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2021 SEASON | 5 PERFORMING ARTS at Pensacola State College DANCE • MUSIC • THEATER Earn a top-quality education for half the cost of university tuition. Scholarships available. For more information Call 850-484-1800 or email [email protected]

Pensacola State College does not discriminate against any person on the basis of race, ethnicity, national origin, color, gender/sex, age, religion, marital status, pregnancy, disability, sexual orientation, gender identity, or genetic information in its educational programs, activities, or employment. For inquiries regarding Title IX and the College’s nondiscrimination policies, contact the Executive Director, Institutional Equity and Student Conduct at 850-484-1759, Pensacola State College, 1000 College Blvd., Pensacola, Florida 32504.

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You’re invited! Join the Pensacola Symphony Orchestra Guild and help support the Pensacola Symphony and the world class performances the PSO brings our community. In addition to fundraising the Guild offers unique monthly programs, volunteer opportunities in support of the Symphony and community outreach.

For membership information, find us atpsog.org or contact Lynne Tobin at 850-549-5889.

6 | PENSACOLA SYMPHONY ORCHESTRA “The light music of whiskey falling into glasses made an agreeable interlude.” - James Joyce

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8 | PENSACOLA SYMPHONY ORCHESTRA 2021 SEASON | 9 Contents About the PSO Welcome 11 Music Director’s Biography 12 Letter from our Music Director 15 Meet the Musicians 16 The History of the PSO 18 Season Calendar 20 Beyond the Stage 22

Support Board of Directors 26 Past Board Presidents 27 Advisory Council 28 PSO Guild 30 Special Event Sponsors 31 Annual Fund Donors 32 Corporate & Foundation Support 37 Arts Agencies & Government Support 37 In-Kind Donors 38 Stability Fund 39 Transformative Experiences 40 Honorariums & Memorials 41 Lifetime Giving 44 Legacy Society 45 Additional Ways to Give 46 Advertiser Listing 94

Opening Night! • February 20 50 Russian Spectacular • March 6 58 Beethoven & Blue Jeans • March 20 67 Haydn, Symphony No. 94, “Surprise” • April 24 72 Mendelssohn, Symphony No. 3, “Scottish” • May 15 83 Dvořák, Symphony No. 8 • June 26 88

Cover Photo by Meg Burke Photography

10 | PENSACOLA SYMPHONY ORCHESTRA Welcome to the Pensacola Symphony Orchestra We are glad that you are here! In a season that is unlike any other, we look forward to sharing meaningful musical experiences together. Thank you for adopting the current health precautions to provide the safest possible environment for you, your fellow audience members, and the musicians. Please contact us at 850.435.2533 or [email protected] with any comments or suggestions about enhancing your experience.

Our Team

Music Director Peter Rubardt

Executive Director Bret Barrow

Advancement & External Relations Jessica Hyche

Community Engagement Molly Hollingsworth

Librarian Emily Stubblefield

Patron Development & Communications Courtney Dell

Patron Services Emily Varley

Personnel Manager Dale Riegle

Production Manager Robin Bonta

Contact Us Phone: 850.435.2533 Email: [email protected] Physical Address: 205 East Zaragoza Street | Pensacola, FL 32502 Mailing Address: P.O. Box 1752 | Pensacola, FL 32591

2021 SEASON | 11 Peter performer, he actively engages audiences and community groups in the appreciation of symphonic music. Also busy as a guest Rubardt conductor, Rubardt recently debuted with the Wisconsin Chamber Orchestra, the Alabama Symphony, the Fort Worth Music Director Symphony, and the Augusta Symphony, among others. Peter Rubardt has earned wide acclaim for powerful and insightful performances that Now in his 24th season as Music Director inspire passionate responses to symphonic of the Pensacola Symphony Orchestra, music. In addition to his long-standing Rubardt continues to grow the organization position as Music Director of the Pensacola through a wide range of classical, pops, Symphony, he also serves as the Music and educational programs. He has Director of the Meridian and Gulf Coast played a central role in designing the Symphonies. Throughout his career he orchestra’s innovative “Beyond the Stage” has worked successfully to deepen the program, partnering with a range of local relationships between communities and organizations to bring music to hospitals, their orchestras, leading to growing schools, and neighborhoods. Previously audiences and a broad base of support. he was at the forefront of the effort that A gifted speaker about music as well as a successfully renovated the historic Pensacola

