Avery Les Violons du Roy and La Chapelle de FRANCOIS RIVARD FRANCOIS the leading conductors Fisher Hall, Walt Disney Concert Hall, Québec, both of which received Canada’s of the Baroque and the Kennedy Center, the Barbican, the Juno Award. His other recordings include Classical repertoire, a reputation that is Concertgebouw and the Salzburg Festival, C.P.E. Bach’s complete cello concertos closely tied to his work with Les Violons among others. with Truls Mørk and Les Violons du

10 OVERTURE / BSOmusic.org THE CITY CHOIR OF WASHINGTON Celebrating Maestro Shafer’s 50th anniversary as a conductor in the Washington, DC area.

HANDEL LAUDATE PUERI DOMINUM

BRIAN BARTOLDUS MAGNIFICAT WORLD PREMIERE CHARPENTIER TE DEUM

Sunday, April 22, 2018, 4:30 p.m. | National Presbyterian Church Featuring Metropolitan Opera soprano Danielle Talamantes

A spectacular tribute to Maestro Shafer’s 50th anniversary as a conductor in Washington, D.C. The program features the world premiere performance of a fascinating setting of the Magnificat by the young American composer, Brian Bartoldus. Mr. Bartoldus’ setting strives “to do deep dives into the many intense emotions and thoughts surrounding the life-changing experience of having a child. While the orchestra and the structure are Baroque, its harmonic language is more contemporary, with a nod to late 20th century composers MacMillan and Schnittke.” Opening the concert will be the youthful and exuberant Laudate pueri dominum by Handel, composed when he was only 22! The program concludes by transporting you to the shimmering court of Louis XIV with the thrilling and justly famous Te Deum of Marc Antoine Charpentier. All three works will feature the acclaimed Metropolitan Opera soprano, Danielle Talamantes.

TICKETS: $15-$50. Student and group discounts available.

Order your tickets today! Visit citychoir.org or call 571-206-8525. MOZART’S JUPITER

Roy; J.S. Bach’s complete piano concertos Sarah Fuller overexposure may blind us to its gemlike

with Alexandre Tharaud, both by Virgin ROY COX Sarah Fuller has been perfection. It is one of the finest examples Classics; and Haydn’s piano concertos acting as principal harpist of the special-occasion music he composed with Marc-André Hamelin as soloist, with the Baltimore throughout his career under various released by Hyperion in April 2013. Symphony Orchestra titles: serenade, divertimento, cassation or The Canadian government has honored since 2007. Additionally, nocturne. These works, usually in many Bernard Labadie with the appointment she is the principal harpist with the Delaware movements, were created for princely as “Officer of the Order of Canada” in Symphony Orchestra. Her playing has soirées or weddings of wealthy merchants 2005. His home province named him been hailed by as both (like Mozart’s “Haffner” Serenade) and a “Chevalier de l’Ordre National du “refined” and an “impressive flash” that frequently for outside and/or evening Québec” in 2006. “stood out” from the orchestral texture, and performance. They were intended to The News Journal of Delaware described her be light, festive background music to Bernard Labadie makes his BSO debut. solo Debussy performance as “exquisite.” accompany social chatter and plenty of Outside of the orchestra, Fuller leads eating and drinking. Emily Skala an active musical life. As a soloist, she Although Mozart usually wrote such Emily Skala is principal has performed concertos by Debussy, works only on commission (they were flutist of the Baltimore Ravel and Mozart with the Delaware an excellent source of quick cash for the Symphony Orchestra. Symphony Orchestra, and as a chamber often financially strapped composer), we

CHRISTIAN COLBERG During her career, she musician she frequently performs on series have no record of why this piece—dated has held three principal such as Chamber Music by Candlelight August 10, 1787—was written or even positions, performed as guest principal in Baltimore. She also collaborates with whether it was ever performed in his in orchestras throughout the world and notable groups such as the Philadelphia lifetime. Could he have written it for has appeared at top music festivals in contemporary ensemble, Network for New his own pleasure? The title in Mozart’s Aspen, Edinburgh and Brazil. As a soloist, Music (with whom she has made several native German, rather than the Italian he she has worked with internationally recordings, including two world premieres) customarily used for such works, suggests renowned conductors including Marin and Dolce Suono. In January 2009, that this might well have been a personal Alsop, Juanjo Mena, Mario Venzago and Fuller was the solo artist on an evening of piece. Mozart biographer Alfred Einstein . After being appointed harp music for the Delaware Symphony came up with the ingenious suggestion principal flutist of the BSO in 1988, Orchestra’s Champagne Chamber Series, that Mozart might have composed it Skala became a faculty member of the which was broadcast on Philadelphia’s NPR as a corrective to his A Musical Joke, K. Peabody Institute of The Johns Hopkins station WHYY. 522, written shortly before. In A Musical University in 1989. She has taught A native of Philadelphia, Fuller holds Joke, Mozart gleefully thumbed his masterclasses at the National Orchestral a master’s degree in music from Indiana nose at all the hallowed rules of musical Institute, the Eastman School of Music, University. She studied at the New England composition of his day, while in Eine Oberlin Conservatory and George Mason Conservatory and the Royal Conservatory kleine Nachtmusik, he followed those rules University; in Suanbo, South Korea; of Music’s Glenn Gould School for her meticulously to create a work of ideal and for the National Flute Associations’ bachelor’s degree. refinement and charm. annual conventions. Fuller has been on the faculty of the This composition originally contained As a soloist with the BSO, Skala has University of Maryland since 2011 and another minuet movement; it is listed in tackled the most demanding repertoire in the summers, teaches at the National Mozart’s catalogue as a five-movement for the flute, including works by Bach, Orchestral Institute. work, but the first minuet was Corigliano, Rouse and Takemitsu. She inexplicably torn from the manuscript. has performed on numerous recordings Sarah Fuller makes her BSO solo debut. What is left is a miniature four-movement (including Grammy®-nominated and symphony for string orchestra, with Grammy®-winning CDs) for the Decca, About the Concert a sonata-form first movement, a slow Telarc, Sony and Naxos labels. During movement in rondo form, the surviving her time with the BSO, Skala released a EINE KLEINE NACHTMUSIK minuet and a sonata-rondo finale. The solo CD of Brahms and Schubert with Wolfgang Amadeus Mozart second movement “Romance” introduces Summit Records, which received much Born in Salzburg, Austria, January 27, 1756; a few nocturnal shadows in its C-minor critical acclaim. died in Vienna, Austria, December 5, 1791 middle section to a work that is otherwise an ideal musical expression of the relaxed Emily Skala last appeared with the BSO in Eine kleine Nachtmusik (A Little Night pleasures of a balmy summer evening. June 2016, performing Bach's Brandenburg Music) has always enjoyed hit status Concerto No. 5, Jonathan Carney, leader. among Mozart’s works, to the point that Instrumentation: String orchestra.

12 OVERTURE / BSOmusic.org Making Beautiful CONCERTO IN C MAJOR FOR FLUTE, HARP AND ORCHESTRA Wolfgang Amadeus Mozart

One of the most calamitous periods in Mozart’s life came in 1778 at age 22 when he arrived in on a high- pressure mission, masterminded by his father, to secure a lucrative post in at Howard County’s the French capital and thereby enable the whole Mozart family to move MusicPremier Retirement there from Salzburg. Wolfgang had to Community leave Mannheim, Germany, where he had fallen in love with Aloysia Weber, elder sister of his future wife. To make sure his son stuck to his plan, Leopold 9000 Fathers Legacy Mozart sent along Mozart’s mother as Ellicott City, MD 21042 a chaperone and also arranged for a 877-203-7299 family friend there, Baron Grimm, to www.MillersGrant.org smooth his connections into French musical circles. Nevertheless, Mozart’s heart wasn’t really in this task, and the mission was a failure. In a letter to Aloysia’s father, Mozart complained: “You may have no idea what a dreadful time I am having here.…(between ourselves) I am PRESENTING THE NEW trying to get away from here as soon as possible.” To his father, he wrote that Paris “is totally opposed to my genius, inclinations, knowledge and sympathies.” Hillside Homes! And Baron Grimm candidly analyzed Mozart’s weaknesses in pursuing a career in Paris: “He is too good-natured, too little active, too easily caught out, too little concerned with advancing his We are completing plans to career. Here, to make an impression, one add 52 new homes and fully must be crafty, enterprising and bold. renovate the amenities on I would wish him, for success, half the our beautifully scenic campus. talent and double the savoir faire.” Learn more about the area’s only Grimm’s analysis was borne out by the tale of Mozart’s Concerto for Flute Quaker-guided, not-for-profit, and Harp, composed in April 1778 on a continuing care retirement community. Conceptual commission from the Comte de Guines, a rendering wealthy amateur flutist, and his daughter, a harpist. Though Mozart claimed to dislike both these instruments, his Call 443-330-7128 concerto was a brilliant artistic success, to learn more about the but also a pecuniary disaster. Recently ™ Hillside Homes Priority List. recalled from a foreign diplomatic post because of his shady financial dealings, 13801 York Road • Cockeysville, MD 21030 • www.broadmead.org de Guines also stiffed Mozart for the agreed-upon fee. Pending Approval by the Maryland Department of Aging

JAN–FEB 2018 / OVERTURE 13 MOZART’S JUPITER

Writing for flute and harp with who engineered Haydn’s spectacular orchestra is a tricky assignment, for London career in the 1790s) who devised -   these two are delicate-toned instruments this nickname as a catchy advertising that must be handled with care. Mozart device for the symphony’s London contrived for them to be equal partners performances in 1819. throughout, perfectly balanced against Why might Salomon have chosen the each other and never swamped by name of the thunderbolt-hurling chief of the orchestra. In the sonata-form first the Roman gods for this work? Certainly movement, all the instrumental figures it is the most magisterial of Mozart’s are light and sparkling, setting up symphonies, with a ceremonial quality the special color world of the soloists. in keeping with its key of C major. Especially well-suited to the flute is the Although today we think of C major as lyrical second theme that leaps gracefully the most basic of keys (all white notes on upward. And in the development section, the piano), in the late-18th century it was a haunting melody for the soloists usually associated with court and high intensifies this by carrying the harmonies church pomp since it was well suited to into the minor mode. the valve-less trumpets of the period. The jewel of this concerto is the The work’s ceremonial quality, second-movement Andantino in however, extends far beyond key and F major, which boasts one of the most scoring. Throughout the piece, there is a exquisitely beautiful themes Mozart ever majesty of conception we find in no other created. Constantly yearning upward, Mozart symphony. Its melodic themes it seems to reflect Mozart’s longings to are more formal and less personal than leave the frustrations of Paris behind those he created for its two companions, and perhaps be reunited with his symphonies 39 and 40; Donald Francis OFF THE beloved Aloysia. His ability to exploit Tovey, the dean of annotators, called them the tears in the flute’s sound and to not only formal but “formulas”: stock CUFF: make every trill and ornament intensify musical gestures used over and over by the mood are mesmerizing. composers in this era. The originality The rondo form, with its recurring and greatness of the “Jupiter” are not refrain and companion episodes, was to be found in the materials Mozart born in France; Mozart’s use of it for the used but in how he used them. Above finale seems to be a diplomatic gesture. all, the finale, with its spectacular fugal It also adopts the rhythmic character of a deployment of themes shows Mozart’s very French dance, the gavotte—though genius at its zenith. In its stately dancers would be hard-pressed to match progression to this greatest of all Mozart this breakneck tempo! Uncorking one movements, the “Jupiter” becomes a delicious tune after another and giving grand summation of the splendors of A piece of music so wild, so the harpist fabulous opportunities to 18th-century music, incorporating the barbaric and so brilliant, Stravinsky’s sparkle, this rondo is pure enchantment. aesthetics of both its Baroque first half Rite of Spring is considered one of and its Classical conclusion. the most influential works of the Instrumentation: Two oboes, two horns The dramatic intensity of the 20th century. Join Marin Alsop and strings. and the BSO for a performance sonata-form first movement reflects of Stravinsky's masterpiece. Mozart’s opera Don Giovanni, which had received its Viennese premiere just Stay with us after the performance SYMPHONY NO. 41 IN C MAJOR three months earlier. And, indeed, in for a conductor-led Q&A session. Wolfgang Amadeus Mozart the three major theme groups of this movement, we experience the emotional FRI, FEB 23 | 8:15 PM STRATHMORE Mozart did not actually call his last versatility that made Mozart a peerless SAT, FEB 24 | 7 PM MEYERHOFF and most famous symphony, completed operatic composer in his day. First, the Supporting Sponsors: Xfinity / Comcast Business on August 10, 1788, the “Jupiter.” bold opening music: imperial and full According to his son Franz Xaver of courtly flourishes, with overtones BSOmusic.org/offthecuff Mozart, it was the London impresario of bombast and militarism ironically 1.877.BSO.1444 Johann Peter Salomon (the same man recalling the ongoing Austrian-Turkish

14 OVERTURE / BSOmusic.org MOZART’S JUPITER

hostilities that were then curtailing suitable opening. Here, too, listen for Mozart’s concert activities. Next, lyrical a loud preview of the famous four-note music of tenderness for the violins and theme that will spark the finale. woodwinds. Finally, a sassy little melody, Mozart leaves the best for last. also launched by the violins; this is Throughout the 1780s, he had studied taken from a comic aria, “Il bacio di counterpoint—the art of weaving mano” (“A Kiss of the Hand”), Mozart together many independent musical had recently written. Interestingly, it is lines—with passionate interest and had this impudent tune that generates one poured over the scores of J.S. Bach. But of Mozart’s most exciting development rather than a display of contrapuntal sections, in which we hear the first erudition, he uses the intricate interplay stirrings of the contrapuntal excitement of his instrumental lines here to create an he will unleash in the finale. overwhelming sense of richness, splendor In the slow movements of his last and excitement. Mozart weaves his CONCERTS THAT three symphonies, Mozart sent initially magic with a half-dozen pithy themes, EXHILARATE innocent-sounding melodies on beginning with the sturdy opening four- dangerous journeys. Here, a melancholy note motive. Derived from Gregorian SUBSCRIPTION SERIES theme in F major soon enters a dark chant, this theme was a musical cliché BORROMEO STRING QUARTET and agitated world in C minor. The of the period, used frequently by other BENJAMIN HOCHMAN, PIANO movement’s development section travels composers as well. But again, the artistry Sun, Jan 28 | 5:30pm farther into this thicket, full of painful is not in the “what” but in the “how.” PIERRE-LAURENT AIMARD, dissonance. When the opening music The apotheosis comes in the closing PIANO Sun, Mar 11 | 5:30pm finally returns, the innocent melody has moments of the symphony when Mozart taken on new dimensions of maturity sets five of his themes spinning together ERIC OWENS, BASS-BARITONE and wisdom. A lovely coda, apparently in a double fugue, revealing, in Elaine MYRA HUANG, PIANO added by Mozart as an afterthought, Sisman’s words, “vistas of contrapuntal Sun, Mar 25 | 5:30pm closes this movement. infinity.” Even if Mozart had known this TRULS MØRK, CELLO The third-movement minuet provides would be his last symphony—and at BEHZOD ABDURAIMOV, PIANO the symphony’s most conventional music: age 32, surely he did not!—he could not Sun, May 6 | 5:30pm a formal dance for an imperial ballroom. have contrived a more glorious finish to FREIBURG BAROQUE Notice, however, the Mozartean touch of his symphonic career. ORCHESTRA KRISTIAN BEZUIDENHOUT, beautiful music for the woodwinds near DIRECTOR, FORTEPIANO the end of the minuet. In the middle trio Instrumentation: Flute, two oboes, Sun, May 20 | 5:30pm section, Mozart slyly puts the cart before two bassoons, two horns, two trumpets, * Due to ongoing renovations the horse by beginning most phrases timpani and strings. of Shriver Hall, please check with a closing cadence in the woodwinds, shriverconcerts.org for concert locations. to which the violins must provide a Notes by Janet E. Bedell, © 2018

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JAN–FEB 2018 / OVERTURE 15 CONCERTO FANTASY FOR TWO TIMPANISTS/IMPRESSIONIST MASTERWORKS (OFF THE CUFF) About the Artists JOSEPH MEYERHOFF SYMPHONY HALL Marin Alsop Thursday, January 11, 2018, 8pm For Marin Alsop’s bio, please see pg. 7. Saturday, January 13, 2018, 7 pm Off The Cuff

MUSIC CENTER AT STRATHMORE Wordsmith Friday, January 12, 2018, 8:15 pm Off The Cuff Wordsmith is the Sunday, January 14, 2018, 3pm worldwide movement based out of Baltimore, MD, with the mission Marin Alsop, Music Director to entertain and educate Wordsmith, narrator through a message of purpose and to relate James Wyman and Jauvon Gilliam, timpani that message through clean, quality and Lura Johnson and Michael Sheppard, piano marketable music for the masses. Camille Saint-Saëns The Carnival of the Animals Wordsmith earned a full athletic Introduction and Royal March of the Lion scholarship to play football at Morgan Hens and Roosters State University followed by a degree in Wild Asses Tortoises theater arts. The emcee from Baltimore The Elephant looks to represent his city on national Kangaroos and international stages with his Aquarium conscious-commercial hip-hop and People with Long Ears The Cuckoo in the Depths of the Forest theatrical stage shows. Aviary Making great strides in the independent Pianists music scene, Wordsmith was accepted Fossils into the Grammy® voting committee The Swan Finale due to his numerous songwriting credits over the years. His label, NU Revolution Wordsmith Lura Johnson Entertainment, received the 2017 Best of Michael Sheppard Baltimore Award in the musician category. Other major accomplishments include a Philip Glass Concerto Fantasy for Two Timpanists live interview and performance on Fox45 James Wyman Baltimore; the debut of “We Do It Better” Jauvon Gilliam as the official theme song for WWE INTERMISSION superstar Bianca Belair; “Never be the Carnival of the Animals, Concerto Fantasy for Two Timpanists Same,” featured in the Emmy® Award- and Intermission are included in January 11 and 14 concerts only. winning Netflix show Unbreakable Kimmy Claude Debussy La Mer Schmidt; a tour of Africa and Israel for his De l’aube à midi sur la mer American Music Abroad Tour; featured (From Dawn to Noon on the Sea) music at Red Bull’s BC One World Final; Jeux des vagues (Play of the Waves) and a spread in The Baltimore Sun’s “Fall Dialogue du vent et de la mer (Dialogue of Wind and Sea) Arts Guide.” Wordsmith has developed corporate Maurice Ravel La Valse approval through the licensing of over 30 songs for film, television, internet video, The concert will end at approximately 10 pm on Thursday, 9:45 pm on Friday, 8:30 pm on Saturday and 5 pm on Sunday. video games and advertisement purposes with companies like NFL Network, CBS, Saturday, January 13: Join us in the Meyerhoff lobby for an after-party NBC, Fox, Style, Bravo, Nintendo Wii and featuring live entertainment, food and drink specials. Made possible by The Wallace Foundation. many more. Recent ad placements include Wordsmith’s “Happy Hour the Universal Blackout” used in a Kicks promotional PRESENTING SPONSORS: ad and providing the soundtrack to Roadtrip Nation: Ready to OFF THE CUFF SERIES SUPPORTING SPONSOR: Rise. Other placements include “We Do It Better,” featured in Red Bull’s Street Skating

16 OVERTURE / BSOmusic.org WE PROUDLY Mystic Sk8; “On My Job,” appearing on the NFL Network’s Top 100 Players 2015; SUPPORT and “Eye for the Spotlight,” used in ESPN’s the arts and SportsCenter. Film placements include the movies Hollidaysburg and Slow Learners. the BSO Wordsmith has made charitable contributions a pillar of his NU Revolution label. For four years in a row, Wordsmith has been the performing artist for students at local inner-city schools during the annual Red Day festival. Wordsmith began entering middle schools to deliver anti-bullying lectures and performances and joined the Baltimore-based homeless shelter Project Plase to feed and provide gifts to its clients. Recently, Wordsmith debuted his “Studio to the Stage: A Hip- Hop Fundamentals Workshop” during his American Music Abroad Tour to Africa and Israel. Assisted Living Independent Living Memory Care

Wordsmith makes his BSO debut. www.SpringwellSeniorLiving.com | 410.664.4006 James Wyman 2211 W. Rogers Avenue, Baltimore, MD A native of Ashtabula, OH, James Wyman joined the Baltimore Symphony Orchestra as principal timpanist at the start of the 2013 –2014 season. Prior to his appointment with the BSO, Wyman held principal timpani positions with the Erie Philharmonic, Reading Symphony Orchestra and the Fort Wayne Philharmonic. He has also performed with the National Symphony Orchestra, West Virginia Symphony Orchestra, Indianapolis Symphony Orchestra, City Music Cleveland and spent one All concerts at Peabody are now FREE! summer performing with the Brevard Festival Orchestra. Peabody Modern Orchestra Peabody Symphony Orchestra Saturday, January 27 at 7:30 pm Wednesday, January 31 at 8:00 pm Wyman earned his Bachelor of Music degree from Baldwin-Wallace College in Harlan D. Parker, conductor Joseph Young, conductor Xiaohui Yang, piano 2006, where he studied with Josh Ryan. Robert Martin: They Will Take My Island During his studies he focused heavily on Steven Stucky: Chamber Concerto Gu Wei: Transience, for Orchestra solo, chamber and non-Western music and John Luther Adams: Become River Frédéric Chopin: Piano Concerto No. 2 was part of a bata drumming trio. The in F minor, Op. 21 Mason Bates: Sea Blue Circuitry following year was spent studying privately : Der Rosenkavalier, with Cleveland Orchestra timpanist, Paul Op. 59: Suite Yancich. Afterwards, Wyman attended Carnegie Mellon University to study Reserve seats at timpani with Timothy K. Adams, earning peabody.jhu.edu/events his Master of Music degree in 2009. or by calling 667-208-6620.

JAN–FEB 2018 / OVERTURE 17 CONCERTO FANTASY FOR TWO TIMPANISTS /IMPRESSIONIST MASTERWORKS

His other teachers include Paul Evans, study. He graduated with honors with a Devoted to chamber music from an Chris Allen and Jeremy Branson. degree in arts administration and then early age, her many recital partners include Wyman also served as guest principal continued his graduate studies at the BSO Concertmaster Jonathan Carney; timpanist on multiple occasions with Cleveland Institute of Music. Gilliam clarinetist Anthony McGill; cellists Ilya the Cabrillo Festival Orchestra in Santa received an Honorary Doctorate from his Finkelshteyn, Amit Peled and Kenneth Cruz, CA. alma mater in 2014. Slowik; and flutist Marina Piccinini. She is a founding member of the Jennings- James Wyman makes his BSO subscription Jauvon Gilliam makes his BSO debut. Johnson Duo with flutist Christina concert solo debut. Jennings, Times Two with violinist Lura Johnson Netanel Draiblate and Duo Lalu, a cabaret Jauvon Gilliam Pianist Lura Johnson is duo with soprano Lara Bruckmann. She Jauvon Gilliam was a Steinway Artist and performs with VERGE Ensemble, 21st named principal the Second Prizewinner Century Consort, PostClassical Ensemble STEVE WILSONSTEVE timpanist of the (as a member of Duo and the Towson New Music Ensemble. National Symphony Baltinati with cellist Ilya Johnson has taught piano at the Orchestra in 2009. Finkelshteyn) of the 2015 International Peabody Conservatory since 2002 Since 2011, Gilliam regularly performs Competition, and, from 2013–2015, was director as guest principal timpanist of the chamber music division. Hailed as of chamber music at Georgetown Budapest Festival Orchestra. He is also “brilliant” by , University. She has taught at the Sequoia timpanist of the All-Star Orchestra, a she is celebrated for her passionate and Chamber Music Workshop and the made-for-PBS group comprised of players insightful interpretations and esteemed Apple Hill Center for Chamber Music. from orchestras across the . by colleagues for her uncommon Formerly the artistic director of Music Gilliam has previously performed with sensitivity and skill as a collaborative in the Great Hall, Johnson has also the Cleveland Orchestra, San Francisco partner. Equally comfortable as a soloist, worked as pianist and general manager Symphony, Detroit Symphony Orchestra chamber musician and orchestral with the PostClassical Ensemble in and Indianapolis Symphony Orchestra, as musician, she is the principal pianist Washington, D.C. well as the St. Paul Chamber Orchestra. of the Delaware Symphony Orchestra He was also timpanist of the Bear Valley and has performed extensively as the Lura Johnson last appeared with the BSO in Music Festival for three seasons. pianist of choice for the Baltimore June 2016, performing Bach's Brandenburg Prior to his NSO appointment, Symphony Orchestra, at the pleasure Concerto No. 5, Jonathan Carney, leader. Gilliam was timpanist of the Winnipeg of Marin Alsop, since 2007. Trained by Symphony Orchestra for seven years. luminaries Robert McDonald and Leon Michael While in Winnipeg, he was also Fleisher, Johnson has collaborated with Sheppard timpanist of the Manitoba Chamber Yo-Yo Ma, Itzhak Perlman, , Known as “a virtuosic Orchestra and, for a time, played drum Leila Josefowicz, , Jean- soloist possessed of set for the WSO pops series. Yves Thibaudet and the St. Lawrence power, sensitivity, As an educator, Gilliam has taught String Quartet and has performed as earthiness and clinics at universities and institutions soloist with the Baltimore and Delaware humor” (The Indianapolis Star) with across Canada and the U.S., including symphony orchestras. the “power to make an audience sit up the Interlochen Arts Academy, New Johnson’s discography includes a 2001 and pay attention…thought-provoking World Symphony and at the Percussive , The Jennings-Johnson Duo, with for performers and listeners alike” Arts Society International Convention. flutist Christina Jennings and the 2010 (AllMusic), Michael Sheppard trained He is currently co-director of percussion Centaur Records release of Inner Voice, with the legendary Leon Fleisher at the studies/artist-in-residence at the with BSO violist Peter Minkler, featuring Peabody Conservatory. He was selected University of Maryland, co-founder sonatas by Rochberg and Shostakovich. by the American Pianists Association of the annual Washburgh Timpani Her recording with Minkler of Arvo as a Classical Fellow, which led to the Seminar and is a timpani coach for the Pärt’s spiegel im spiegel was featured in the recording of his Harmonia Mundi CD National Youth Orchestra of the USA. official teaser trailer for the 2013 Warner of 2007. In 2015, another recording A native of Gary, IN, Gilliam began Brothers film Gravity. Johnson can also was released by Azica, a Cleveland- his musical career playing piano, winning be heard on several recordings released based label distributed worldwide by his first national competition at age 11. by the BSO, including Naxos’ Grammy®- Naxos Records. He received a full scholarship in piano nominated release of the Bernstein Mass. He has performed solo recitals and performance to attend Butler University, Johnson’s first solo CD, Turning, was concertos around the world and across but later changed to full-time percussion released in summer 2014. the U.S., including several solo recitals

18 OVERTURE / BSOmusic.org CONCERTO FANTASY FOR TWO TIMPANISTS /IMPRESSIONIST MASTERWORKS at Carnegie Hall’s Weill Hall and a for its most beautiful movement, “The FREE TO ALL solo Kennedy Center debut. He gives Swan.”) Nevertheless, he allowed it to master classes, teaches regularly and be published after his death, and its first plays with some of the top vocalists and public performance thus came in 1922. SUNDAYS @7:30PM CHAMBER MUSIC BY CANDLELIGHT instrumentalists; he also coaches vocalists, Despite Saint-Saëns’ reservations, Featuring members of the instrumentalists and conductors. this is perhaps his most imaginatively Baltimore Symphony Orchestra Sheppard today stands at a crossroads, orchestrated work, and it definitely was JAN 28, 2018 spending large amounts of time writing, not written for children (though they MAR 11, 2018 performing and teaching. He has love it). These performances will include APR 15, 2018 worked closely with fellow composers a specially commissioned narration MAY 6, 2018 , Christopher created by Baltimore-based hip-hop artist JUN 3, 2018 Theofanidis, , Robert Wordsmith. Its words follow: *WORLD PREMIERE Sirota and with the late Nicholas Maw, demonstrating a deep love of new music. Introduction SUNDAYS @3:30PM His eclectic tastes also recently led him There are moments in music where JAN 14, 2018 to direct the music for performances of things can really change a break from Philadelphia Brass FEB 11, 2018 Jason Robert Brown’s Broadway show being serious curious I’ll explain. Alon Goldstein, Piano The Last Five Years. Camille Saint-Saëns wrote a humorous MAR 18, 2018 Sheppard is a native of Philadelphia and composition and Marin, you’re in luck Irina Muresanu resides in Baltimore, where he works at to conduct a radical rendition. This is APR 22, 2018 Wonderlic Concert both the Peabody Conservatory and the Carnival of the Animals fantasy filled MAY 20, 2018 Baltimore School for the Arts, sharing his mix I’m narrating the script a zoological Todd Marcus, Jazz Bass Clarinet 2017-2018 love and understanding of music and the trip. With that said I’m giving a fair artistic process with future generations. warning to check under your seats and For more information call 443.759.3309 or visit CommunityConcertsAtSecond.org look under your feet this carnival’s full of Michael Sheppard makes his BSO solo debut. beasts… so stare but-never-touch there’s rules but not much we’re here for your About the Concert amusement tips could be a plus…and yeah I could be kidding but music is like THE CARNIVAL OF THE ANIMALS a lemon it’s sour without rhythm and Camille Saint-Saëns ripe for good ribbing…you’re probably Born in Paris, France, October 9, 1935; died in feeling we’re off track but why overreact Algiers, Algeria, December 16, 1921 I’m laughing over the fact your falling for wise cracks! So look cheer but please STUDY PARTICIPANTS NEEDED Although Camille Saint-Saëns was very listen the carnivals going to start the proud of his role as the leader of the BSO has readied a riveting royal march! more conservative branch of 19th-century French music, the piece for which he Royal March of the Lion Study on Genetics is most beloved today is, ironically, The lion, a fearless and ferocious beast something he wrote as a private party …and I repeat don’t sleep you’re the and Facial, Jaw, joke in 1886. While he was supposed to meat for the feast! Husband of the lioness & Headache Pain be hard at work on his famous “Organ” address him as your highness your free Symphony, he took time out to compose to feed the king is that a plus or minus? YOU MAY QUALIFY IF: The Carnival of the Animals: 14 brilliantly I admire courage but never stupidity I’ll • You are 18–65 years of age witty and often entrancingly lovely tell you what the lion can teach us all • You speak and understand English portraits of animals. Originally created some humility… • You are healthy OR have for an eclectic pick-up ensemble of two recently had headaches pianos, a few strings, flute, clarinet, glass Hens and Roosters or pain in your face or jaw harmonica and xylophone, it was given The rooster is a boisterous ball of Compensation for participation and its first private performance on March 9, energy, crowing at the top of its lungs parking vouchers are provided 1886. Saint-Saëns’ musical friends all leaving our ears with no sympathy. loved it, but the composer, mindful of Pecking, prodding and picking on me Contact Dr. Colloca’s Lab at his reputation, banned it from public and you, while taunting its cliché call [email protected] performance. (He did make an exception …ah Cock-a-doodle-doo!!! or at 410-706-5975

JAN–FEB 2018 / OVERTURE 19 CONCERTO FANTASY FOR TWO TIMPANISTS /IMPRESSIONIST MASTERWORKS

Wild Asses The Cuckoo in the Depths Marin conducted the creatures. A final Question; have you ever dealt with of the Forest farewell from these carnival rides when pure insanity? A consistent whistle, flute or a hiccup you exit please smile and spread some Well a wild ass makes most horses think will keep you on your toes who knows positive vibes! twice about keeping them in the family. the cuckoo might say “whatsup” before Movements are swift but the best defense he rolls! Whether you hear ’em in the Instrumentation: Flute including piccolo, is power, these jackasses reach speeds of morning or chilling on the late night clarinet, percussion and strings. 43 miles an hour. Light gray, slender and they’re out of sight singing something rarely at a local zoo, their blaring heehaws that sounds like good advice… can sound kind of musical… CONCERTO FANTASY FOR TWO Aviary TIMPANISTS Tortoises A tantalizing display with an array of bird Philip Glass A tortoise is low to the ground with species, believe me the amount you gotta Born in Baltimore, MD, January 31, 1937; a rock solid build, protection from a count just isn’t that easy. You got parrots now living in , NY predator with a shell like a knight’s making jokes, crows are singing notes shield. Moving at a speed that needs while the skylarks and the seagulls want In the past decade, we’ve heard some no interpretation, if you’re thinking mates to elope. Chirp, squawk and howl stunning new concertos here that showcase fast you won’t last it’s more of nail- are the sounds that never end, but this a percussionist as the soloist. Philip Glass’ biting frustration. aviary has a mix that a DJ could blend… Concerto Fantasy for Two Timpanists from 2000 ratchets the energy generated by The Elephant Pianists these concertos several degrees higher by I’ll tell you what size matters when Black and white keys lend a cadence to featuring not one, but two timpanists, coming face-to-face with this robust singers while the pianists are musical working at arrays of roughly a dozen kettle animal one of a kind the world’s biggest magicians with magical fingers. Though drums in a thrilling percussion duel. be-hind for a mammal. With tusks pianos are rare for movements involving Celebrating his 80th birthday last year, like the handles on a speedster and ears Bach a great piano player is skilled at jazz, Glass is now perhaps the most famous of the size of two stereo speakers. Each blues and rock… American contemporary composers. In step feeling like the ground could his book Minimalists, K. Robert Schwarz shake, maybe split or even break… Fossils wrote: “Philip Glass is more than just a is it possible an elephant can cause Animals of years past have ended their composer….No living composer has a minor earthquake? journey, with one final stop at the nearest sold more recordings and become such taxidermy. Fossils of dinosaurs, bears, a force in a larger cultural arena outside Kangaroos birds and monsters unexplained can the classical music ghetto. In an age The kangaroo is fast, energetic, small remain in museums with a short span when composers tend to operate on the or even big, each hop is like the pogo of fame. Guests beware if you visit late marginalized fringe of society, Glass is a stick I remember as a kid! Keeping your at night the bones of these creatures will happy exception, possessing a huge and head on a swivel is a critical decision, come back to life… trendy audience that blends fans of rock- did I mention a mob of kangaroos is a and-roll, New Age and classical music.” problematic position? The Swan Along with Steve Reich and Terry Full of grace the swan swims while sitting Riley, Glass was one of the founding Aquarium down the queen of the pond needs a king fathers of the late-20th-century movement The aquarium is a magical land of fish to wear the crown. With necks stretching known as “Minimalism”: that radical making a big splash; Sherlock Holmes like a NASA rover, they stay up in your riposte to atonality that promoted clear would call it the world’s biggest magnifying business so watch over your shoulder… tonal harmonies, hypnotic rhythms and glass. Zoom in to this transparent dwelling, easy-to-assimilate melodies repeated over plants and sea creatures a feature too Finale and over in trancelike, time-suspending compelling…the fins of a fish make a Everybody hold on and relax the curtain patterns. But today, Glass firmly rejects swish like its propelling. hasn’t closed yet, this grand finale is that term as only appropriate for his earliest big anyone wanna take bets? A full music; while retaining some of those People with Long Ears ensemble will bring the carnival full characteristics, his music today is more lush A critic is full of opinions they wish were circle; Saint-Saëns would be surprised and much more complex. the law, but all the yapping might leave his musical went universal…still, The Concerto Fantasy was born after you appalled so no applause…yeah you the BSO has shown some miraculous percussionist Jonathan Haas had been heard it I’m giving you just cause… features, instruments were animals and begging Glass for a decade to compose a

20 OVERTURE / BSOmusic.org CONCERTO FANTASY FOR TWO TIMPANISTS /IMPRESSIONIST MASTERWORKS concerto for him. Haas assembled a of his Nocturnes, now he was going to consortium of five ensembles—the The BSO describe its raw elemental power. American and Milwaukee symphony Neither symphony nor tone poem orchestras and the St. Louis and Phoenix (Debussy hated Richard Strauss’ graphic symphonies, as well as Baltimore’s own musical descriptions), La Mer was subtitled Peabody Symphony Orchestra—to co- “Three Symphonic Sketches.” The first, commission and perform the new work. “From Dawn to Noon on the Sea,” begins It was premiered on November 19, 2000 with a slow, misty introduction out of by the American Symphony Orchestra at which important motives rise as the day New York’s Avery Fisher Hall. breaks. Gradually, the roll of the sea To match the firepower of his soloists, emerges: a fair-weather sea of sparkling Glass wrote this concerto for an exception- waves and steady breezes. A brass chorale ally large orchestra boasting four percussion appears at the end, portraying the mid-day players of its own, as well as a pianist and LA MER sun blazing overhead. a harpist. All of them attack the first Claude Debussy “Play of the Waves” is lighter in movement’s ringing ten-note principal Born in St. Germain-en-laye, France, August mood and orchestration: in the work’s theme, punctuated by blows from the 22, 1862; died in Paris, France, March 25, 1918 scherzo section, the waves frolic “in timpanists. This theme is developed before a capricious sport of wind and spray” the woodwinds calm the proceedings with On September 12, 1903, Claude Debussy (Oscar Thompson). a gentler descending theme. The volume wrote from his in-laws’ home in landlocked The finale, “Dialogue of Wind and and intensity ebb and flow, but ultimately, Burgundy to his friend André Messager Sea,” begins with the rumble of timpani the movement ends very quietly. to tell him that he had begun a new piece, and gong and a stormy cello/bass motive. Opening with a distant call on the solo La Mer. “You may not know that I was A passionate melody introduced by trombone, the second movement maintains destined for a sailor’s life and that it was woodwinds seems as much inspired by this quieter dynamic but infuses it with only quite by chance that fate led me Debussy’s tumultuous love affair as by ominous drama. Reining in the volume, in another direction. But I have always the storm-tossed waters. Motives from the the soloists nevertheless project a mood of retained a passionate love for her [the sea].” first movement as well as the brass chorale controlled menace. Though the tension By the time La Mer was finished in return for a frenzied conclusion—Debussy gradually increases, the movement finally March 1905, Debussy’s whole life had been finally tearing away his habitual self- returns to the hush with which it began. turned upside down. In July 1904, he left protective veil. This movement is linked to the last his wife Lilly for the alluring and wealthy movement by a substantial cadenza for the Emma Bardac, herself another man’s wife. Instrumentation: Two flutes, piccolo, two soloists, which is nearly a movement in Although Emma and Debussy eventually oboes, English horn, two clarinets, three itself. Devised by Ian Finkel, it showcases contracted a happy remarriage, Debussy’s bassoons, contrabassoon, four horns, three the timpanists’ versatility and power, marital mess made him briefly the scandal trumpets, two cornets, three trombones, tuba, even asking them at one point to play the of Paris. Lilly attempted suicide, both she timpani, percussion, two harps and strings. instruments with their bare hands to reach and Bardac brought court actions against higher pitches. the composer and many of his friends A click track featuring wood block shunned him. Thus, La Mer—perhaps LA VALSE launches the exceedingly propulsive finale. Debussy’s most passionate and personal Maurice Ravel Over this established beat, the orchestra work—can be heard as not only a musical Born in Ciboure, France, March 7, 1875; layers a dance rhythm in another meter, portrait of the sea, but also an expression of died in Paris, France, December 28, 1937 and the music grows in excitement and a turbulent period in the composer’s life. complexity. Midway through, everything When the work premiered in Paris on Maurice Ravel originally conceived La fades back to the click track, and the October 15, 1905, many of the critics and Valse in 1906 as the tone poem Wien momentum rebuilds, led by the dueling even Debussy’s friends did not like it. After (Vienna): “a sort of apotheosis of the maneuvers of the two soloists. The the delicate colors and veiled emotions Viennese waltz,” he called it, in tribute conclusion is a pure visceral rush. of his recent opera Pélléas et Mélisande, to Johann Strauss. However, by the time they found La Mer’s intense drama and he came to write it in 1919 –1920, World Instrumentation: Two flutes, piccolo, two loud, blazing climaxes unworthy of the War I had smashed that enchanted world oboes, two clarinets, E-flat clarinet, bass composer. But Debussy had aimed for forever. Though frail and pushing 40, clarinet, two bassoons, four horns, three something new in this work. If he had Ravel had struggled to play his patriotic trumpets, two trombones, tuba, percussion, already shown the sea as gentle and role for France. Repeatedly turned down by piano and strings. mysterious in “Sirènes,” the last movement the army and air force, he became a truck

JAN–FEB 2018 / OVERTURE 21 TCHAIKOVSKY PIANO CONCERTO NO. 1 driver behind the front lines. When he was demobilized, his health was broken. The JOSEPH MEYERHOFF SYMPHONY HALL death of his beloved mother early in 1917 sent him into a long depression. La Valse Friday, January 19, 2018, 8pm was written by a man who had experienced Sunday, January 21, 2018, 3 pm horrors both on the battlefield and in MUSIC CENTER AT STRATHMORE his personal life. There was no longer Saturday, January 20, 2018, 8pm any possibility of creating a Romantic apotheosis, only, in Ravel’s words, “the impression of fantastic and fatal whirling.” Like his Daphnis and Chloé, La Valse Marin Alsop, Music Director was originally intended as a ballet Gabriela Montero, piano for the flamboyant Russian impresario Serge Diaghilev and given the subtitle “choreographic poem.” But when Ravel Béla Bartók Rumanian Folk Dances (arr. Willner) Jocul cu bâta (Stick Dance) and a colleague played it in a two-piano Brâul (Waistband Dance) version for Diaghilev in April 1920, he Pe loc (Stamping Dance, or On the Spot) dismissed it: “It’s a masterpiece…but Buciumeana (Hornpipe Dance) it’s not a ballet.” However, La Valse has Poarga româneasca (Rumanian Polka) been subsequently choreographed several Maruntel (Quick Dance) times, with George Balanchine creating a Maruntel (Quick Dance) particularly successful version in the 1950s. Ravel provided a brief synopsis for Bartók Concerto for Orchestra Introduzione: Andante non troppo - Allegro vivace his ghostly dance: “Through whirling Giuocco delle coppie: Allegretto scherzando clouds, waltzing couples may be faintly Elegia: Andante non troppo distinguished. The clouds gradually Intermezzo interrotto: Allegretto scatter: one sees…an immense hall Finale: Pesante - Presto peopled with a whirling crowd.…The light of the chandeliers bursts forth at the INTERMISSION [first] fortissimo.…An imperial court, about 1855.” Pyotr Ilyich Piano Concerto No. 1 in B-flat Minor, op. 23 Allegro non troppo e molto maestoso The music opens ominously with the Tchaikovsky Andantino semplice dark rumble of low strings and bassoons, Allegro con fuoco and a nightmarish thud in 3/4 time delivered by basses and timpani. A few Gabriela Montero waltz strains gradually penetrate the mists, then shine forth brilliantly. The dark music returns, and, whirling faster, the waltzes begin to collide with each other in wild harmonic and rhythmic confusion. Finally, even the 3/4 beat breaks down in an orgy of self-destruction—the most violent ending in Ravel’s music. In just 12 minutes, The concert will end at approximately 10:10 pm on Friday we have experienced the most vivid sound and Saturday and 5:10 pm on Sunday. portrait imaginable of the end of an era. Friday, January 19: Join pianist Gabriela Montero in the Meyerhoff lobby Instrumentation: Three flutes including after the concert for a post-concert performance. piccolo, three oboes including English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, PRESENTING SPONSORS: three trombones, tuba, timpani, percussion, The appearance of pianist Gabriela Montero is made possible through the support two harps and strings. of the Sidney M. Friedberg Guest Artist Fund.