12 | PENSACOLA SYMPHONY ORCHESTRA Saenger Theatre, giving the orchestra A native of Berkeley, California, Rubardt increased visibility and vitality. He also holds a Doctor of Musical Arts degree in led a significant capital campaign for the Orchestral Conducting from The Juilliard orchestra and played a key role in the School, where he was the recipient of the creation of an hour-long documentary in Bruno Walter Fellowship. A Fulbright collaboration with WSRE public television. Scholar, he studied piano and conducting Since assuming the Music Directorship in at the famed Vienna Hochschule fur Meridian, that community has seen a sharp Musik and pursued further studies at the increase in concert attendance, an acoustical Tanglewood Music Center and the Los retrofit of the hall, a new symphonic pops Angeles Philharmonic Institute. He has event, and the introduction of a newly participated in the masterclasses of Leonard formed symphony chorus. Bernstein, Seiji Ozawa, André Previn, and Herbert Blomstedt; his major teachers have Prior to his appointment in Pensacola, included Otto-Werner Mueller, Sixten Rubardt served four seasons as Associate Ehrling, Michael Senturia, and David Conductor of the Syracuse Symphony Lawton. He was selected by the League Orchestra and three seasons as Resident of American Orchestras to perform in Conductor of the New Jersey Symphony the National Conductor Preview with the Orchestra, conducting numerous classical Jacksonville Symphony in 2005. and pops performances, regional tours, and educational programs with both Rubardt has served on the faculties of The orchestras. He has also conducted the Juilliard School, Rutgers University, and the Utah Symphony, Alabama Symphony, State University of New York at Purchase. Louisiana, Rochester, and Las Vegas In addition to Juilliard he has received Philharmonic Orchestras, The Louisville awards and degrees in music from the State Orchestra, the Jacksonville Symphony University of New York at Stony Brook and Orchestra, Richmond Symphony, Japan’s the University of California at Berkeley. Hiroshima Symphony Orchestra, Century Rubardt has recorded for Pantheon Records Orchestra Osaka, Yamagata Symphony, International. He resides in Pensacola with Hyogo Performing Arts Center Orchestra his wife Hedi Salanki, a Distinguished (where he performed for Her Imperial University Professor in the Grier Williams Highness The Princess Hitachi of Japan) School of Music at the University of West and Kansai Philharmonic Orchestra, and Florida, and their two children. Nova Filarmonia Portuguese, with which he toured Portugal several times, as well as the orchestras of Acadiana, Anchorage, PeterRubardt.com Annapolis, Augusta, Bangor, El Paso, Lubbock, Peoria, Portland, Quad Cities, Rogue Valley, South Dakota, Southwest Florida, Spokane, and Youngstown, among others. From 1991 – 96, he served as Music Director of the Rutgers Symphony.

2021 SEASON | 13 14 | PENSACOLA SYMPHONY ORCHESTRA From Our Music Director

I usually write this letter sometime during the summer, amidst preparing for a season of wide-ranging and ambitious repertoire. This year? Not so much. I’m writing the week before Thanksgiving, and like everybody else, I’m still trying to figure out what the season will look like. There are, of course, huge unknowns, yet there are also things that are getting more clear by the day: the importance of working together, the importance of sharing our humanity, the importance of striving to be part of something bigger than just ourselves. These are pandemic lessons that will shape the post-pandemic world in profound ways, Every one of these pieces stirs my soul, and and in a time of such turmoil, the arts can the musicians and I are looking forward to be a common beacon. the season with deeply felt excitement.