Notes by Janet E. Bedell, © 2018

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About the Artists can express myself.” Whether in recital studies under Hamish Milne at the Royal or following a concerto performance, Academy of Music in London, graduating Marin Alsop Montero regularly invites her audiences to with the highest honors. She currently For Marin Alsop’s bio, please see pg. 7. choose themes on which she improvises. resides in Barcelona with her husband and Montero is also an award-winning and two daughters. Gabriela bestselling recording artist. Her most Montero recent album featured Rachmaninoff’s Gabriela Montero last appeared with Gabriela Montero’s Piano Concerto No. 2, her own the BSO in February 2017, performing composition, Ex Patria, and her signature Mozart's Piano Concerto No. 24, K. 491,

SHELLEY MOSMAN SHELLEY visionary interpretations and unique improvisations, winning Montero her Markus Stenz, conductor. improvisational gifts first Latin Grammy® for Best Classical have won her a devoted following around Album (Mejor Álbum de Música Clásica). About the Concert the world. Anthony Tommasini remarked Previous recordings include Bach and in , “Montero’s playing Beyond, which held the top spot on the RUMANIAN FOLK DANCES had everything: crackling rhythmic brio, Billboard Classical Charts for several Béla Bartók subtle shadings, steely power…soulful month and garnered her two Echo Klassik (arr. Arthur Willner) lyricism…unsentimental expressivity.” Awards. She also received a Grammy® Born in Nagyszentmiklós, Hungary, Recent performance highlights nomination for Baroque in 2008 and in (now Romania), March 25, 1881; died in include recitals at Avery Fisher Hall, the 2010, released Solatino, an album inspired New York City, NY, September 26, 1945 Kennedy Center, Wigmore Hall, Vienna by her Venezuelan homeland. Konzerthaus, Philharmonie, Montero debuted as a composer in 2011 The folk music of Hungary and its Leipzig Gewandhaus, Sydney Opera with Ex Patria, a tone poem for piano adjoining neighbors was the soul of Béla House, Amsterdam Concertgebouw, and orchestra and her emotional response Bartók’s creative voice throughout his Tokyo Orchard Hall and at the to Venezuela’s descent into lawlessness, career. Beginning in 1906, and usually Edinburgh, Salzburg, Lucerne, Ravinia, corruption and violence. Her piece had in the company of his fellow composer Tanglewood, Saint-Denis, Aldeburgh, its world-premiere tour in October of that Zoltán Kodály, he annually roamed Cheltenham, Rheingau, Ruhr, Bergen, year with the Academy of St. Martin in the countryside, painstakingly noting and Lugano festivals. the Fields and, in 2015, was recorded and down or recording on a primitive Edison Montero has also been invited to released internationally with the YOA recording machine the melodies he heard perform with many of the world’s most Orchestra of the Americas and conductor the peasants sing. Like other nationalist respected orchestras, including the Carlos Miguel Prieto. She recorded her composers in other lands, Bartók Royal Liverpool, Rotterdam, Dresden, first full-length composition, her Piano believed that the future of a distinctive Oslo, Netherlands Radio and Malaysian Concerto No. 1, with the YOA and Prieto Hungarian music lay in recovering its philharmonic orchestras; Chicago, in July of last year for ARTE. authentic past before the modern world Houston, Pittsburgh, Detroit, Atlanta, A staunch advocate of human rights, swept it away forever. Toronto, Sydney and RTÉ National Montero was recently named an Honorary The town where Bartók was born lay on symphony orchestras; the National Arts Consul by Amnesty International the border of Romania, and in fact today Centre Orchestra of Canada, Leipzig and was also selected as a nominee for it falls within Romanian territory. And so Gewandhaus Orchestra, Academy Outstanding Work in the Field of Human the collection of Romanian folk melodies of St. Martin in the Fields, NDR Rights by the Human Rights Foundation. became an early passion; eventually Sinfonieorchester Hamburg and Zürcher She was invited to participate in the 2013 Bartók was to transcribe some 3500 Kammerorchester; the Cleveland, City of Women of the World Festival and has authentic Romanian folk tunes. In 1915 Birmingham Symphony, Philharmonia spoken and performed twice at the World he took seven Romanian fiddle tunes and and Komische Oper Berlin orchestras; and Economic Forum. She was also awarded arranged them as Rumanian Folk Dances the Vienna Symphony. the 2012 Rockefeller Award for her for piano solo, then in 1917 transformed In addition to her interpretations of contribution to the arts and was a featured them into the version we hear tonight for the core piano repertoire, Montero is also performer at Barack Obama’s 2008 string orchestra. celebrated for her ability to improvise, Presidential Inauguration. The suite comprises seven very brief composing and playing new works in real Born in Venezuela, Montero gave her dances: “Stick Dance,” “Waistband time. She says, “I connect to my audience first public performance at the age of five. Dance,” “On the Spot,” “Hornpipe in a completely unique way— and they At eight, she made her concerto debut in Dance,” “Rumanian Polka” and two connect with me. Because improvisation her hometown of Caracas, which led to a concluding “Quick Dances.” Played is such a huge part of who I am, it is the scholarship from the government to study one after another without pause, they most natural and spontaneous way I privately in the U.S. She continued her last just six minutes. Most are vivacious

JAN–FEB 2018 / OVERTURE 23 TCHAIKOVSKY PIANO CONCERTO NO. 1

quick-tempo dances in duple or two-beat rhythm. But the fourth, “Hornpipe Dance,” is in slow 3/4 time and features a haunting violin solo.

CONCERTO FOR ORCHESTRA Béla Bartók

As Fascism swept over Europe on the eve of World War II, many of the continent’s leading musicians fled, either to save their lives or for reasons of conscience. Béla Bartók was one of the latter: he despised the Nazis and everything they stood for. The BSO His was a painful choice, for spiritually and artistically he drew all his nourishment from his native land; leaving Hungary for As an introduction to the work, Bartók chirpy one led by solo oboe and a America in late 1940 was a bitter exile from wrote: “The general mood of the work swooning romantic one for violas and which he never recovered. represents, apart from the jesting second strings. Midway through comes a rude The five years Bartók spent in the United movement, a gradual transition from interruption: the endlessly repeated march States before succumbing to leukemia the sternness of the first movement and theme from Shostakovich’s Seventh at age 64 were tormented by illness, lugubrious death-song of the third, to Symphony, which had recently become financial insecurity and anxiety about the the life assertion of the last one.” Instead a worldwide hit. The mad tempo and war. For two years, he wrote nothing of of writing a concerto that showed off the raspberries blown by the brass leave no importance and claimed he no longer had abilities of a soloist, Bartók displayed the doubt about Bartók’s dislike of this piece! any desire to compose. In 1943, his fellow virtuosity of a whole orchestra. Its five With his blazing finale, Bartók Hungarian émigrés, conductor Fritz Reiner movements center on a tragic “Elegia,” achieves “life-assertion” with a high- and violinist Joseph Szigeti, grew anxious and its finale is a celebratory Hungarian speed round dance. Here the string’s about his plight and prevailed upon Serge round dance. virtuosity is demonstrated in their Koussevitzky, music director of the Boston Pay special attention to the first wild perpetual-motion playing, while Symphony Orchestra and a champion of movement’s slow introduction, for it the brass rejoice in some of the most new music, to commission a work from previews the bitter twisting theme—in intricate fugal writing the composer ever him. But they urged the maestro to be flutes and muted trumpets, then loudly created. Wrestling with cancer during careful in his approach, for Bartók would in the strings—that will later reappear in the bleakest days of the war, Bartók absolutely refuse if he thought this were the third-movement “Elegia.” It accelerates showed a heroic faith by affirming the an act of charity. Koussevitzky visited into the boldly outlined theme of the main ultimate triumph of life and creativity. the ailing composer in the hospital and Allegro vivace section. offered him $1,000 to write what was Seriousness is interrupted by the second Instrumentation: Three flutes including to become his most popular work—the movement, “Game of Pairs,” in which piccolo, three oboes including English horn, Concerto for Orchestra. duos of bassoons, oboes, clarinets, flutes three clarinets including bass clarinet, three The commission proved to be a and muted trumpets present five wry little bassoons including contrabassoon, four horns, miraculous tonic both for Bartók’s health dances to the dry accompaniment of a side three trumpets, three trombones, tuba, timpani, and his creativity. Leaving the hospital drum. After a serene brass chorale, the pairs percussion, two harps and strings. for Saranac Lake in the Adirondacks, he return with elaborations of the dances. composed the Concerto for Orchestra The “Elegia” returns to the tragic between August and October 1943. More mood and music of the first movement’s PIANO CONCERTO NO. 1 commissions poured in, and Bartók’s introduction. Surrounding the thematic IN B-FLAT MINOR creative drought was over. The concerto’s core are passages of what Bartók Pyotr Ilyich Tchaikovsky premiere by Koussevitzky and the Boston called “night music”: eerie swirls of Born in Votkinsk, Russia, May 7, 1840; died in Symphony Orchestra on December 1, 1944 woodwinds and strings with oboe and St. Petersburg, Russia, November 6, 1893 was a triumph, and its brilliant writing and piccolo bird cries. greater accessibility finally made Bartók a The fourth-movement “Intermezzo” If one had to pick a work that epitomizes popular composer. alternates two folk-like themes: a the Romantic piano concerto, it would

24 OVERTURE / BSOmusic.org TCHAIKOVSKY PIANO CONCERTO NO. 1

have to be Tchaikovsky’s First. Written in the repertoire. And it is enriched by 1874 –75, it was the first Russian piano marvelous Tchaikovskian melodies, the concerto to enter the standard concert first of which forms the introduction to repertoire, and it has remained perhaps movement one. Launched by the horns, the most popular concerto ever written. it sweeps grandly through the orchestra. Even Rachmaninoff’s celebrated piano The pianist serves at first as the concertos were closely modeled on it. orchestra’s accompanist, but she makes But the first person to hear it her presence strongly felt with massive pronounced it a failure. This was chords ringing from the bottom to the Nikolai Rubinstein, renowned pianist top of the keyboard. This big Romantic and conductor, founder of the Moscow opening eventually fades, and a melody Conservatory and usually Tchaikovsky’s that most composers would kill for is staunch friend and supporter. Not a concert gone, never to return. pianist himself, Tchaikovsky had brought In the first of several dramatic mood the concerto to Rubinstein on Christmas shifts, the pianist now attacks a quick, Eve, 1874 for advice. This is how the skittish tune based on a Ukrainian composer remembered the occasion: folksong, which is the movement’s true “I played the first movement. Not principal theme. The tempo eventually a single word, not a single comment! eases, and in another shift, clarinets …I summoned all my patience and introduce a lovely melody, which gives played through to the end. Still silence. the pianist opportunity to show her I stood up and asked, ‘Well?’ poetic side. After the development “Then a torrent poured forth from section, this theme appears again, now Nikolai Gregorievich’s mouth.… soaring rhapsodically. My concerto, it turned out, was Movement two rocks gently on a worthless and unplayable—passages so poignant, lullaby-like theme, introduced fragmented, so clumsy, so badly written by the flute. Sparkling, high-speed music as to be beyond rescue —the music fills the movement’s middle section. itself was bad, vulgar—here and there Its rollicking tune, introduced by the I had stolen from other composers— violins, is from a French song popular only two or three pages were worth in Russia at the time, “Il faut s’amuser, THE BSO STORE: preserving—the rest must be thrown danser et rire” (“One should enjoy • Great gifts out or completely rewritten.…This was oneself, dance and laugh”). • Beautiful jewelry censure, indiscriminate and deliberately The spirited rondo finale features a designed to hurt me to the quick.…‘I dashing refrain theme whose emphatic • Maestra Alsop’s shall not alter a single note,’ I replied. rhythms stress the second beat of each complete discography ‘I shall publish the work exactly as it measure. It alternates with a rapturous • Music books for children stands!’ And this I did.” waltz melody, introduced by the violins. • And much more! Although this episode threw A broad concluding coda energetically Tchaikovsky into a deep depression, he combines these themes, with the waltz still had energy and faith enough in his ultimately dominating. And now comes work to submit the concerto to Hans one of the most famous of all virtuoso von Bülow, a German pianist-conductor piano passages: a stupendous flight of as famous as Rubinstein was, who was fast double-fisted octaves, sweeping up looking for a new showpiece for his and down the keyboard. This leads to a upcoming American tour. Von Bülow grand apotheosis of the waltz, before the took on the work with enthusiasm and pianist and orchestra urge each other on played its world premiere on October 25, to a blazing finish. 1875 in Boston. The Bostonians gave it a tumultuous reception, and the First Instrumentation: Two flutes, two oboes, Piano Concerto never looked back. two clarinets, two bassoons, four horns, two This is a concerto in which gorgeous, trumpets, three trombones, timpani and strings. Contact us at 410.783.8160 inventive orchestral writing meets one or [email protected] of the great virtuoso piano parts of Notes by Janet E. Bedell, © 2018

JAN–FEB 2018 / OVERTURE 25 DIVA TO DIVA: FROM ELLA TO ADELE

MUSIC CENTER AT STRATHMORE Thursday, January 25, 2018, 8 pm -   JOSEPH MEYERHOFF SYMPHONY HALL Friday, January 26, 2018, 8 pm Saturday, January 27, 2018, 8 pm Sunday, January 28, 2018, 3 pm

Jack Everly, Principal Pops Conductor Ann Hampton Callaway, vocalist

Program to be announced from stage. This program will include a 20-minute intermission.

The concert will end at approximately 10 pm on Thursday, Friday and Saturday and 5 pm on Sunday.

PRESENTING SPONSORS:

Supported, in part, by the generosity of the Samuel & Margaret Gorn Endowed Guest Pops Conductor Fund. The appearance of vocalist Ann Hampton Callaway is made possible through the support of the Willard and Lillian Hackerman Guest Artist Fund.

About the Artists of thousands of attendees, and the broadcasts reach millions of viewers Jack Everly and represent some of the highest-rated Join Jack Everly with Broadway Jack Everly is the programming on PBS. singers and the Baltimore Choral Arts Principal Pops Everly is the also music director of the Society for a program of favorite show tunes from Kiss Me, Kate, Conductor of the Duke Energy Yuletide Celebration, an over- MICHAEL TAMMARO MICHAEL Phantom of the Opera and more. Indianapolis and 30-year tradition. He led the ISO in its Baltimore symphony first Pops recording, Yuletide Celebration, THU, MAR 8 | 8 PM STRATHMORE orchestras, Naples Philharmonic Volume One, which included three of his FRI, MAR 9 | 8 PM MEYERHOFF Orchestra and the National Arts Centre own orchestrations. Other recordings SAT, MAR 10 | 8 PM MEYERHOFF Orchestra (Ottawa). He has conducted include In The Presence, featuring SUN, MAR 11 | 3 PM MEYERHOFF the Los Angeles Philharmonic at the the Czech Philharmonic and Daniel JACK EVERLY, Principal Pops Conductor Hollywood Bowl, The New York Pops Rodriguez; Sandi Patty’s Broadway Stories; TED KEEGAN, vocalist KRISTEN PLUMLEY, vocalist at Carnegie Hall and appears regularly the soundtrack to Disney’s The Hunchback BEN CRAWFORD, vocalist with the Cleveland Orchestra at Blossom of Notre Dame; and Everything’s Coming Up BALTIMORE CHORAL ARTS SOCIETY, Music Center. Everly conducts over 90 Roses: The Complete Overtures Of Jule Styne. Anthony Blake Clark, Music Director performances in more than 22 North Originally appointed by Mikhail American cities this season. Baryshnikov, Everly was conductor of Presenting Sponsors: BGE, An Exelon Company and Total Wine & More As music director of the National the American Ballet Theatre for 14 years, Supporting Sponsor: University of Maryland School of Medicine Memorial Day Concert and A Capitol where he served as music director. In Fourth on PBS, Everly proudly leads the addition to his ABT tenure, he teamed National Symphony Orchestra in these with Marvin Hamlisch on Broadway patriotic celebrations on the National shows that Hamlisch scored. He BSOMUSIC.ORG | 1.877.BSO.1444 Mall. These concerts attract hundreds conducted Carol Channing hundreds

26 OVERTURE / BSOmusic.org DIVA TO DIVA: FROM ELLA TO ADELE

DOWNTOWN BALTIMORE of times in Hello, Dolly! in two separate orchestra. Callaway has been a special Broadway productions. guest performer with Wynton Marsalis Everly, a graduate of the Jacobs School and the Jazz Orchestra, of Music at Indiana University, is a with Keith Lockhart and the Boston Pops recipient of the 2015 Indiana Historical at Symphony Hall and Tanglewood and is Society Living Legends Award and holds featured at many Carnegie Hall tributes. an Honorary Doctorate of Arts from She has sung with more than 40 of the Franklin College in his home state of world’s top orchestras and big bands and Indiana. He has been a proud resident of has performed for President Clinton the Indianapolis community for over 15 in Washington, D.C. and at President years and, when not on the podium, you Gorbachev’s Youth Peace Summit in can find Everly at home with his family, Moscow. Callaway performed with her which includes Max the wonder dog. sister, Broadway star Liz Callaway, in their award-winning show Sibling Revelry at Jack Everly last appeared with the London’s Donmar Warehouse. Their act BSO in October 2017, conducting “Boom!,” a critically acclaimed celebration Cirque Goes Broadway. of the baby boomer hits of the 60s and 70s, was recorded on PS Classics and debuted in Ann Hampton the top 25 on Billboard Jazz. Callaway was Callaway featured in the Macy’s Day Thanksgiving Ann Hampton Parade telecast watched by 6 million people Callaway is one of the singing the Emmy® Award-winning song leading champions of “Yes, Virginia.” the Great American Callaway took the symphony world by Songbook, having made her mark as storm with her recent show “The Streisand THE CITY a singer, pianist, composer, lyricist, Songbook” which she premiered with the arranger, actress, educator, TV host, Boston Pops and continues to tour with top IS IN producer and philanthropist. orchestras across the country. Said Randall Recently voted by Broadwayworld.com Fleischer after conducting the show with YOUR as “Performer of the Year,” Callaway is a the San Francisco Symphony, “Ann’s born entertainer. Her unique singing style tribute to Streisand is a glorious evening POCKE T. blends jazz and traditional pop, making of great songs, brilliantly orchestrated and her a mainstay in concert halls, theaters sung magnificently.” After performing and jazz clubs as well as in the recording the show at 54 Below, she garnered two studio, on television and in film. She is Broadwayworld.com Awards and the best known for her Tony®-nominated 2013 MAC Award for Show of the Year. performance in the hit Broadway musical Recently, Callaway won the 2016 BWW GoDowntownBaltimore.com Swing! and for writing and singing the Cabaret Awards Best Jazz Vocalist category theme song to the hit TV series The in a landslide. can help you find a place to eat, Nanny. Callaway is a Platinum Award- As a part of her mission to keep the a place to grab a drink, a place winning writer whose songs are featured American Songbook thriving, she has to see a show, and a on seven of Barbra Streisand’s recent CDs. produced and hosted two TV specials The only composer to have collaborated called “Singer’s Spotlight With Ann place to call your own. with Cole Porter, she has also written Hampton Callaway” with guests Liza songs with Carole King, Rolf Lovland Minnelli and Christine Ebersole for and Barbara Carroll, to name a few. WTTW National, which dovetails into Callaway’s live performances showcase her nationally syndicated radio series her warmth, spontaneous wit and “This Is Cabaret,” which debuted in passionate delivery of standards, jazz August of 2016. classics and originals. She is one of America’s most gifted improvisers, taking Ann Hampton Callaway last words and phrases from her audiences appeared with the BSO in January 2017, and creating songs on the spot, whether performing in A Tribute to Ol' Blue Eyes, alone at a piano or with a symphony Jack Everly, conductor.

JAN–FEB 2018 / OVERTURE 27 STEPHEN HOUGH PERFORMS MENDELSSOHN

1991, he toured Europe with them in his 37th international orchestra tour. He has MUSIC CENTER AT STRATHMORE also conducted most of the major European Thursday, February 1, 2018, 8pm orchestras and has toured Japan, South

JOSEPH MEYERHOFF SYMPHONY HALL America and Australia many times. Friday, February 2, 2018, 8pm He has recorded more than 100 Saturday, February 3, 2018, 8pm works, some of which were with the East German orchestras with whom he was associated prior to moving in 1984. Since then he has made recordings with Günther Herbig, conductor several of the London orchestras, the BBC Stephen Hough, piano Philharmonic and the Saarbrücken Radio Symphony Orchestra. Felix Mendelssohn Piano Concerto No. 1 in G Minor, op. 25 Molto allegro con fuoco Key figures in his musical training Andante include Hermann Abendroth, Hermann Presto - Molto allegro e vivace Scherchen and Herbert von Karajan. Stephen Hough He has recorded with a variety of East German orchestras, the Toronto Symphony INTERMISSION Orchestra, Orchestre de Paris, BBC Philharmonic, Royal Philharmonic Anton Bruckner Symphony No. 9 in D Minor (1896, unfinished) Orchestra and others. England’s Manchester Feierlich - Sehr ruhig Evening News calls Herbig “one of the Scherzo: Bewegt, lebhaft - Trio: Schnell greats,” adding “Herbig …brings life and Adagio: Sehr langsam, feierlich distinction to everything he touches….”

The concert will end at approximately 9:50 pm on Thursday, Friday and Saturday. Günther Herbig last appeared with the BSO in January 2015, conducting Bruckner's Symphony No. 8.

PRESENTING SPONSOR: Stephen Hough The Wagner tubas used in this concert are a gift from Beth Green Pierce in memory Stephen Hough of her father, Elwood I. Green. is regarded as a Renaissance man of his time. Over the SIM CANETTY-CLARKESIM course of his career he has distinguished himself as a true About the Artists conductor of the Dallas Symphony polymath, not only securing a reputation Orchestra and the BBC Philharmonic as a uniquely insightful concert pianist, Günther Herbig and general music director of the Dresden but also as a writer and composer. He Günther Herbig left Philharmonic and the Berlin Symphony is commended for his mastery of the behind the challenging Orchestra. Former artistic advisor of the instrument along with an individual and political environment National Symphony Orchestra of Taiwan, inquisitive mind, which has earned him of East Germany he is now their conductor laureate. He is a multitude of prestigious awards and a and moved to the principal guest conductor of Las Palmas in long-standing international following. United States in 1984, where he has since the Grand Canaries, Spain. Hough was the first classical performing conducted all of the top-tier orchestras, Herbig has toured America several times artist to receive a MacArthur Foundation including the New York and Los Angeles with the Detroit Symphony Orchestra Fellowship (2011) and in 2013, was named philharmonics, the Cleveland and and received high praise for the many a Commander of the British Empire. Philadelphia orchestras, the Chicago and performances they gave at Carnegie Hall. He regularly contributes articles for The Boston symphony orchestras and the San In January 1989, he and the Detroit Guardian, The Times, Gramophone and Francisco Symphony. Symphony Orchestra toured Europe with BBC Music Magazine and from 2009 to Posts Herbig has held include music Gidon Kremer to critical acclaim. In 1990, 2016, wrote more than 600 articles for his director of the Detroit and Toronto he toured the Far East with the Toronto The Telegraph blog, which became one of symphony orchestras, principal guest Symphony Orchestra, and in the spring of the most popular and influential forums

28 OVERTURE / BSOmusic.org STEPHEN HOUGH PERFORMS MENDELSSOHN

for cultural discussion. His first novel, The concertos with the City of Birmingham Nevertheless, the concerto sparkles Final Retreat, published by Sylph Editions, Symphony Orchestra. with youthful passion and impetuosity. will be released in 2018. He has appeared Mendelssohn was already experimenting with most of the major European and Stephen Hough last appeared with the BSO with linking his three movements American orchestras and plays recitals in February 2013, performing Liszt's Piano together, as he would later do in the Violin regularly in major halls and concert series Concerto No. 2, Hannu Lintu, conductor. Concerto. After a fiery upward orchestral around the world. rush fueled by a crescendo, the soloist leaps During the 2017–2018 season, Hough About the Concert into the fray with the bold ascending- celebrates the centenary of Claude Debussy scale principal theme in two-fisted double with Hyperion Records’ release of his first PIANO CONCERTO NO. 1 IN G MINOR octaves. From then on, he dominates the all-Debussy recording (Children’s Corner, Felix Mendelssohn proceedings with music suggestive of the Estampes and Images, Books I and II) and Born in Hamburg, Germany, February 3, 1809; composer’s high-strung temperament and recitals featuring Debussy’s “Claire de lune” died in Leipzig, Germany, November 4, 1847 digital dexterity. The first brass fanfares from Suite bergamasque, “La terrasse des cool the fire and lead to the songful slow audiences du clair de lune” from Préludes Between 1830 and 1832, Felix movement in the distant key of E major, (Book II) and Images (Books I and II) at Mendelssohn reveled in the privileges in which the low strings introduce the Carnegie Hall in New York, as well as in of being young, wealthy and well- melody. This closes in a dreamy coda over Miami, San Francisco, Santa Monica and connected, traveling throughout Italy, a haze of tremolo strings. Brass fanfares Toronto, among other cities. This recital , Germany and France to put then disperse the reverie, and a long bridge program also includes Beethoven’s Piano the final worldly polish on his education. passage moves the key through E minor Sonata No. 23 in F Minor (“Appassionata”) He was in great social demand wherever to G major for the spirited finale. This is and Schumann’s Fantasy in C Major. he went, not only for his prodigious a rondo-like movement, spun from a very As an orchestral soloist this season, musical gifts but also because he was 19th-century-style “chase” theme, that Hough performs in North America with handsome, fluent in several languages accelerates to reach a blazing, applause- the Dallas, Detroit, New Jersey and and possessed all the social graces. soliciting conclusion. Vancouver symphony orchestras, as well as Eligible young ladies flocked around, with the National Arts Centre Orchestra. and Mendelssohn was happy to flirt Instrumentation: Two flutes, two oboes, In Europe, he performs with the BBC with them. In in 1831, one of two clarinets, two bassoons. two horns, two National Orchestra of Wales, Filarmonica them apparently captured his heart, trumpets, timpani and strings. Arturo Toscanini, Kammerorchester if only briefly. She was Delphine von Basel, Orchestra Sinfonica Nazionale Schauroth, 17 years old, beautiful and an della Rai, Slovak Philharmonic Orchestra, extremely gifted pianist. The two played SYMPHONY NO. 9 IN D MINOR and the Royal Liverpool Philharmonic, duets together, strolled in the park and Anton Bruckner with which he is the 2017–2018 artist-in- were constant dancing partners at the Born in Ansfelden, Austria, September 4, 1824; residence. As a composer, he has written most fashionable balls. At one soirée, the died in Vienna, Austria, October 11, 1896 works for orchestra, choir, chamber King of Bavaria himself suggested to the ensemble and solo piano and, this season, composer that Delphine would make Bruckner’s Ninth Symphony is the most performs his own composition Was mit a lovely wife for him. Bristling at this poignant of unfinished symphonies, and den Tränen geschieht (2009) with the Berlin unsubtle pressure, Mendelssohn backed strangely, it seems the most artistically Philharmonic Wind Quintet on tour in away from the romance. complete. On the morning of October 11, California and Colorado. He did, however, dedicate his 1896, Bruckner, age 72, was still struggling Many of Hough’s over-50 have First Piano Concerto to Fräulein with its fourth and final movement; feeling garnered international prizes including von Schauroth, which he premiered tired, he stopped working, went to bed and the Deutscher Schallplattenpreis, on October 17, 1831. Developed in died that afternoon. The finale remained in Diapason d’Or, Monde de la Musique, Mendelssohn’s head during his travels in a state that cannot be satisfactorily realized several Grammy® nominations, and eight Italy and written down in just three days, for performance, but the Viennese called Gramophone Magazine Awards, including the concerto is testimony to his creative Bruckner the Adagio-Komponist for his the 1996 and 2003 Record of the Year facility and his prowess at the keyboard. It tragic eloquence in slow movements, and Awards and the 2008 Gold Disc Award, was an immediate hit and was taken up by the symphony now ends sublimely with the which named his complete Saint-Saëns pianists all over Europe. But Mendelssohn most profound of his Adagios. piano concertos the best recording of the himself didn’t think much of the concerto. Bruckner had actually begun work on past 30 years. He has recorded extensively “I wrote it in but a few days and almost the Ninth nearly a decade earlier in 1887, for Hyperion, and his most recent release carelessly. It always pleased people the immediately after finishing his majestic features Schumann and Dvořák piano most, although me very little.” Eighth Symphony. But the rejection

JAN–FEB 2018 / OVERTURE 29 STEPHEN HOUGH PERFORMS MENDELSSOHN

of the Eighth by his revered friend, the Bruckner conceived his symphonic Hell perhaps? Little demons scamper in conductor Hermann Levi, instigated a movements on a very grand scale. His pizzicato strings before Mephistopheles terrible creative crisis in this most sensitive themes are extremely long: really families himself appears in a hammering brass- and insecure of composers. For the next of themes built cumulatively from many dominated theme that, once heard, can four years, Bruckner laid the Ninth aside elements. He also had a habit, heard often never be forgotten. An insouciant oboe and — goaded by his well-intentioned in the Ninth, of pausing before launching tries vainly to laugh off this vision. A but musically inept disciples — feverishly a new phase of his structure (“But look, Bruckner pause precedes the Trio section overhauled the scores of not only the if I have something important to say I in a faster tempo: delicately scored music Eighth, but his first four symphonies as must first take a deep breath!” he once for strings and woodwinds that remains well. Precious time was lost that might have explained), and these pauses can be nervous and unsettled. And with good brought the Ninth to completion. helpful guideposts. reason: for the savage Scherzo soon To understand Bruckner’s unique First movement: As is customary in repeats itself. mystical world, we need to know Bruckner’s symphonies, the music stirs Third movement: The Adagio third something about the man himself. Born in from a primeval void of soft tremolo movement contains Bruckner’s most rural Upper Austria to a family of sturdy strings. From the mists, the eight beautiful music contending with what peasant origins, he was the latest bloomer of horns—they are the Ninth’s signature Simpson calls his most “tortuous” all the major composers. His early life was instruments—gradually gather the passages. The violins’ opening theme, devoted to teaching and service as organist elements of the first theme family. In a leaping up a painful minor-ninth in local churches. With great reluctance, long crescendo, this finally culminates interval, evokes both yearning and he left his provincial sanctuary for Vienna with the horns shouting out the terrifying suffering. This begins the first theme in 1868 at the age of 44. There, he wrote last phrase in a triple-forte “Bruckner family, which includes rising scales his last eight symphonies while building unison.” This music is rooted in D minor, recalling the “Holy Grail” motive in a reputation at the Vienna Conservatory the key Bruckner called his favorite; it Wagner’s Parsifal and loud, threatening as a beloved and eccentric teacher of is also the key of Beethoven’s Ninth. brass fanfares. The horns—four of them composition. Naive and socially insecure, Now Bruckner pauses for breath before now playing the dusky-toned Wagner Bruckner never lost his rural Upper launching the second theme family: tubas— follow the fanfares with noble Austrian accent and was ill-equipped to beautiful music for strings in A major descending chords, which Bruckner deal with the sophisticated machinations of that aspires to happiness but is tonally called his “Farewell to Life.” A more Viennese musical politics. Devoted to and unstable. This is crushed by the third lyrical second-theme family opens with a somewhat influenced by Wagner’s music, theme family: a rocking dirge in strings poignant violin melody. This is all music he bore the brunt of the anti-Wagnerian over weeping woodwinds, back in in search of a key—E major—which it attacks by the pro-Brahms clique, led D minor. This too reaches an immense will not find until this melody returns by the Viennese critic Eduard Hanslick. climax, which closes the first statement near the end of the movement. Throughout all his trials, Bruckner was of the movement’s themes. As in the first movement, a long sustained by his profound Catholic faith. Rather than thinking in terms of counterstatement develops and expands Thus all Bruckner’s symphonies can be traditional symphonic sonata form, all this material. It ultimately reaches a understood as spiritual quests expressed Bruckner scholar Robert Simpson terrible climax of volume and dissonance in musical terms. The Ninth, written by suggests we listen to this movement as that Simpson calls “the tearing of the a man who knew he was close to death, statement, expanded counterstatement veil—in Bruckner’s mind, perhaps, the is the most urgent of these quests: a battle (a combination of development and opening of the gates of death.” Bruckner between the composer’s faith and fears. recapitulation) and large closing coda. pauses —and then timorously steps across. Despite his religious faith, Bruckner In the counterstatement, the feeling of A glorious vista of heavenly peace in serene suffered bouts of paralyzing depression crisis and anxiety is greatly intensified in E major awaits him after all the struggles throughout his life, and in the Ninth’s the now stretched-out themes. When the he has endured. To the noble strains of music, we experience this literally life-and- coda finally arrives over a muffled drum horns and Wagner tubas, he has attained death struggle with his demons and his roll, it reinforces this sense of searing his goal, leaving us with a true sense of failing body. tragedy as a brass chorale swells from artistic completion and fulfillment. gentleness to a violent close, shattered Listening to the Ninth by dissonant trumpets. Instrumentation: Three flutes, three oboes, To enter fully into the world of a Bruckner Second movement: Bruckner was three clarinets, three bassoons, eight horns symphony, listeners must turn off their famous for his Austrian peasant-dance including four Wagner tubas, three trumpets, cell phones and readjust their 21st-century scherzos, but the Scherzo, also in three trombones, tuba, timpani and strings. internal clocks. Inspired by Wagner’s music D minor, is altogether different in its dramas and Beethoven’s Ninth Symphony, unprecedented brutality — a vision of Notes by Janet E. Bedell, © 2018

30 OVERTURE / BSOmusic.org PICTURES AT AN EXHIBITION

As Associate Conductor, Hersh JOSEPH MEYERHOFF SYMPHONY HALL directs the BSO’s educational and family Friday, February 16, 2018, 8 pm programming, including the celebrated Sunday, February 18, 2018, 3 pm Academy for adult amateur musicians, as well as a variety of classical and popular MUSIC CENTER AT STRATHMORE programs. Following his successful BSO Saturday, February 17, 2018, 8pm subscription debut, Hersh conducts the BSO in a set of subscription concerts each season. He has also appeared in concert Nicholas Hersh, Associate Conductor with such orchestras as the National Joyce Yang, piano Repertory Orchestra and the New World, Florence Price Dances in the Canebrakes (BSO Premiere) New Jersey, Auburn and Southern Great (orch. Still) Nimble Feet Lakes symphonies. Hersh frequently Tropical Noon collaborates with and is guest faculty at the Silk Hat and Walking Cane Peabody Conservatory, and partners with Sergei Prokofiev Piano Concerto No. 3 in C Major, op. 26 the BSO’s OrchKids program for Baltimore Andante - Allegro City schoolchildren. Andantino Hersh grew up in Evanston, IL and Allegro ma non troppo started his musical training on the cello. Joyce Yang He earned a bachelor’s degree in music from Stanford University and a master’s INTERMISSION degree in conducting from the Indiana Modest Mussorgsky Pictures at an Exhibition University Jacobs School of Music, studying (orch. Ravel) Promenade with David Effron and Arthur Fagen. In Gnomus 2011 and 2012 he was a conducting fellow Promenade with the prestigious American Academy The Old Castle Promenade of Conducting at Aspen, studying with Tuileries mentors Larry Rachleff, Robert Spano Bydlo and Hugh Wolff, and has participated in Promenade masterclasses with Bernard Haitink and Ballet of the Unhatched Chicks Michael Tilson Thomas. Hersh is also a Samuel Goldenberg and Schmüyle two-time recipient of the Solti Foundation Limoges: The Market The Catacombs Career Assistance Award. With the Dead in a Dead Language Hersh continues to earn acclaim for his Baba-Yaga: The Hut on Hen’s Legs skill as an arranger and orchestrator: he has The Great Gate of Kiev had frequent arrangement commissions from the BSO as well as from the Cleveland The concert will end at approximately 9:45 pm on Friday and Saturday and 4:45 pm on Sunday. Pops, the National Repertory Orchestra and the Jackson Symphony. His orchestral Friday, February 16: Join pianist Joyce Yang in the Meyerhoff lobby arrangement of Queen’s famous “Bohemian after the concert for a post-concert performance. Rhapsody” saw worldwide success after the video of its premiere and subsequent studio

PRESENTING SPONSOR: recording went viral on the Internet.

Nicholas Hersh last appeared with the BSO in December 2017, conducting the Cirque de la Nicholas Hersh as Assistant Conductor in 2014, he Symphonie Holiday Spectacular. Nicholas Hersh currently continues to make his mark on the serves as Associate mid-Atlantic region with exciting, Joyce Yang Conductor of the innovative programming—notably Pianist Joyce Yang Baltimore Symphony as conductor and co-curator of the came to international Orchestra and Artistic acclaimed BSO Pulse series, bringing attention in 2005 when Director of the Baltimore Symphony together indie bands and orchestral she won the silver medal Youth Orchestras. Since joining the BSO musicians in unique collaborations. at the 12th Van Cliburn

JAN–FEB 2018 / OVERTURE 31 PICTURES AT AN EXHIBITION

International Piano Competition. The Born in Seoul, South Korea in 1986, in 1932, it was selected for performance youngest contestant, at 19 years old, Yang received her first piano lesson in June 1933 by the Chicago Symphony she also took home the awards for Best from her aunt at age four. In 1997, she Orchestra: the first composition by an Performance of Chamber Music and of a moved to the United States to study in African-American woman ever to be played New Work. A Steinway artist, in 2010 she the pre-college division of The Juilliard by a major American orchestra. received an Avery Fisher Career Grant. School. After winning the Philadelphia Price wrote Dances in the Canebrakes Yang has performed with the New York Orchestra’s Greenfield Student as three short piano pieces in 1953, the Philharmonic, Philadelphia Orchestra, Competition, she performed Prokofiev’s last year of her life. They might have Chicago Symphony Orchestra, San Third Piano Concerto with that orchestra been forgotten, but fortunately the famed Francisco Symphony, Los Angeles at just 12 years old. Yang appears in the African-American composer William Philharmonic and BBC Philharmonic, film In the Heart of Music, a documentary Grant Still noticed them and gave among many others, working with about the 2005 Cliburn Competition. them wider attention with his colorful such distinguished conductors as James arrangement for full orchestra enhanced Conlon, Edo de Waart, Manfred Honeck, Joyce Yang last appeared with the BSO in July by percussion and harp. Still had grown up Lorin Maazel, Leonard Slatkin and 2002, performing Prokofiev’s Piano Concerto with Price in Little Rock at the turn of the Jaap van Zweden. She has appeared in No. 3, Mario Venzago, conductor. 20th century. recital at New York’s Lincoln Center and Dances in the Canebrakes contains three Metropolitan Museum, Washington’s About the Concert movements: “Nimble Feet,” “Tropical Kennedy Center, Chicago’s Symphony Noon” and “Silk Hat and Walking Cane.” Hall and Zurich’s Tonhalle. DANCES IN THE CANEBRAKES Despite her European-oriented classical In the 2017–2018 season, Yang Florence Price training, Price typically incorporated embarks on a series of debuts, (orch. William Grant Still) quotations or echoes of traditional collaborations and premieres. Highlights Born in Little Rock, AR, April 9, 1887; African-American melodies and dance include her debut with the New Zealand died in Chicago, IL, June 3, 1953 rhythms in her music. Redolent of African- Symphony Orchestra under Edo de American rural life in the Deep South, Waart performing Rachmaninoff’s Piano As both a woman and an African these charming pieces show the influence Concerto No. 3 in five New Zealand American, Florence Price was a dual of classical ragtime in their intricate cities; a performance with the Albany pioneer in the world of American syncopated patterns. Symphony at the Kennedy Center in classical music at a time when there were Washington, D.C., featuring works formidable obstacles in place. Born and Instrumentation: Two flutes including piccolo, by Michael Torke (Three Manhattan raised in Little Rock, AR, she began two oboes, two clarinets including bass clarinet, Bridges, written expressly for Yang and playing the piano at four and had her two bassoons, alto saxophone, three horns, commissioned by the Albany Symphony) first composition published at 11. By three trumpets, two trombones, timpani, and Joan Tower (Still/Rapids); a reunion the time she was 14, Price had already percussion, harp and strings. with the Baltimore Symphony Orchestra graduated at the top of her high school for three performances of Prokofiev’s class and matriculated at Boston’s New Piano Concerto No. 3; and her first England Conservatory. In 1906, before she PIANO CONCERTO NO. 3 IN C MAJOR collaboration with Aspen Santa Fe was 20, she had graduated with honors; Sergei Prokofiev Ballet on a new work for dancers and nevertheless, during part of her time there, Born in Sontsovka, Ukraine, April 23, 1891; solo piano choreographed by Jorma Elo, she pretended to be Mexican in order to died in Moscow, U.S.S.R. March 5, 1953 which will receive its world premiere in counter the prejudice against her race. Aspen this March. Yang also performs In 1910, Price moved to Atlanta, where When Sergei Prokofiev fled the Russian alongside the Nashville, Eugene and she became head of the music department Revolution to San Francisco in 1918, Santa Rosa symphonies; the Lexington at Clark Atlanta University. Upon her he had high hopes that America would and Oklahoma City philharmonics; marriage, she moved back to Little Rock, be the land of opportunity. American the Rochester and Reno philharmonic but after a series of racial incidents there she audiences and critics were initially orchestras; and the Milwaukee, and her lawyer husband left for Chicago. fascinated by this bold young pianist/ Allentown, Vancouver and Asheville There, she became friends with both the composer, whom they saw as embodying symphony orchestras. She continues writer Langston Hughes and the great the proletarian spirit of the new Soviet her enduring partnership with longtime African-American contralto Marian Union—never mind that he was in collaborator, the Alexander String Anderson, both of whom had a hand in reality a refugee. The New York Times Quartet, with performances of works by promoting her composing career. After gushed: “His fingers are steel, his wrists Schumann and Brahms in California her Symphony in E Minor won first prize steel, his biceps and triceps steel.…He and New York. in the Wanamaker Foundation Awards is a tonal steel trust.

32 OVERTURE / BSOmusic.org Heartened by this enthusiasm, Prokofiev spent the summer of 1921 completing his Third Piano Concerto. st The piece had a long gestation period, 41 ANNUAL with some of its ideas dating back as far as 1911. It grew into a work of remarkable power, containing DECOR ATORS’ all five elements Prokofiev listed in his autobiography as characteristics of his music: the “classical,” the SHOW HOUSE “modernistic,” the “dynamic,” the “lyrical” and the “humorous.” This concerto is one of the great tests of a pianist’s technical virtuosity. “My Presented by Third Concerto has turned out to be devilishly difficult. I’m nervous and The Baltimore I’m practicing hard three hours a day,” Symphony Associates he wrote before the Chicago premiere. To his surprise, the work drew only a lukewarm response in an America still uncomfortable with modern music. But audiences in Europe loved it, and soon Prokofiev moved to Paris, ruefully acknowledging that the U.S. wasn’t ready for him. In creating a bravura work for piano, Prokofiev did not slight the orchestra. Its colorful writing is nearly equally demanding, and its pungent woodwinds and soaring strings add a characteristically Prokofievian blend of irony and romance. This is a concerto without a true slow movement; instead, the composer weaves slower, more lyrical episodes into all three movements. The first movement opens with a slow introduction in which solo clarinet, then COMING two clarinets, sing a melancholy Russian melody. Then the orchestra swings into THIS a fast tempo, and the piano presents the brilliant, twisting principal theme. Even more exotic is the second theme, sung by SPRING the oboe above clattering castanets and featuring crisp, percussive writing for the piano. On its later return, this second theme will become harsher, almost grotesque, with thick piano chords topped by a shrieking piccolo. Midway through, the tempo returns to a slower Andante as the piano rhapsodizes over the opening Russian theme. www.facebook.com/BSDSH In the second movement, a droll dance theme in the woodwinds over a march beat in the strings forms the basis of

JAN–FEB 2018 / OVERTURE 33 PICTURES AT AN EXHIBITION

five contrasting variations. These range glowing orchestral canvas. Several other the egg shells inspired this chirping from fast virtuoso outings for the piano composers have subsequently produced piece of high woodwinds and celesta. to a slow, mysterious reverie by the orchestrations of Pictures, but Ravel’s Samuel Goldenberg and Schmuÿle: soloist over light woodwind and string remains the touchstone. “Victor Hartman gave Mussorgsky two of accompaniment. The quiet conclusion of The following movement descriptions his sketches from real life, those of the rich this movement is especially intriguing. draw on the words of Russian art critic and the poor Jew” from Sandimir, Poland. The finale is a mixture of rhythmic Vladimir Stassov, friend to both Hartman Mussorgsky named the two and richly drive and soaring lyricism. It is and Mussorgsky: characterized the haughty rich man (in dominated by some of the most Promenade: Mussorgsky depicts low unison strings and winds) Goldenberg relentlessly difficult piano writing ever “himself…as he strolled through the dismissing the whining pleas (muted devised. But relief comes in the big exhibition, joyfully or sadly recalling the trumpet solo) of the poor Schmuÿle. central lyrical section, featuring one talented deceased artist…he does not Limoges: The Market: “Old women of Prokofiev’s signature high-arcing hurry, but observes attentively.” This quarreling at the market in Limoges.” melodies tossed from woodwinds to music returns throughout the piece as a Catacombs and With the Dead in a violins. The drive to the finish ranks linking device, changing to reflect the Dead Language: In the solemn tones of among the most exciting in the concerto composer’s different responses to the low brass, this bursts immediately from literature, with virtuosity, speed, and pictures. By 1874, Mussorgsky had grown Limoges. Hartman’s picture shows the pitch all raised to the very zenith. fat, and we hear this in the music’s stately, artist, a friend and a guide examining the lumbering gait. Paris catacombs by lamplight. Instrumentation: Two flutes including piccolo, Gnomus: “A fantastic lame figure on Baba-Yaga: The Hut on Hen's Legs: two oboes, two clarinets, two bassoons, four crooked little legs.… This gnome is a Powerful and grotesque, “this piece is horns, two trumpets, three trombones, timpani, child’s toy, fashioned, after Hartman’s based on Hartman’s design for a clock in percussion and strings. design, in wood for the Christmas tree… the form of Baba-Yaga’s hut on hen’s legs, in the style of the nutcracker, the nuts to which Mussorgsky added the ride of being inserted in the gnome’s mouth the witch in her mortar.” Baba-Yaga is a PICTURES AT AN EXHIBITION .…The gnome accompanies his droll Russian fairytale witch who lures children Modest Mussorgsky movements with savage shrieks.” into the woods, eats them, then crushes (arr. Maurice Ravel) The Old Castle: This is a sketch of their bones in a giant mortar in which she Born in Karevo, Ukraine, March 21, 1839; a medieval Italian castle; a troubadour rides through the woods. Baba-Yaga soars died in St. Petersburg, Russia, March 28, 1881 is singing in the foreground. Above upward into… the strumming of the guitar, the alto The Great Gate of Kiev: The grand When one of his closest friends, the saxophone with a bassoon partner sings finale, based on the “Promenade” music, artist and architect Victor Hartman, the troubadour’s song. depicts Hartman’s competition design for a died at age 39 in 1873, a devastated Tuileries: Stassov wrote that this high- ceremonial arch in Kiev to commemorate Modest Mussorgsky helped organize spirited episode is based on a picture of Tsar Alexander II’s escape from an an exhibition of Hartman’s paintings. children playing with their nurse in Paris’ assassination attempt. He then decided to “draw in music” Tuileries Gardens. It is “in the massive old Russian style (his words) ten of them in a work for Bydlo: This melancholy piece, in the form of a Slavonic helmet.” Kiev solo piano that he composed rapidly featuring solo tuba, portrays a heavy is the historic seat of Russian orthodoxy; during June 1874. Apparently, he had Polish ox-drawn wagon. Low strings Mussorgsky incorporates a Russian no plans to orchestrate his Pictures at and bassoons depict the groaning of orthodox hymn-tune sung by the an Exhibition, and the work was not its wheels. Mussorgsky intended this woodwinds. Ringing with church bells even published until after his death. It to begin loudly, but Ravel gradually and brass fanfares, the work climaxes in remained little known outside of Russia. builds the volume, then lets it fade as a blaze of Slavic glory. All this changed in 1922 when the wagon rumbles toward us, then Russian conductor Serge Koussevitzky moves away. Instrumentation: Three flutes including commissioned Maurice Ravel, one of Ballet of the Unhatched Chicks: “In two piccolos, three oboes including English the greatest orchestrators of the 20th 1870, Hartman designed the costumes… horn, two clarinets, bass clarinet, two bassoons, century, to score Pictures for his Paris for the ballet Trilbi at the Maryinsky contrabassoon, alto saxophone, four horns, ensemble. Working with respect for Theatre.…In the cast were a number three trumpets, three trombones, tenor Mussorgsky’s music, Ravel created a of boy and girl pupils…arrayed as tuba, tuba, timpani, percussion, two harps, masterpiece in a new genre, in which canaries. Others were dressed up as celesta and strings. uncommon instruments like the tuba, eggs.” Hartman’s sketches in which the alto saxophone and celesta enrich a children’s arms and legs protrude from Notes by Janet E. Bedell, © 2018

34 OVERTURE / BSOmusic.org RITE OF SPRING About the Artists JOSEPH MEYERHOFF SYMPHONY HALL Marin Alsop Thursday, February 22, 2018, 8pm For Marin Alsop’s bio, please see pg. 7. Saturday, February 24, 2018, 7 pm Off The Cuff Branford MUSIC CENTER AT STRATHMORE Marsalis Friday, February 23, 2018, 8:15 pm Off The Cuff Sunday, February 25, 2018, 3pm From early acclaim as a saxophonist bringing PALMA KOLANSKY PALMA new audiences to jazz, Branford Marsalis has Marin Alsop, Music Director expanded his horizons as a musician, Branford Marsalis, saxophone composer, bandleader and educator. Abstractions Growing up in New Orleans as the Marble Moon son of pianist Ellis Marsalis, Branford Auguries Marsalis was drawn to music along Seascape with siblings Wynton, Delfeayo and River Jason. Playing clarinet gave way to the Three alto and then the tenor and soprano saxophones. He worked with Clark Terry Jacques Ibert Concertino da camera and alongside Wynton in Art Blakey’s for Alto Saxophone and Orchestra Allegro con moto Jazz Messengers before leaving to join Larghetto - Animato the Wynton Marsalis Quintet. Marsalis formed his own quartet in 1986. Known Branford Marsalis for its interpersonal communication, Darius Milhaud Scaramouche extensive book of original music and Vif an unrivaled spirit in performances, the Modere Branford Marsalis Quartet has long been Brazileria recognized as the standard of its kind. Branford Marsalis Marsalis is increasingly sought-after as a soloist with classical ensembles including INTERMISSION the Chicago, Detroit and Düsseldorf Abstractions, Concertino da camera, Scaramouche and Intermission symphony orchestras and the Boston Pops, are included in February 22 and 25 concerts only. with a repertoire that includes Debussy, Le Sacre du printemps Mahler, Rorem and Vaughn Williams. Part I: The Adoration of the Earth Under the direction of Gil Jardim, Marsalis Part II: The Sacrifice and members of the Philharmonia Brasileira toured the U.S. in 2008, The concert will end at approximately 9:45 pm on Thursday, 9:15 pm on Friday, performing works by Heitor Villa-Lobos, 8 pm on Saturday and 4:45 pm on Sunday. commemorating the 50th Anniversary of the Brazilian composer’s death. Saturday, February 24: Join us in the Meyerhoff lobby for an after-party featuring live entertainment, food and drink specials. Made possible by The Making his first appearance with the Wallace Foundation. New York Philharmonic in the summer of 2010, Marsalis was invited back in the 2010–2011 season, bringing “a gracious PRESENTING SPONSORS: poise and supple tone… and an insouciant The New York Times OFF THE CUFF SERIES SUPPORTING SPONSOR: swagger” ( ). Marsalis joined the celebrated Chamber The appearance of Branford Marsalis is generously underwritten by the Orchestra of Philadelphia on tour in Solomon H. Snyder Department of Neuroscience of the Johns Hopkins 2014, performing masterpieces by Bach, University School of Medicine. Handel, Vivaldi and others. He also The Wagner tubas used in this concert are a gift from Beth Green Pierce performed John Adams’ Saxophone in memory of her father, Elwood I. Green. Concerto with the Tokyo Metropolitan Symphony Orchestra in 2015.

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In 2016, Marsalis traveled to Germany About the Concert —inspired by Sara VanDerBeek’s Marble for a concert with the Bayerische Staatsoper Moon (2015). ‘Auguries’—inspired at the National Theatre in Munich. ABSTRACTIONS by Julie Mehretu’s Auguries (2010). He then made his debut with the City Anna Clyne ‘Seascape’— inspired by Hiroshi Chamber Orchestra of Hong Kong, Born in London, England, March 9, 1980; Sugimoto’s Caribbean Sea, Jamaica followed by a performance with the now living in , NY (1980). ‘River’—inspired by Ellsworth Malaysian Philharmonic Orchestra at Kelly’s River II (2005). ‘Three’—inspired the Petronas Towers in Kuala Lumpur. In May 2016, the Baltimore Symphony by Brice Marden’s 3 (1987–88). Marsalis’ original music for a revival Orchestra celebrated its 100th-anniversary “In drawing inspiration from these of August Wilson’s Fences, garnered a season with an extraordinary collaboration artworks, I have tried to capture the Drama Desk Award for Outstanding between the dynamic young British- feelings or imagery that they evoke, the Music in a Play and a Tony® nomination American composer Anna Clyne and the concept of the work or the process adopted for Best Original Score Written for the Baltimore Museum of Art. Inspired by by the artists. Such examples are the filtered Theater. Marsalis also provided music for five contemporary abstract works from the blues, and the contrast between light falling The Mountaintop and served as musical BMA and the private collection of Rheda on the earthy stone and the mysterious curator for the 2014 revival of A Raisin in Becker and Robert Meyerhoff, she created a moon, that characterizes VanDerBeek’s the Sun. His screen credits include writing beautiful new orchestral work for the BSO. Marble Moon; the long arching lines, original music for Mo’ Better Blues and Now Marin Alsop brings Abstractions back compact energetic marks and dense shifting acting in School Daze and Throw Momma so that we can experience it more deeply. forms of a system on the verge of collapse from the Train. It is not surprising that Clyne should in Mehretu’s Auguries; the serene horizon Marsalis formed the Marsalis Music choose to write a musical work inspired with rippled water in Sugimoto’s Caribbean label in 2002, which has documented his by the visual arts, for that’s how she Sea, Jamaica; the stark juxtaposition of the own music, talented new stars and older launches many of her compositions: energetic black-and-white lines that enlarge masters. He also shares his knowledge not by experimenting on the piano, but Kelly’s brushstrokes in River II; and the as an educator at Michigan State, San instead by creating a collage painting for lines that, inspired by Asian calligraphy and Francisco State and North Carolina her studio wall, embodying visually what the structure of seashells, appear to dance Central universities and in conducting she wants her new piece to say sonically. in Marden’s 3. workshops in the U.S. and abroad. “My passion is collaboration,” she explains. “Some common threads between the Marsalis has toured with Sting, “Inspired by visual images and physical artworks are their use of limited color collaborated with the Grateful Dead movement, my intention is to create music palettes, references to nature and the and Bruce Hornsby, served as musical that complements and interacts with other capturing of time as a current that flows director of The Tonight Show and hosted art forms and that impacts performers and —distilling and preserving it so that we NPR’s Jazz Set. Together with Harry audiences alike.” can contemplate it as the viewer. I was also Connick, Jr. and New Orleans Habitat Born in London, Clyne is currently attracted to the structures of these works for Humanity, Marsalis conceived of living in the U.S., where for several season —for example, River II and Auguries, and helped to realize The Musicians’ she served as the Chicago Symphony which at first sight could be seen as random Village, a community that provides Orchestra’s Mead Composer-in-Residence; and even chaotic, but are in fact created homes to the displaced families of she has held similar posts with the within a sense of order, which makes them musicians and other local residents Cabrillo Festival of Contemporary Music feel both dynamic and structural. affected by Hurricane Katrina. The and with Orchestre National d’Ile de “Thank you to Marin Alsop and the Musicians’ Village includes the Ellis France. Her music is in huge demand by Baltimore Symphony Orchestra for this Marsalis Center for Music, a community major orchestras in America and Europe wonderful opportunity to write music center dedicated to preserving New and has been presented in such diverse in honor of Rheda Becker and Robert Orleans’ musical legacy with spaces for concert locations as New York’s trendy Le Meyerhoff, and to Kristen Hileman, performance, instruction and recording. Poisson Rouge and the establishment icon Senior Curator of Contemporary Art at Marsalis is the recipient of three Carnegie Hall. the Baltimore Museum of Arts, for her Grammy® Awards and (together with his Clyne describes Abstractions in her generosity of time and knowledge.” father and brothers) was designated as a own words: Jazz Master by the National Endowment “Abstractions is a suite of five movements Instrumentation: Three flutes including for the Arts. inspired by five contrasting contemporary piccolo, three oboes including English horn, artworks from the Baltimore Museum three clarinets including bass clarinet, three Branford Marsalis last appeared with the BSO of Art and from the private collection of bassoons including a contrabassoon, four horns, in January 2003, performing works of Villa- Rheda Becker and Robert Meyerhoff, three trumpets, three trombones, tuba, timpani, Lobos and Fauré, Thomas Wilkins, conductor. whom this music honors. ‘Marble Moon’ percussion, harp, piano.

36 OVERTURE / BSOmusic.org RITE OF SPRING

music flows directly into the Animato SING CONCERTINO DA CAMERA FOR ALTO molto finale: playful scherzo-like music SAXOPHONE AND ORCHESTRA unfurling at breakneck speed. Pay TO YOUR Jacques Ibert special attention to Branford Marsalis’ AUDIENCE. Born in Paris, France, August 15, 1890; elaborate cadenza near the end; it is his died in Paris, France, February 5, 1962 own demanding creation and something WITH probably only he could play. Born into the generation of French OVERTURE . composers following Debussy and Ravel, Instrumentation: Flute, oboe, clarinet, bassoon, Jacques Ibert, like his classmate at the horn, trumpet and strings. Paris Conservatoire Darius Milhaud, was determined to follow a different path from their impressionism. Ultimately he refused SCARAMOUCHE to align himself with any compositional Darius Milhaud school. “I want to be free—independent Born in Aix-en-Provence, France, of the prejudices that arbitrarily divide the September 4, 1892; died in Geneva, defenders of a certain tradition and the Switzerland, June 22, 1974 partisans of a certain avant garde,” he said. “All systems are valid, provided that one For Darius Milhaud, the gulf between derives music from them.” popular and classical music simply didn’t Ibert’s studies at the Conservatoire exist. One of the most prolific composers were interrupted by World War I, but of the 20th century and a charter member after returning from service, he won the of the radical French group of the post- highly coveted Prix de Rome, which had World War I era known as Les Six, he launched so many prominent French was among the first to incorporate jazz composers before him. While in Rome in elements into concert music, notably 1922, he composed his popular orchestral in his Harlem-inspired La Création du suites Escales (Ports of Call), which made monde, as well as other folk elements from his name in European musical circles. He his native Provence and the many lands he wrote prolifically in nearly every musical visited on his extensive world travels. Reach over 150,000 patrons genre and was particularly devoted to As a young man in 1916, Milhaud of the BSO five times a year writing music for film. was chosen by the celebrated French in Overture, a program that’s Composed in 1935, Ibert’s Concertino poet and diplomat Paul Claudel to be his da camera (Small Chamber Concerto) secretary at the French embassy in Brazil. about more than just reflects the French fascination with Arriving in Rio de Janeiro in the middle beautiful music. American jazz during the 1920s and 30s. of Carnival season, the young composer Nevertheless, it is far more a classical was immediately smitten by “the mood RESERVE YOU work than a cross-over piece, though it is of crazy gaiety that possessed the whole AD SPACE TODAY! studded with jazz influences. In addition town.” Though he spent only two years to the alto saxophone soloist, it employs there before returning to Paris, he remained an ensemble of eleven players: flute, obsessed with Brazilian dance music for the oboe, clarinet, bassoon, horn, trumpet rest of his career, as we’ll hear in the samba and a few strings. finale of his little suite, Scaramouche. TO ADVERTISE, CONTACT: After an explosively noisy introduction, Though he also composed an Ken Iglehart the soloist enters with a witty, high-energy astounding total of 12 symphonies and [email protected] melody, animated by syncopations. 18 string quartets, Milhaud did not Lynn Talbert Though this theme dominates the Allegro hesitate to write prolifically in the humbler [email protected] con moto movement, the saxophone also categories of film scores and incidental offers a languidly lyrical second theme music for the theatre. The music for Call 443.873.3916 that soars on high. Scaramouche, or at least its first and Now also distributed at Strathmore By contrast, movement two is very slow third movements, was first composed Music Center in Bethesda and bluesy, with a solo for the saxophone for a production of Molière’s comedy and beautifully colored commentary from Le Médicin volant (The Thieving Doctor) the ensemble winds and strings. This at Paris’ Théâtre Scaramouche in 1937.

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And “Scaramouche” itself was the name Théâtre Champs-Elysées, conducted by richness. Europeans essentially looked of a classic clown figure in the Italian Pierre Monteux and with choreography down on intricate rhythms as belonging commedia dell’arte. Later that same year, by the Russian superstar dancer Nijinsky. to “primitive” musical cultures. Stravinsky Milhaud transformed the incidental music Fistfights broke out in the audience showed them what they were missing. into a tiny three-movement suite for two between those who liked the piece and Along with pounding percussion—and pianos, using a theme from his overture those who didn’t. Furious, Stravinsky in this score even the string instruments to another play production for the second rushed backstage where Nijinsky was join the percussion section—Stravinsky movement. In 1939, he transcribed this shouting out the beats to the dancers and created his pagan world through strikingly piano piece into the version for saxophone Diaghilev alternately turning the house original writing for the wind instruments: and orchestra we hear tonight. (Yet another lights on and off in a vain attempt to the primeval sound of a high bassoon incarnation was an edition for clarinet and calm the fracas. Once the riot began, the opening the work; cool, high woodwinds orchestra prepared for Benny Goodman audience was probably reacting more to the setting an ominously eerie nocturnal in 1941.) Complementing his choice of choreography or simply its own frenzy than atmosphere at the beginning of Part II; an the jazz-friendly saxophone as the solo the score itself, since the music became “elderly” sounding English horn leading instrument, Milhaud made his bright- virtually inaudible. the penultimate “Ritual of the Old Men,” toned orchestra sound very much like a The story of this catastrophe is well and savagely snarling brass throughout. popular dance band. known, but it had a less-told sequel Stravinsky provided his own terse that turned the fortunes of The Rite of scenario for The Rite: Instrumentation: Two flutes including piccolo, Spring completely around. On April 5, “First Part: ‘The Adoration of the Earth.’ two oboes, two clarinets, two bassoons, 1914, again in Paris, Monteux led its [Daytime] The spring celebration… two horns, two trumpets, two trombones, concert premiere — without any dancers the pipers pipe and the young men tell percussion and strings. and controversial choreography — and fortunes.… Young girls with painted faces this time the performance was an come in from the river in single file. They overwhelming success. The audience dance the spring dance. Games start. The LE SACRE DU PRINTEMPS erupted in a cheering ovation, and Spring Khorovod [round dances]. The () enthusiastic fans bore Stravinsky out of people divide into two groups opposing Igor Stravinsky the hall on their shoulders. each other. The holy procession of wise Born in Oranienbaum, Russia; June 17, 1882; However, The Rite of Spring was—and old men…interrupts the spring games.… died in New York City, NY, April 6, 1971 remains—a shocking work. Stravinsky The people pause trembling.… The old had a very different image of the coming man blesses the earth.…The people dance The premiere of The Rite of Spring in Paris of spring than we do in America. In passionately on the earth, sanctifying it and in 1913 has come down to us as perhaps the Russia, when winter’s legacy of snow and becoming one with it. wildest evening in the history of classical ice begins to melt and swell the streams, “Second Part: ‘The Great Sacrifice.’ At music. This was the third of the spectacular the effect is much more extreme than night, the virgins hold mysterious games Russian ballet scores Stravinsky had our soft breezes and flowering fruit trees. walking in circles. One of the virgins is created for Serge Diaghilev’s Ballets Russes Stravinsky referred to it as “the violent consecrated and is twice pointed to by ensemble, which had become the sensation Russian spring that seems to begin in fate, being caught twice in the perpetual of pre-World War I Paris. The two previous an hour and was like the whole world circle. The virgins honor her, the chosen ballets, The Firebird and Petrouchka, had cracking.” To express this raw elemental one, with a marital dance.…They invoke been rapturously received. But the music force and the passionate response it must the ancestors and entrust the chosen one for The Rite was much more advanced: have evoked among pagan Russians, he to the old wise men. She sacrifices herself a revolutionary statement that the created music of unprecedented violence. in the presence of the old men in the 19th century was gone for good. In its In his score, Stravinsky wrote: “Music great holy dance.” savage rhythms, harmonic dissonances exists if there is rhythm, as life exists if there and orchestral effects, it brutally embodied is a pulse.” And it is indeed rhythm— in Instrumentation: Three flutes, two piccolos, the “fleeting vision” of pagan Russia powerful repetitive ostinatos, constantly alto flute, four oboes, two English horns, three Stravinsky said had inspired him. “I saw changing meters, and brutal pileups—that clarinets, two bass clarinets, E-flat clarinet, in my imagination a solemn pagan rite: dominates this score and reaches a climax four bassoons, two contrabassoons, eight sage elders, seated in a circle, watched of violent energy in Part II’s “Glorification horns including two Wagner tubas, four a young girl dance herself to death. of the Chosen One” and the final trumpets, piccolo trumpet, bass trumpet, They were sacrificing her to propitiate “Sacrificial Dance.” Throughout the three trombones, two tubas, timpani, the god of spring.” 19th century, rhythm had been the stepchild percussion and strings. Stravinsky remembered that infamous of European concert music, trailing performance on May 29, 1913 at the behind melodic allure and harmonic Notes by Janet E. Bedell, © 2018

38 OVERTURE / BSOmusic.org BALTIMORE SYMPHONY ORCHESTRA SYMPHONY FUND HONOR ROLL

SEPTEMBER 1, 2016 – NOVEMBER 30, 2017 The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and government donors whose generosity to the Annual Fund supports our artistic, education and community engagement initiatives. Gifts were received from the following donors between September 1, 2016 and November 30, 2017. Please note that this Annual Fund listing does not include the generous gifts made in support of the Endowment, OrchKids and/or the BSO Gala. To donate, please contact the BSO Members Office at 410.783.8124 or visit BSOmusic.org/donate.

THE CENTURY CLUB Nancy Hackerman The Charles T. Bauer Foundation $100,000 or more Mr. and Mrs. Douglas Hamilton Jr. Andrew and Janet Hartman Marin Alsop Ensign C. Markland Kelly, Jr. Memorial Erin Becker Richard and Carol Bernstein Foundation Dr. Emile A. Bendit and Diane Abeloff Henry and Ruth Blaustein Rosenberg The Huether-McClelland Foundation Mr. and Mrs. Ed Bernard Foundation and the Estate George and Catherine^ McClelland Diane and Leland Brendsel of Ruth Marder Scott Phares and Judy Witt Phares Steven Brooks and Ann Loar Brooks The Bozzuto Family Charitable Fund Mr. and Mrs. Arnold Richman Mr. and Mrs. George L. Bunting, Jr. Sarellen and Marshall Levine Esther and Ben Rosenbloom Foundation Ms. Mary Catherine Bunting Hecht-Levi Foundation Michelle and Howard Rosenbloom Ms. Kathleen A. Chagnon Mrs. Robert H. Levi * and Hon. Steve Schuh and Family August and Melissa Chiasera Sandra Gerstung Dr. and Mrs. Charles I. Shubin Mr. and Mrs. Robert Coutts Joseph and Harvey Meyerhoff Family Mr. and Mrs. Gideon N. Stieff, Jr. Mr. and Mrs. William H. Cowie, Jr. Charitable Funds The Rothschild Charitable Foundation Robert E. Meyerhoff and Rheda Becker MAESTRA’S CIRCLE DIAMOND Ellen and Linwood Dame Bruce Rosenblum and Lori Laitman $15,000–$24,999 Chapin Davis Investments Alena and David M. Schwaber Anonymous (1) Mr. and Mrs. H. Chace Davis, Jr. Dr. and Mrs.* Solomon H. Snyder Mr.* and Mrs.* Alexander Armstrong Elizabeth Emerick Mr. and Mrs. David J. Trone Mr. and Mrs. Jack Biddle III Ms. Margaret Ann Fallon The Bunting Family Foundation Wendy M. Jachman FOUNDER’S CIRCLE Caswell J. Caplan Charitable Riva and Marc Kahn $50,000–$99,999 Income Trusts/Constance R. Caplan Loren Kayfetz and Pat Pannell Thomas Brener The Charlesmead Foundation William La Cholter and Jenny R. Mann Ann and Gordon Getty Foundation Mr. and Mrs. Richard Davison Estate of Richard M. Lansburgh Mr. and Mrs. Kingdon Gould Alan and Carol Edelman Richard Wayne Ley Dr. and Mrs. Allan Jensen Sandra Levi Gerstung Macht Philanthropic Fund Patricia and Mark Joseph Dr. Michael Hansen and Nancy Randa of the AJC Mr. and Mrs. Stephen D. Shawe Stanley * and Linda Hambleton Panitz Sayra and Neil Meyerhoff Mr. and Mrs. William Mulligan Morris Shapiro Family Foundation Elizabeth K. Moser Ellen W.P. Wasserman Barbara Katz Dr. Selvin Passen Drs. Yuan and Reiko Lee William and Kathleen Pence $25,000–$49,999 The John J. Leidy Foundation, Inc. RCM&D / Albert R. Counselman Anonymous (2) Howard Majev and Janet Brandt Majev Barry and Susan Rosen Donna and Paul Amico Virginia West Martin Dr. and Mrs. John H. Sadler The Jacob and Hilda Blaustein Hilary B. Miller and Dr. Katherine N. Bent The Honorable and Mrs. James T. Foundation Terry M. and James Rubenstein Smith, Jr. Robert H. Boublitz Mr. and Mrs. Daniel Shykind Melissa and Philip Spevak “In Memory of Harry A. Boublitz” Richard C. and Julie I. Vogt Thalheimer-Eurich Charitable Fund, Inc. The Morris and Gwendolyn Cafritz David and Chris Wallace Marcella Welch Foundation Ellen Yankellow and William Chapman Mr. and Mrs. Loren Western Ruth Carol Fund Mr. Edward Wiese Sara and Nelson* Fishman MAESTRA’S CIRCLE PLATINUM Barbara and Mike Young The Goldsmith Family Foundation, Inc. $10,000–$14,999 SC&H Group The Peggy and Yale Gordon Trust Anonymous (1) Young Artist Sponsor “In Memory of Gavin and Mary Manson” * Deceased Mr. and Mrs. Benjamin H. Griswold IV Stanley Asrael ^ Governing Members Executive Committee

JAN–FEB 2018 / OVERTURE 39 BALTIMORE SYMPHONY ORCHESTRA

Guests and musicians at a cast party Markus Stenz at an on-stage Andy Balio and Sonia Estruch Baltimore Symphony Associates rehearsal celebrating their 75th Anniversary

BSO AT THE MEYERHOFF Miss Dorothy B. Krug The Cameron and Jane Baird Donna Z. Eden and HONOR ROLL Mark and Sandy Laken^ Foundation Henry* Goldberg The following donors contribute Lainy LeBow-Sachs and Sarah and Cameron Baird Deborah and Philip English to support music and music Leonard* Sachs Donald L. Bartling Michaeline Fedder and education throughout the Mangione Family Enterprises Hellmut D.W. Bauer Beverly Winter Baltimore community. Eileen Mason Dr. and Mrs. Mandell Bellmore John and Pam Ferrari “In Memory of Joseph H. Mason” Donna and Stanley Ber David and Merle Fishman MEYERHOFF GOVERNING Mrs. Lorie Ann Mayorga Mr. and Ms. Hugh Bethell Dr. and Mrs. Jerome L. Fleg MEMBERS GOLD Norfolk Southern Foundation Ellen Baron Blaustein and Mordecai Ms. Lois Flowers $5,000–$9,999 Dan and Agnes Mazur P. Blaustein, M.D. Mr. and Mrs. John C. Frederick Anonymous (4) Media Support Services Inc. Mr. and Mrs. John M. Bond, Jr. JoAnn and Jack Fruchtman Dr. and Mrs. Thomas E. Allen Sheila J. Meyers David E. and Alice R. Brainerd John A. Galleazzi and Frederick Apfel and Meredith Pattin Mr. Charles Miller Dr. Helene Breazeale Elizabeth A. Hennessey Barry D. and Linda F. Berman Margot and Cleaveland Miller Dr. Rudiger and Robin Breitenecker Gale Gillespie Deborah and Howard M. Berman Jolie and John Mitchell Mr. and Mrs. Thomas H. Broadus III Mr. Robert Gillison and Bunny Bernstein Dr. and Mrs. C.L. Moravec Barbara and Ed Brody Ms. Laura L. Gamble Mr. and Mrs. John Blodgett Mrs. Joy Munster^ Dr. and Mrs. Donald D. Brown Helaine and Louis Gitomer Dr. and Mrs. Paul Z. Bodnar Mr. and Mrs. Bill Nerenberg Dr. Robert P. Burchard Brian and Gina Gracie John and Bonnie Boland Kevin and Diane O’Connor Mr. and Mrs. Robert Butler Toni Greenberg Mr. Timothy Chapman Dr. and Mrs. David Paige Mr. and Mrs. S. Winfield Cain Dr. Diana Griffiths Mr. and Mrs. Elbert Cole Dr. and Mrs.* Lawrence C. Pakula Walter and Kathy Capp Edward and Sandra Gutman The Fund for Music Marge Penhallegon^ Michael and Kathy Carducci Anne and Stephen Hahn Faith and Marvin Dean Helene and Bill Pittler Marilyn and David Carp Carole Hamlin^ and C. Fraser Smith^ Dr. and Mrs. Thomas DeKornfeld Rona and Arthur Rosenbaum Ms. Susan Chouinard Gary C. Harn Ronald E. Dencker Neil J.and JoAnn N. Ruther Joan Piven-Cohen and Melanie and Donald Heacock Helen P. Denit Charitable Trust Dr.* and Mrs.^ Marvin M. Sager Samuel T. Cohen Mr. and Mrs. Robert W. Hearn Kathy and Frank Dilenschneider Mr. and Mrs. J. Mark Schapiro Wandaleen and Emried Cole Mr. David L. Heckman Walter B. Doggett III, E*Trade Francesca Siciliano and Steven P. Collier and Mrs. Hya Heine Dr. Sylwester J. Dziuba Mark Green Dr. Elizabeth H. Jones Betty Jean and Martin* S. Himeles, Sr. Dr. Sonia and Dr. Myrna Estruch Dr. and Mrs. Harris J. Silverstone Mr. and Mrs. John W. Conrad, Jr. Barbara and Sam Himmelrich Samuel^ and Andrea Fine Dr. and Mrs. Charles S. Specht David and Vivien Coombs Bruce and Caren Beth Hoffberger Ellen Bruce Gibbs Dr. and Mrs. Carvel Tiekert David and Ellen Cooper Robert and Marilyn J. Hoffman Sandra and Barry Glass Delegate Christopher and Anne West Charles A. Corson Len and Betsy Homer Joanne Gold and Andrew A. Stern Susan Wolman John Hirsch and Bill and Ann Hughes Betty E. and Leonard H. Laurie S. Zabin Rebecca M. Cowen-Hirsch Elayne and Benno Hurwitz Golombek Mr. and Mrs. Edward A. Dahlka, Jr. “In Memory of John T. Ricketts III” Dr. Todd Phillips and MEYERHOFF GOVERNING The Dopkin-Singer-Dannenberg Susan B. Katzenberg Ms. Denise Hargrove^ MEMBERS SILVER Foundation Mr. James T. Kelley III Sandra and Thomas Hess $3,000 –$4,999 Mrs. Margery Dannenberg* Louise and Richard F. Kemper Mr.* and Mrs. J. Woodford Anonymous (5) Dr. and Mrs. Cornelius Darcy Townsend and Bob Kent Howard, Jr. Dr. and Mrs. Robert J. Adams Mr. and Mrs. William F. Dausch Paul Konka^ and Susan Susan and David Hutton Mr. and Mrs. Edward J. Adkins Arthur F. and Isadora Dellheim Dugan-Konka^ Susan and Stephen Immelt Dr. James Albrecht Foundation, Inc. David* and Barbara Kornblatt Richard and Brenda Johnson George and Frances Alderson Dr. and Mrs. Daniel Drachman Ms. Patricia Krenzke and The Ralph and Shirley Klein Mr. Paul Araujo Mr. and Mrs. Larry D. Droppa Mr. Michael Hall Foundation, Inc. Jackie and Eugene Azzam Bill and Louise Duncan Ms. Kristen Krzyzewski and Peter Kjome and Kristen Morrison Mrs. Thomas H.G. Bailliere, Jr. Mr. and Mrs. Laurence Dusold Dr. David Yalowitz

40 OVERTURE / BSOmusic.org SYMPHONY FUND HONOR ROLL

Dr. James and Mrs. Lynne LaCalle Turner B. and Judith R. Smith Dr. and Mrs. Jeffrey Kremen Dr. and Mrs. William Fox Dr. and Mrs. Donald Langenberg Carolyn B. Mills and Andrew Lapayowker and Dr. and Mrs. Donald S. Gann Anna and George Lazar Dr. John A. Snyder Sarah McCafferty Audrey and Stanford G. Gann, Sr. Ruth and Jay Lenrow Mr. and Mrs. Lee M. Snyder Mr. Melvin Lessing George Garmer Doris and Vernon Lidtke Dr. and Mrs. John Sorkin Art and Barbara Lynch Mr. Price and Dr. Andrea Gielen Dr. Frances and Mr. Edward Anita and Mickey Steinberg Louise D. and Morton J. Macks Michael and Jane Glick Lieberman Mr. Edward Steinhouse Family Foundation, Inc. Judith A. Gottlieb Darielle and Earl Linehan Mrs. Dorothea S. Stieff Marina Macks Kahn Mr. Charles H. Griesacker Ms. Louise E. Lynch Janice Collins and James Storey and Peter Kahn Joel and Mary Grossman Donald and Lenore Martin Harriet Stulman Genine and Josh Fidler Mr. and Mrs. Donald Gundlach Ms. Beverly Wendland and Susan and Brian Sullam Ellen and Lawrence Macks Mary Hambleton Mr. Michael McCaffery Ruth and Robert Taubman Mr. and Mrs. Stanley Mathews Paulette G. Hammond Drs. Edward and Lucille McCarthy Mr. and Mrs. Paul G. Tolzman Dr. Eddie Molesworth Mr.* and Mrs. E. Phillips Hathaway John Meyerhoff, MD and Lenel Raymond G. Truitt and James D. Parker Mr. and Mrs. Robert Helm Srochi-Meyerhoff Mary K. Tilghman Mr. and Mrs. Stephen Petrucci Barbara and Michael Hettleman Patricia J. Mitchell Ms. Joan Wah Mr. and Mrs. John Brentnall Powell Mr. and Mrs. Scott Jacobs Drs. Dalia and Alan Mitnick William and Salli Ward Mr. and Mrs. Randall S. Robinson Mr. and Mrs. Joseph Jehl Dr. Mellasenah Y. Morris John and Susan Warshawsky Mrs. Barbara K. Scherlis Honor and John Johnson Rex Myers Susan G. Waxter Karen and Richard Soisson Ann H. Kahan Ms. and Mr. Jan Neiman Martha and Stanley Weiman Mr. and Mrs. Paul Sponseller Judith L. Kahl Phyllis Neuman, Ricka Neuman and Dr. and Mrs. Matthew R. Weir Ronald Stiff and Roberta Van Meter Elizabeth M. Kameen Ted Niederman Mr. and Mrs. David Weisenfreund Dr. Frank C. Marino Foundation Drs. Harold and Norma Kanarek Roger F. Nordquist, John Hunter Wells Anne Worthington Dr. and Mrs. Richard Katz “In Memory of Joyce C. Ward” Sean and Jody Wharry Mrs. Shirley Kaufman “In Memory of the Rev Howard G. Ms. Camille B. Wheeler and Mr. MEYERHOFF SYMPHONY Ann and David Keith Norton and Charles O. Norton” William B. Marshall SOCIETY SILVER George and Catherine Klein Ann Norton Gerald White $1,200–$1,999 Fran and Geoffrey Kroll Drs. Antonella Nota and Mrs. Louise S. Widdup Anonymous (4) Allan Krumholz Mark Clampin Mark and Lisa Wiegmann Phyllis and Leonard J. Attman Charles R. Kuning Anne M. O’Hare Mr. and Mrs. Barry F. Williams James Ayars Edward and Rebecca Lawson Drs. Erol and Julianne Oktay Dr. and Mrs. Donald E. Wilson Dr. and Mrs. Bruce Barnett Dr. and Mrs. Ronald P. Lesser Dr. Bodil B. Ottesen Ms. Beverly Winter Arthur and Carole Bell Len and Cindy Levering Mac and Helen* Passano Wright Family Foundation Mr. and Mrs. Charles Berry Jr. Dr. and Mrs. Bernard Levy Dr. and Mrs. Frederick Pearson Chris and Carol Yoder Roy Birk Joseph S. Massey Beverly and Sam* Penn Dr. Jinmin Zhou and Ms. Han Jin Dr. John Boronow and Ms. Elizabeth Masterson Mr. Matthew Pisanelli Mr. and Mrs. Donald W. Zurwelle Ms. Adrienne Kols Mrs. Kenneth A. McCord David and Lesley Punshon-Smith “In Memory of John R. H. Jim and Sylvia Mcgill Peter E. Quint MEYERHOFF SYMPHONY and Charlotte Boronow” Tim Meredith Dr. Jonas Rappeport and Alma Smith SOCIETY GOLD Mr. and Mrs.* Charles R. Booth Sally J. Miles Susan Gerrity Chase $2,000–$2,999 Drs. Joanna and Harry Brandt “In Memory of Richard Kastendieck” Paul Rivkin M.D. and Anonymous (2) Jean K. Brenner Mr. and Mrs. Charles R. Miller Karen Jackson Mr. and Mrs. Ronald Abrams Jean B. Brown Herbert and Miriam Mittenthal Nathan and Michelle Robertson Mr. and Mrs. W. Michael Andrew Mrs. Robert W. Brown Ms. Marita Murray Richard and Diane Roca Robert and Dorothy Bair Chuck and Beth Bullamore Michael and Rosemary Noble Rogers-Wilbur Foundation, Inc. Chris H. Bartlett Paula and Peter Burger Susan F. O’Connor Jeffrey D. Rothstein MD, PhD and Richard O. Berndt Dr. and Mrs. Arthur L. Burnett Margaret O’Rourke Lynn A. Bristol PhD Carolyn and John Boitnott Mr. and Mrs. David Callahan Mary Beck Patil Robert W. Russell Loretta Cain Mr. and Mrs. Claiborn Carr Dr.* and Mrs. Arnall Patz Beryl and Philip Sachs Mr. Matthew S. Cole and Mr. and Mrs. Clarence Carvell Mr. and Mrs. James Piper Ms. Doris Sanders Dr. Jean Lee Cole David P. and Rosalie Lijinsky Chadwick Mr.* and Mrs. Morton B. Plant Lois Schenck and Tod Myers Robert A. and Jeanne Cordes John and Donna Cookson Mr. and Mrs. Elias Poe Marilyn and Herb* Scher Ernie and Linda Czyryca Mr. and Mrs. Reagan M. Crawford Catherine Renggli and Takeru Igusa Jeff M. Schumer Mrs. Nancy S. Elson Mr. and Mrs. Jeffrey Crooks Carl and Bonnie Richards Dr. and Mrs. James L. Scott Robert Greenfield James Daily Mr. and Mrs. Frank B. Rosenberg M. Sigmund and Barbara K. Shapiro Shaun F. Carrick and Mr. and Mrs. Thomas Darr Mr. Seymour S. Rubak Philanthropic Fund Ronald W. Griffin Mr. and Mrs. William C. Dee John B. Sacci and Stephen Shepard and Peggy Hetrick Ms. Stephanie Hack Dr. Alfred J. DeRenzis Nancy Dodson Sacci Thom Shipley and Chris Taylor Frieda and Robert Hallock Nicholas F. Diliello Benjamin and Margaret Schapiro Francine and Richard Shure Lloyd Helt and Ruth Gray Dr. Jeanne A. Dussault and Mr. Peter and Susan Scheidt Ronnie and Rachelle Silverstein Betsy and George Hess Mark A. Woodworth Ronald and Cynthia Schnaar John A. Singer Thelma Horpel Mr. and Mrs. Stuart Elsberg and Mr. and Mrs. Howard Schoenfeld Ellwood and Thelma Sinsky Mr. and Mrs. A. C. Hubbard, Jr. the Elsberg Family Foundation Burdette Short Ms. Leslie J. Smith Max H. Jordan, Jr. Beth and Mark Felder Joan and Edward Sills Ms. Nancy E. Smith Marcel and Barbara Klik Mr.* and Mrs. Maurice R. Feldman Mr. and Mrs. Scott Smith

41 OVERTURE / BSOmusic.org JAN–FEB 2018 / OVERTURE 41 BALTIMORE SYMPHONY ORCHESTRA

Bruce and Lynne Stuart Harry and Katharine Caldwell Timothy J. Hamilton Dr. Ellen J. MacKenzie and Marinos and Sebbie Svolos Judy and Bill Campbell Ms. Taylor Hanex Dr. James Tielsch William J. and Lisa M. Tate Lucy Campbell and Robert Gracie Mr. George Harrison Joy E. Mandel Shelly Briggs Underhill Mrs. Mary Jo Campbell Frederick Harvey and Ms. Elizabeth B. Mariani Robert and Sharonlee Vogel Dr. and Mrs. John Carey Janet Smith Thomas and Nancy Maronick Charles and Mary Jo Wagandt Louis and June Carr Drs. Jeffrey Hasday and Mr. Richard Marriott Charles Emerson Walker PhD Susan and Roy Carson Rose Marie Viscardi Mr. and Mrs. Jacob Matz Mr. and Mrs. Kent Walker Penny and Bob Catzen Robert Heiniger Dr. Marilyn Maze and Drs. Susan and James Weiss Dr. and Mrs. Maimon Cohen Ms. Lee Hendler Dr. Holland Ford Leslie and James J. Wharton Mr. and Mrs. Jonas M. L. Cohen Howard and Bonnie Heneson Linda and Thomas McCabe Ms. Martha Whitty Mrs. Caroline A. Coleman Thomas and Leslie Hess Patricia McCall Jennifer and Leonard Wilcox Stanton Collins George and June Higgins Mr. and Mrs. Russell McCally Dr. and Mrs. E.F. Shaw Wilgis Dr. Fuad J. Dagher Mr. Michael Hill Mr. Dennis G. McGough Christopher H. Winslow Mr. Rajesh David and Thomas R. Hobbs and Michael R. McMullan Sander L. Wise Mrs. Jennifer Lewis-David Clarissa Robins Hobbs Richard and Phyllis McShane Laura and Thomas Witt Michael and Anne Davis Dr. Mike Holbrook Mr. and Mrs. Barry Menne Dr. Richard Worsham and James H. DeGraffenreidt and Ms. Eileen Horowitz Michael and Carolyn Meredith Ms. Deborah Geisenkotter Mychelle Y. Farmer Beth Horton Ms. Kathleen Ries Merikangas Drs. Paul and Deborah Young-Hyman Kenneth and Barbara Diehl Ms. Laura Howard Diane* and Lou Mezzanotte Mr. and Mrs. Lewis H. Diuguid Walter M. Howard and Anthony and Mary Miller MEYERHOFF Walter Francis Dobrzycki Stephen Howard Mr. Clare Milton and BRITTEN LEVEL MEMBER Mr. Stanley Dorman George Hudgins and Cecilia Ms. Elizabeth Townsend $500 - $1,199 Lloyd E. Mitchell Foundation Cydylo-Hudgins Mr. Douglas S Mitchell Stephen and Madeleine Adams Mr. Stephen Dunham and Ms. Thomas and Betsy Hudson Frederick and Virginia Matthew P. Alfano Victoria Cass Ms. Cinda Hughes Pearce Mitchell Ellie Allen Robert W. Edwards Nancy Hulse Herbert and Miriam Mittenthal Courtney and Nancy Alvey Mr. Alan Levine and Mrs. Beverly Hunter David G. Mock Anonymous (11) Ms. Kirsten Eland Mr. and Mrs. Lawrence W. Hunter Dr. John F. Strahan Dr. James M. Anthony The Eliasberg Family Foundation, Inc. Michelle Hurt Diane I. Molner Mr. and Mrs. Preston Athey Dr. Michael Erdek Dr. Nancy Hutton and Thomas and Cynthia Monahan Balder Foundation John Farrell Dr. Larry Wissow Mr. Charles Morgan Dr. Douglas Ball Joseph and Phyllis Felser Mr. David Jackson Lester and Sue Morss Mr. Joel Balsham Roy A. Ferguson Mr. Robin E. Johnson Edward Mortimore Ms. Elizabeth Barbe Dr. Charles W. Flexner Ms. Suzanne Johnson Hon. J. F. Motz and Hon. Diana Mr. Burke Barrett Ms. Lois Fonda Ms. Claudette Jones Gribbon Motz Mrs. Terri Barry Footlick Family Foundation Mr. and Ms. Gareth R. Jones Howard Moy Msgnr. Arthur W. Bastress Kenneth B. Frank Thomas and Susan Holland Jeanne Murphy Dr. and Mrs. Theodore M. Bayless Mr. Stanley Freedman and Dr. Robert O. Kan Ms. Paula Murphy Mr. and Mrs. John W. Beckley Dr. Judy Karp Dr. Andrew S. Kang Mr. William Nassau Mr. Edward L. Bednarz Howard and Joan Friedel Mrs. Harry E. Karr Ted A Niederman and Rev. William R. Bell Mr. and Mrs. Edward Furman Mrs. and Mr. Judith Kasper Ricka Neuman Dr. and Mrs. Barry Berman Mr. John S. Gallagher Dr. and Mrs. Haiq H. Kazazian, Jr. Mr. Michael Noble Mr. and Mrs. Ed Bernard Mr. and Mrs. Frank A. Galloway Dr. Charles King and Dr. Mary Charles and Peggy Obrecht Mr. and Mrs. Neil R. Bernstein Constance A. Getzov O’Connor Gene and Sabine Oishi Ms. Gail Birdsong Paul E. Giza Mr. Mark Koppelman Mr. and Mrs. William Osborne Ms. Gayle Blakeslee Saralynn and Sheldon Glass Dr. Morton D. Kramer Dr. and Mrs. David Owen Mr. Jason Blavatt Ms. Martha Glenn Jo-Anne Kreiner Mr. James F. Padgett William and Diane Blewett Michael and Jane Glick Ms. Janet Kruba Jeffrey C. Palkovitz Mr. James D. Blum Mitzi and Norman Glick Norman La Cholter William and Sherrill Pantle Maryse Bourdages Stella Gold John and Catherine La Costa Mr. Laurence Goldstein and Ms. Betty Bowman Mrs. Louise Goldberg Carol R. Lanzi Ms. Diane Pappas Mr. and Mrs. A. S. Brager Jr Dr. and Mrs. Morton Goldberg Mary H. Larimer Mr. and Mrs. John A. Pecora David E. and Alice R. Brainerd Philip and Susan Golden Ms. Debra M. Lawrence Dr. and Mrs. C. Michael Pfeifer, Jr. M. Susan Brand and John Brand Robert Golden Dr. and Mrs. George A. Lentz, Jr. Samira and Mark Phillips Ms. Caroline Brocato and Mr. John Gracyalny Dr. and Mrs. Ronald P. Lesser William and Paula Phillips Mr. Thomas Burke Luise Graff and Allen Bush Ms. Judith G. Letcher Stephen Plano and Sharon Aileen and Jeffrey Broider Mr. and Mrs. Stuart Grossman Ms. Constance Lieder Huber-Plano Jeanne Brush Mr. and Mrs. Henry Gutman Ms. B. Joanne Lindberg and Mr. Mr. Philip Powell David W. Buck Family Foundation Mr. David C. Guy Russel W. Lindberg David A. and Kathleen Power Stephen C. Buckingham Rev. Michael B. Guy Dan and Barbara Lipstein Mr. and Mrs. Robert E. Prince William and Jennifer Burgy D. Craig and Marcia Hackett Joan P. Locke Richard and Kay Radmer Laura Burrows Dr. Jane Halpern and Richard and Katherine Loughlin Dr. Jonas Rappeport and Alma Smith Ms. Darleen N. Butler Mr. James B. Pettit Harold and Judith Lowe Robert Rawson

42 OVERTURE / BSOmusic.org SYMPHONY FUND HONOR ROLL

INVEST IN INNOVATION AND BECOME A BSO MEMBER TODAY! Thomas Rhodes Bertram Van Engel Mr. and Mrs. William R. Michiel van Katwijk and BSO Members enjoy exciting benefits that bring them even Richardson, Jr. Sandra Stevens closer to the music, beginning at $75 with a behind-the-scenes Mr. and Mrs. Herbert Ridder Dr. and Mrs. Eli Velder look at a BSO rehearsal. At higher levels, you can celebrate with Lawrence Rivitz Dr. Rose M. Viscardi and your BSO musicians at cast parties, and our Governing Marlyn G. Robinson Dr. Jeffrey D. Hasday Members (donors $3,000 and above) enjoy priority ticketing Jo Ellen and Mark Roseman Golo von Schwerdtner and other exclusive benefits. Mr. and Mrs. Robert Rosenberg Richard Wachter Robert Rosenstein Ms. Linda Wadian Visit: BSOmusic.org/membership Call: 410.783.8124 Dr. and Mrs. Saul D. Roskes Danny and Frances Wagner Email: [email protected] Mr. and Mrs. Terrence Ross Dr. and Mrs. J. Ronald Walcher Karen Royer Mr. and Mrs. Weldon W. Ward, Jr. T. Edgie Russell Dr. and Mrs. Peter Warschawski UPCOMING BSO MEMBER EVENTS Dr. and Mrs. Shalom Saar John and Diane Wasowicz All events are open to both Meyerhoff and Strathmore Ms. and Mr. Carol Sandler Drs. Martin P. and members, regardless of the host venue. Ms. Kayleen Saucier and Mr. Barbara Wasserman Richard Saucier An-Chi Wei and Natsuki Arai Upcoming Meyerhoff Events: Mr. Robert Scharper Kem and Susan White David and Alice Schlessinger Mr. and Mrs. George White ALLEGRETTO DINNER Mr. and Mrs. Eugene H. Schreiber Dr. and Mrs. E.F. Shaw Wilgis THU, JAN 11 Norman and Leonora Sensinger Children of Alice and 6 pm Cocktails, 6:30 pm Dinner Ann Marie Serwa Gene Scheiber Fund The Second Space Ms. Marilyn Shangraw Barry and Judy Williams SYMPHONY SOCIETY GOLD MEMBERS AND HIGHER ($2,000+) K.V. Shannahan and A.L. Gearhart R. Williams Join us for an evening of cocktails and appetizers, an elegant Burdette Short Philip J. and Ann Meadow Williamson dinner of food and wine pairings and your wonderful BSO Edwin Simmons Bruce and Geraldine Wilson musicians prior to an exciting performance of Philip Glass’ Janet Simons Christopher H. Winslow Concerto Fantasy for Two Timpanists, featuring our very own Harvey and Deborah Singer Dr. and Mrs. Frank R. Witter James Wyman. $60 per person, meal selections to follow. Ms. and Mr. Anne C. Slaughter Dr. Raymond Wittstadt Ms. Patricia E. Smeton Dr. Richard Wormsbecher OPEN REHEARSAL Carol B. Smith Mrs. Anne M. Wyatt-Brown THU, FEB 22 F. Louise and Wayne F. Smith Jean Wyman 9:15 am Light refreshments, 10 am Rehearsal Mr. and Mrs. Norman Smith Dorothy Yankellow BEETHOVEN MEMBERS AND HIGHER ($150+) Sandra C. Smith Ms. Anne Yastremski Lt. Col. John Snead York Junior Symphony Orchestra Don’t miss this incredible opportunity to get an inside peek Richard and Linda Snurr David and Naomi Zajic as the BSO rehearses Stravinsky’s The Rite of Spring and Mrs. Catherine Soares Ms. Joan D. Zelinka Milhaud’s Scaramouche with Maestra Marin Alsop and Renate Soulen Drs. Elias and Nadia Zerhouni Branford Marsalis on saxophone. Kenneth E. Spencer Norm and Joy St. Landau STRATHMORE GOVERNING Upcoming Strathmore Events: Allan Starkey MEMBERS GOLD Charles Starr $5,000–$10,000 MUSICAL MONDAY MON, JAN 29 Mr. and Mrs. Damie Stillman Anonymous (2) Janice Collins and James Storey Stanley Asreal 7:30 pm John* and Carol Straumanis Community Foundation for the St. Dunstan’s Episcopal Church Mr. Keith B. Sullivan National Capital Region 5450 Massachusetts Ave, Bethesda, MD 20816 Sandra Sundeen The Charles Delmar Foundation BEETHOVEN MEMBERS AND HIGHER ($150+) Hobart K. and Janis F. Swan Marcia Diehl and Julie Kurland BSO musicians will perform string quartets by Shostakovich Mr. Brenan Swartz Ms. Marietta Ethier and Beethoven. An informal dessert reception with these Mrs. Julie K. Szymaszek Mary Martin Gant artists and fellow supporters takes place post-concert. Mrs. and Mr. Julie K. Szymaszek Mr. and Mrs. Christopher Keller Rev. Warren Tanghe Mr. and Mrs. Stephen M. Lans ALLEGRETTO BRUNCH Dr. Martin Taubenfeld David Leckrone and Marlene Berlin SUN, FEB 25 Harry and Gina Telegadas Dr. James and Jill Lipton^ 12:30 pm in the Comcast Lounge Angel Terol James Lynch and SYMPHONY SOCIETY GOLD MEMBERS AND HIGHER ($2,000+) Mrs. Kathleen A. Thompson Anne Woodard Lynch Brunch with your BSO musicians before the performance! Mr. Peter Threadgill Howard and Linda Martin^ $75 per person. Attendance is limited and advanced Mr. Edward V. Tildon Edgar McCulloch registration is required. Meal selection to follow. Barbara Tipton Mr. and Mrs. Humayun Mirza Ida and Joseph Shapiro Foundation Dr. William W. Mullins EVENTS SUBJECT TO CHANGE and Diane and Albert Shapiro David Nickels and Gerri Hall^ For Meyerhoff events, please RSVP to Mr. Fred Simpson and Mrs. Donna Mr. Dave Pauza and [email protected] or 410.783.8074. Trump-Starkey Ms. Maria Salvato For Strathmore events, please RSVP to [email protected] or 301.581.5215.

SEPTEMBERJAN–FEB –OCTOBER 2018 / OVERTURE 43 BALTIMORE SYMPHONY ORCHESTRA

Jan S. Peterson and Alison E. Cole Florentina Mehta Andrew and Melissa Polott James and Carolyn Granger William B. and Sandra B. Rogers Rita and Bernard Meyers Martin Poretsky and Frank and Susan Grefsheim Mike and Janet Rowan^ Herb and Rita Posner Henriette van Eck Mr. Lloyd Haugh Daniel and Sybil Silver Mr. and Mrs. Barry Rogstad Richard and Melba Reichard Ms. Marilyn Henderson and Mr. John and Susan Warshawsky Donald M. Simonds Dr. and Mrs. Gerald Rogell Paul Henderson Dr. Edward Whitman^ Karen Rosenthal and Jo Ellen and Mark Roseman Jeff Herring Clark-Winchcole Foundation M. Alexander Stiffman Mr. and Mrs. Robert Rosenbaum Ms. Marilyn Hiatt Ms. Deborah Wise / Edith and Dr. and Mrs. Leonard Wartofsky Dr. Janice Marie Rusnak Mr. and Mrs. William L. Hickman Herbert Lehman Foundation, Inc. Dr. and Mrs. S. Gerald Sandler Ms. Susan Hovanec STRATHMORE SYMPHONY Estelle Luber Schwalb Mr. and Mrs. Howard Iams STRATHMORE GOVERNING SOCIETY SILVER Steven and Donna Shriver Richard Jourdenais MEMBERS SILVER $1,200–$1,999 Marshall and Deborah Sluyter Lawrence and Jean Katz $3,000–$4,999 Anonymous (5) Mr. and Mrs. Richard D. Spero Dr. Richard D. Guerin and Dr. Linda Ms. Franca B. Barton and Charles Alston and Susan Dentzer Gary Hartmann and Lori Stone Kohn Mr. George G. Clarke Mr. and Mrs. Larry Avrunin Margot and Phil Sunshine Dr. Arlin J. Krueger Leonard and Gabriela Bebchick Mr. William J. Baer and Mr. and Mrs. Richard Swerdlow Marvin and Delia Lang Dr. Nancy Bridges Ms. Nancy H. Hendry Janice and Richard Tullos Patricia Larrabee and Lauren Markley The Clarke Family Charitable Dr. Marilyn Bate Elizabeth and Bill Weber Michael Lazar and Sharon Fischman Foundation Mr. and Mrs. Jeffrey Bergman Mr. and Mrs. Harvey Weiner Carolyn Lichtenstein and Collins Family Fund Sherry and David Berz David Wellman and Marjorie Martin Safer Dr. and Mrs. Bruce A. Feldman Ms. Jane B. Boynton Coombs Wellman Harry and Carolyn Lincoln Anthony and Wyn Fitzpatrick Mr. Richard H. Broun and Ms. Susan Wellman Lucinda Low and Daniel Magraw George and Joni Gold Ms. Karen E. Daly Len Wiener and Edie Herman Dr. and Mrs. Peter C. Luchsinger Neil R. Greene and Ellen G. Miles Gordon F. Brown Allan and Wendy Williams Patricia Ludwig and Sam Winternitz Dr. Phyllis R. Kaplan Ms. Sharon Phyllis Brown Dr. Ann M. Willis R. Mahon Marc E. Lackritz and Mary DeOreo^ Frances and Leonard Burka H. Alan Young and Mr. Winton Matthews Burt and Karen Leete^ Charitable Fund Sharon Bob Young, Ph.D. Mr. and Mrs. Martin McLean Darrell Lemke and Sue Carlton Mr. and Mrs. Michael Merchlinsky Maryellen Trautman Mr. Vincent Castellano STRATHMORE BRITTEN Mr. and Mrs. Walter Miller Marie Lerch and Jeff Kolb Cecil Chen and Betsy Haanes LEVEL MEMBER William and Patricia Morgan Susan Liss and Rabbi Fred Reiner Mr. Harvey A. Cohen and $500 - $1,199 Mr. Koji Mukai Kari Peterson and Benito R. and Mr. Michael R. Tardif Mr. Andrew Adair Eugene and Dorothy Mulligan Ben De Leon Chuck Fax and Michele Weil Ms. Judith Agard Mr. and Mrs. Robert and Mary Lynn Rhomberg Ms. Mary W. Ferguson Louise S. Appell, Ph.D. Nisbet Roger and Barbara Schwarz Mr. and Mrs. Karl Flicker Mr. Paul Balabanis Ms. Caren Novick Don Spero and Nancy Chasen Mr. and Mrs. Roberto B. Friedman Mr. Robert Baskin Mr. and Mrs. William O’Connor Mr. Alan Strasser and Mary and Bill Gibb Ms. and Mr. Susan Bender Amanda and Robert Ogren Ms. Patricia Hartge Dr. and Mrs. Sanford A. Glazer Dr. Chris H. and Mr. James D. Joseph J. O’Hare III Alan V. Asay and Mary K. Sturtevant Drs. Marlene and Bill Haffner Bridgeman Philip and Mary Padgett Dr. Diana Locke and John and Linda Hanson Mr. Nicholas Burger Mrs. Barbara Ronis Mr. Robert E. Toense Sara and James A. Harris, Jr. Mr. and Mrs. John Carr Stephen Rose Thomas M. Ward Keith and Linda Hartman Mr. and Mrs. Nicholas Carrera Henry Roth Sylvia and Peter Winik Esther and Gene Herman Ms. Phyllis Chock Ms. Ellen Rye Marc and Amy Wish Ellen and Herb Herscowitz Marion Fitch Connell Norman and Ginny Schultz David A. and Barbara L. Heywood Claudia Copeland Mr. Allen Shaw and Ms. Tina STRATHMORE SYMPHONY Linda Lurie Hirsch Mr. James B. D’albora Chisena SOCIETY GOLD Madeleine and Joseph Jacobs* John F. Downey Dr. Janet Shaw $2,000 –$2,999 Betty W. Jensen Ms. Janet C. Dwire Ms. Deborah Sherrill The Adler Family Foundation Ms. Daryl Kaufman Ms. Brenda K. Edwards Ms. Terry Shuch and Mr. Neal Nancy and Anthony Abell Peter Kimmel and Stephanie Jackson Mr. Aaron Epstein Meiselman Anonymous (1) Ms. Kathleen Knepper Drs. Charles and Cynthia Field Ms. Caroline Simon Caroline W. and Rick Barnett Anita Difanis and Richard Krajeck Mr. and Ms. Clifford and Dr. and Mrs. Jeffrey R. Singer Dr. Mark Cinnamon and Frank Maddox and Glenda Finley Betty Fishman Mr. Elliot Staffin and Ms. Janet Bass Ms. Doreen Kelly Michael and Judy Mael Ms. Dottie Fitzgerald and Mr. Mr. Wyman Stone Dimick Foundation Mr. Mark Mattucci and Michael Clarke Mr. and Mrs. Duane Straub John C. Driscoll Ms. Judith A. Furash Robert and Carole Fontenrose Dr. Andrew Tangborn Mr. and Mrs. Robert Fauver Michael McCollum and Jennfier Ricks Louis Forbrich Mr. Mallory Walker Dr. Edward Finn David and Kay McGoff Mr. and Mrs. Michael Scott Robert and Ellyn Weiss Dr. and Mrs. Harvey R. Gold David and Anne Menotti Friedman Mr. David M. Wilson Drs. Joseph Gootenberg and Merle and Thelma Meyer Richard Furno Robert and Jean Wirth Susan Leibenhaut Dr. and Mrs. Stanley R. Milstein Mr. and Mrs. Stephen Giddings David and Anne Grizzle Kevin W. Parker Mr. John E. Glenn and * Deceased Mr. and Mrs. Gerald Hoefler Mr. and Mrs. Peter Philipps Mrs. Blair Reid ^ Governing Members Executive Fran and Bill Holmes Thomas Plotz and Catherine Klion Ms. Alisa Goldstein Committee

44 OVERTURE / BSOmusic.org SYMPHONY FUND HONOR ROLL

he Board of Directors of the Baltimore Symphony As in a legato musical line, these special designations Orchestra established The Legato Circle to honor ensure the smooth continuity of musical values from T individuals who have included a charitable gift to generation to generation. the BSO in their long-term financial plans via bequest, trust, Many generous patrons have made estate gifts to the BSO, IRA, life insurance, donor advised fund or life income gift. securing a legacy of musical excellence for future generations.

We gratefully acknowledge the following donors who have named the BSO in their legacy plans: Anonymous (9) Jim Doran The Honorable* and G. Edward Reahl, Jr. M.D. George and Frances Alderson Freda (Gordon) Dunn Mrs. Christian M. Kahl Nancy Rice Donna B. and Paul J. Amico Dr. Jeanne Dussault and Dr. Phyllis R. Kaplan Lois Schenck and Tod Myers Dr. James M. Anthony Mark Woodworth Dr. and Mrs.* Murray M. Harold and Carolyn* Schlenger Paul E. Araujo John and Donna Easton Kappelman Susan and Charles Shubin Mr. and Mrs. Michael J. Batza, Jr. Carol and Alan Edelman Mrs. Barbara P. Katz Burdette and Judith Short Hellmut D.W. “Hank” Bauer Mr.* and Mrs. Thomas Fallon Albert D. Keller Jim and Sandy Smith Nancy H. Berger Mr. and Mrs. Maurice* R. Feldman Jo Ansley B. Kendig Nancy E. Smith Barry D. and Linda F. Berman Debra Brown Felser and Gary Felser Mr. Nicholas G. Klise Dr. and Mrs.* Solomon H. Snyder Deborah R. Berman Haswell M. and Madeline S. Franklin Paul Konka and Susan Dugan-Konka Catherine R. Soares Mr. David H. Bernstein Audrey and Stanford G. Gann, Sr. Suzan Kiepper Krannich Karen Soisson Ellen Baron Blaustein and George W. Gebhardt Miss Dorothy B. Krug Dr.* and Mrs. Harry S. Stevens Mordecai P. Blaustein, M.D. Sandra Levi Gerstung Dr. James and Lynne LaCalle Mr. Michael R. Tardif John and Marjorie Blodgett Patrick M. Green Dr. Sandra R. Leichtman Roy and Carol Thomas Sharon Phyllis Brown Robert E. Greenfield Ruth and Jay Lenrow Fund for the Arts Ms. Jeanne Brush Sue and Jan K. Guben Lynne and Joe Lentz, Jr. Dr. and Mrs. Carvel Tiekert Dr. Robert P. Burchard Gerri Hall and David Nickels Joyce and Dr. Harry Letaw, Jr. Leonard Topper John Cahill Dr. Jane Halpern and Dr. Marshall Levine Mr.* and Mrs. William Volenick Katharine H. Caldwell Mr. James Pettit Constance J. Lieder John Warshawsky Mrs. Constance R. Caplan Carole B. Hamlin Joy Mandel and Tim Nehl Susan G. Waxter Mrs. Selma Carton Ms. Denise Hargrove Mrs. George R. McClelland Jay M. Weinstein Hosea T. Chew Barbara and Michael Hettleman Carol O’Connell Minkin Mark Wiesand Harvey A. Cohen, PhD Mrs. Betty J. Himeles and Mrs. Joy Munster W. Owen and Nancy J. Williams Harvey L. Cohen and The Martin S. Himeles, Bill and Dotty Nerenberg Rebecca Wingate Martha R. Krach Sr. Foundation Stanley* and Linda Hambleton Charles* and Shirley Wunder Mark D. and Judith* L. Coplin Beth R. Horton Panitz Mr. and Mrs.* Calman J. Mr. and Mrs. William H. Cowie, Jr. Gwynne and Leonard Horwits Mr. and Mrs. John Pecora Zamoiski, Jr. Ann Weller Dahl Mr.* and Mrs. H. Thomas Howell Mr. and Mrs. William Pence Athena and Scott Dalrymple Mr.* and Mrs. Richard E. Hug Margaret Penhallegon Ronald E. Dencker David and Susan Hutton Beverly and Sam* Penn * Deceased

We gratefully acknowledge the following donors, now deceased, who have provided a legacy gift in support of the Baltimore Symphony Orchestra: Mrs. Ruth Alsop Roberta L. and Richard A. Davis Ruby Loflin-Flaccoe Ruth Blaustein Rosenberg Barbara F. Appell Mildred and Patrick Deering Lauretta Maisel Randolph S. and Amalie R. Mrs. Claire Beissinger Dr. Perry A. Eagle Mrs. Jean M. Malkmus Rothschild Mrs. Alma T. Martien Bond Winnie and Bill Flattery Ruth R. Marder Dr. Henry Sanborn W. George Bowles Harvey D. Gold Esther Holden Miller Eugene Scheffres and Phyllis Wagner Brill Douglas and Hilda Goodwin Robert and Marion Neiman Richard E. Hartt Mrs. Phyllis B. Brotman Dailina Gorn Ralph W. Nichols Mrs. Muriel Schiller Elizabeth A. Bryan Mr. Joseph P. Hamper, Jr. Margaret Powell Payne Dr. Albert Shapiro Mr. Walter Budko Katharine Hoffman Mrs. Margery Pozefsky George Steele Mrs. Frances H. Burman Judith C. Johnson Joan Marie Pristas Howard A. and Rena S. Sugar Joseph and Jean Carando Richard M. Lansburgh Thelma T. Randolph Mignon Y. Velie Clarence B. Coleman John Christian Larsen Mr. Robert N. Riley Albert and Martha Walker Sergiu and Robinne Comissiona Bernice S. Levinson Lawrence Melvin Roberts Ingeborg B. Weinberger Margaret Hammond Cooke Robert and Ryda H. Levi Mr. William G. Robertson, Jr. Dr. Mildred Zindler

YOUR MUSICAL LEGACY Please let us know if you have named the BSO in your estate plans—we would like to thank you! To learn more, please contact Sara Krusenstjerna, Director of Philanthropic Planning, at 410.783.8087 or [email protected]. Please visit BSOmusic.giftplans.org.

SEPTEMBER –OCTOBER / JAN–FEB 2018 / OVERTUREOVERTURE 45 45 BALTIMORE SYMPHONY ORCHESTRA

BOARD OF DIRECTORS & STAFF LEAD GOVERNMENT FUNDERS The Baltimore Symphony Orchestra is funded by operating grants from the Maryland State Arts Council, the Baltimore County Commission on the Arts and Sciences, the Mayor and City Council of Baltimore, the Arts and Humanities Council of Montgomery County, Howard County Arts Council, Carroll County Government and the Maryland State Department of Education.

The Citizens of Baltimore County

SPONSORS AND BUSINESS PARTNERS THE CENTURY CLUB: $100,000 OR MORE

SHERIDAN FOUNDATION

FOUNDER’S CIRCLE: $50,000–$99,999

$25,000–$49,999

WILLIAM G. BAKER, JR. MEMORIAL FUND Creator of the Baker Artist Award, www.bakerartistawards.org

$10,000 –$24,999

$5,000 –$9,999 CITY CAFÉ D. F. DENT AND COMPANY THE HARTFORD CORPORATE OFFICE PROPERTIES GEORGETOWN PAPER STOCK LEGG MASON GLOBAL ASSET MANAGEMENT TRUST OF ROCKVILLE ZUCKERMAN SPAEDER LLP

$1,000 –$4,999 ADVANCED BUSINESS SYSTEMS FEDERAL PARKING, INC. S. KANN SONS COMPANY FOUNDATION AMPHION FOUNDATION HOTEL INDIGO BALTIMORE AMELIE AND BERNEI BURGUNDER ELLIN & TUCKER IBM NORTH AMERICA ROVNER PRODUCTS EAGLE COFFEE COMPANY INC. INDEPENDENT CAN COMPANY STANLEY BLACK & DECKER

For more information on joining our team of generous institutional funding partners, please contact the Development office at 410.783.8022 or [email protected].

46 OVERTURE / BSOmusic.org BALTIMORESYMPHONY SYMPHONY FUND HONOR ORCHESTRA ROLL

BOARD OF DIRECTORS & STAFF

BOARD OF DIRECTORS DIRECTORS EMERITI Erin Mellott Frank Wise BALTIMORE SYMPHONY ANNUAL FUND MANAGER HOUSEKEEPER ASSOCIATES Barry D. Berman, Esq. OFFICERS Joanne M. Rosenthal Carole Wysocki Marguerite Walsh Constance R. Caplan DIRECTOR OF PRINCIPAL GIFTS DIRECTOR OF EDUCATION & PRESIDENT & GOVERNMENT RELATIONS COMMUNITY ENGAGEMENT Barbara M. Bozzuto* Murray M. Kappelman, M.D. CHAIR Barbara Dent Richard Spero Izabel Zambrzycki SECRETARY M. Sigmund Shapiro COMMUNITY LIAISON FOR SENIOR ARTISTIC PLANNING MANAGER/ Peter T. Kjome* BSO AT STRATHMORE ASSISTANT TO THE MUSIC DIRECTOR PRESIDENT & CEO Barbara Kelly James T. Smith TREASURER Latesha Taylor Lainy LeBow-Sachs* DEVELOPMENT OPERATIONS Betsy Osterman VICE CHAIR CHAIR LAUREATE COORDINATOR MARKETING & PARLIAMENTARIAN Hilary B. Miller* Angel Terol PUBLIC RELATIONS Sandy Feldman VICE CHAIR Michael G. Bronfein DIRECTOR, BSO SECOND IMMEDIATE PAST PRESIDENT CENTURY CAMPAIGN Meredith Burke The Honorable Kenneth W. DeFontes, Jr. GRAPHIC DESIGNER Freddye Silverman Steven R. Schuh* Erika Williams VICE PRESIDENT, TREASURER Calman J. Zamoiski, Jr. MEMBER EVENTS COORDINATOR Rebecca Bute COMMUNICATIONS DIRECTOR OF MARKETING Kathleen A. Chagnon, Esq.* & COMMUNICATIONS Jo Kendig SECRETARY BOARD OF TRUSTEES— Rafaela Dreisin VICE PRESIDENT, EDUCATION BALTIMORE SYMPHONY FINANCE AUDIENCE DEVELOPMENT MANAGER Carolyn Lassahn & INFORMATION ENDOWMENT TRUST Sandra Files VICE PRESIDENT, MEETINGS TECHNOLOGY & PROGRAMS BOARD MEMBERS Chris Bartlett DIGITAL MARKETING MANAGER CHAIR Janice Johnson Florence McLean Rick Bernstein Melissa Hom VICE PRESIDENT, SENIOR ACCOUNTANT GROUP SALES MANAGER A.G.W. Biddle, III Barbara M. Bozzuto RECRUITMENT/MEMBERSHIP Evinz Leigh Theresa Kopasek Helene Breazeale Kenneth W. DeFontes, Jr ADMINISTRATION ASSOCIATE MARKETING & PR ASSOCIATE Kelly Cantley VICE PRESIDENT, August J. Chiasera Peter T. Kjome Kyle Steele Devon Maloney SPECIAL SERVICES/EVENTS DIRECTOR OF ACCOUNTING ASSISTANT PUBLIC RELATIONS Larry Albrecht Joseph Meyerhoff, II MANAGER Robert B. Coutts Donna Waring VICE PRESIDENT, SYMPHONY STORE Rick Monfred PAYROLL ACCOUNTANT Alan S. Edelman* Beth Varden Vicki McAdory SENIOR GRAPHIC DESIGNER Michael F. Ernst The Honorable Steven R. Schuh Jeff Wright OFFICE MANAGER DIRECTOR OF INFORMATION Kaila Willard Sandra Levi Gerstung Andrew A. Stern TECHNOLOGY MARKETING & PR MANAGER Dr. Michael G. Hansen* Calman J. Zamoiski, Jr.

Christian C. Johansson * BOARD EXECUTIVE COMMITTEE GENERAL MANAGER ORCHKIDS Robert C. Knott † EX-OFFICIO Katie Brill Sharniece Adams EDUCATION PROGRAMS LEAD SITE COORDINATOR Dr. Sunil Kumar COORDINATOR Rachel Burbank Sandy Laken† Kevin Brown LEAD SITE COORDINATOR GOVERNING MEMBERS CHAIR DIRECTOR OF FACILITIES STAFF Camille Delaney Dr. Marshall A. Levine Tiffany Bryan ORCHKIDS SENIOR SITE MANAGER DIRECTOR OF PATRON SERVICES Ava Lias-Booker, Esq. April Dodge Peter T. Kjome DEVELOPMENT DIRECTOR PRESIDENT & CEO Rebecca Cain Howard Majev, Esq. DIRECTOR OF OPERATIONS Hana Morford Barbara Gourdin ORCHKIDS TEACHING Liddy Manson EXECUTIVE ASSISTANT Shirley Caudle HOUSEKEEPER & LEARNING MANAGER Valencia McClure Sarah Beckwith Alvin Crawley Kay Sheppard VICE PRESIDENT & CFO E. Albert Reece, M.D. MANAGER OF FACILITIES ORCHKIDS SITE MANAGER Barry F. Rosen* Raquel Whiting Gilmer Rose Ferguson Nick Skinner overture EXECUTIVE DIRECTOR, ORCHKIDS HOUSEKEEPER ORCHKIDS DIRECTOR OF OPERATIONS Ann L. Rosenberg Jamie Kelley Zoe Fried Mairin Srygley PRODUCTION VICE PRESIDENT OF DEVELOPMENT ORCHKIDS SITE MANAGER Terry M. Rubenstein* OPERATIONS MANAGER Devon Maloney Stephen D. Shawe, Esq. Linda Moxley Jessica Harris Dan Trahey EDITOR VICE PRESIDENT OF MARKETING ARTISTIC/OPERATIONS ORCHKIDS ARTISTIC LIAISON Dan Shykind & COMMUNICATIONS COORDINATOR Janet E. Bedell Mollie Westbrook PROGRAM ANNOTATOR Solomon H. Snyder, M.D.* Tonya McBride Robles Nicholas Hersh ORCHKIDS LEAD SITE COORDINATOR VICE PRESIDENT ARTISTIC DIRECTOR / Beth Varden David Trone & GENERAL MANAGER CONDUCTOR OF YO, BSYO Kerrigan Dougherty ARTISTIC & PROGRAM OPERATIONS SENIOR GRAPHIC DESIGNER Gregory W. Tucker Jinny Kim COORDINATOR DIRECTOR OF ORCHESTRA Meredith Burke † Marguerite Walsh PERSONNEL GRAPHIC DESIGNER PRESIDENT, BALTIMORE SYMPHONY DEVELOPMENT ASSOCIATES Alicia Kosack TICKET SERVICES Louis Diez MANAGER OF BALTIMORE SYMPHONY Baltimore magazine DIRECTOR OF ANNUAL FUND AND Amy Webb YOUTH ORCHESTRAS Amy Bruce Design and Print Division DEVELOPMENT OPERATIONS DIRECTOR OF TICKET SERVICES † 1000 Lancaster Street, Suite 400 Jeffrey T. Zoller Gabriella Giannini Jeanette Matte & ANALYTICS CHAIR, BALTIMORE SYMPHONY PRODUCTION MANAGER Baltimore, MD 21202 INSTITUTIONAL GIVING YOUTH ORCHESTRAS Morgan Gullard 410.873.3900 COORDINATOR MaryAnn Poling MANAGER OF SPECIAL EVENTS CONDUCTOR OF CO, BSYO Ken Iglehart Demetreus Gregg Eric Johnson DIRECTOR CAMPAIGN & RESEARCH Abhijit Sengupta TICKET SERVICES AGENT LIFE DIRECTORS ASSOCIATE DIRECTOR OF ARTISTIC PLANNING [email protected] Timothy Lidard 443.873.3916 Peter G. Angelos, Esq. Annalise Eberhart Heron Renee Thornton MANAGER OF VIP TICKETING ASSOCIATE DIRECTOR OF HOUSEKEEPER Michael Tranquillo Rheda Becker INSTITUTIONAL GIVING Juliana Marin Matthew Urquhart SENIOR TICKET AGENT ART DIRECTOR Yo-Yo Ma Monica Jilling ASSISTANT PERSONNEL MANAGER FOR STRATHMORE ANNUAL FUND MANAGER, Lynn Talbert Harvey M. Meyerhoff BSO AT STRATHMORE Nana Vaughn Peter Murphy ADVERTISING CONDUCTOR OF SO, BSYO TICKET SERVICES MANAGER Robert E. Meyerhoff Sara Krusenstjerna ACCOUNT REPRESENTATIVE DIRECTOR OF PHILANTHROPIC John Waters Michael Suit [email protected] Linda Hambleton Panitz PLANNING RECEPTIONIST TICKET SERVICES AGENT 443.974.6892

SEPTEMBER –OCTOBER / JAN–FEB 2018 / OVERTUREOVERTURE 47 47 IMPROMPTU 48

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