I sometimes feel that planning is our This is not the season that I originally superpower, the tool that enables us to planned, but it is a season that we can achieve the inspiring moments that enrich present wisely, guarding the health of both our lives. Yet this is completely different; musicians and audience. But more than detailed planning has been replaced by that, I hope it proves to be the season we agility and flexibility. I’ve lost track of how need, for if there was ever a time that the many times we’ve reimagined this season. arts prove their essential nature, this is From guest artists to dates to repertoire, surely it. As Beethoven wrote on the score every element has been overhauled to his Missa Solemnis: “From the heart, may repeatedly, and even now there are still it go to the heart.” It is in that spirit that variables in play. So it is perhaps no we share this music with you. surprise that amidst such upheaval we’ve Peter Rubardt, Music Director gravitated back to some basics. The core literature almost feels like comfort food, and we’ll be performing major symphonies by Beethoven, Mendelssohn, and Dvořák, as well as signature concertos by Tchaikovsky and Brahms. These offerings will be spiced with a gorgeous American classic by Copland, as well as a brand-new piece by rising star James Lee, III (who will be in Pensacola to share his music with us).

2021 SEASON | 15 Meet the Musicans

First Violin Cello Leonid Yanovskiy, Concertmaster Aleksandra Pereverzeva, Principal Pensacola Symphony Orchestra Helen N. Williams Chair Guild Chair Jose Sunderland Minyoung Cho, Associate Litvak Family Chair Concertmaster Chun-hsin Chang Christian Aldridge Jordan Galvarino Petra Bubanja Juan Jose Gutierrez Edward Charity Paul Hanceri Ken Davis Daniel Martinez Burcu Goker Ryan Snapp Nicholas Hatt Molly Hollingsworth Bass Emily Javarone Taylor Hollyer, Principal Gosia Leska Andrew Chilcote Natasha Marsalli Samuel Dahmer Tania Moldovan Michael Johnson Maeanna Naffe John Palensky Aaron Seiler Roberto Pineda Sarah Yen Ernie Szugyi Enen Yu, Concertmaster, Pensacola Doug Therrien Opera Productions Flute Second Violin Stephanie Riegle, Principal Grace Kim, Principal Bethany Witter Wood Sarah Bossa Gay and Bruce Burrows Chair Juliana Gaviria Sarah Jane Young Ellen Grant Mary Elizabeth Patterson Chair Frances Michaels Joe Ortiguera Piccolo Ayumi Peek Sarah Jane Young Megan Sahely Barbara Withers Oboe Nathan Witter Matt Fossa, Principal Margaret Cracchiolo Viola Bobby and Suzanne Kahn Chair Michael Fernandez, Principal Rebecca Mindock Marion Viccars Chair Asher Kelly Victor Andzulis Brian Brown English Horn Rossana Cauti Margaret Cracchiolo Amaro Dubois Courtney Grant Jim Lichtenberger Daniela Pardo Melissa Peraza Miriam Tellechea

16 | PENSACOLA SYMPHONY ORCHESTRA Clarinet Bass Trombone Richard Jernigan, Principal Wess Hillman Newell Hutchinson Kim Whaley Tuba Melissa Turner Mike Mason, Principal

Eb Clarinet Timpani Newell Hutchinson Laura Noah, Principal

Bass Clarinet Percussion Kim Whaley Jordan Wood, Principal Adam Blackstock Bassoon Matt Greenwood Jeff Keesecker, Principal Pete Krostag Paul W. Runge and Phyllis G. Runge Chair Harp Abigail Walker Katie Ott, Principal Richard Hopkins Rebekah Atkinson Joy Hoffman Kristina Nelson Keyboard Tina Buran, Principal Horn Blake Riley Jacquelyn Adams, Principal Claudio Torres, Jr. M.D. Chair Harpsichord Jodi Graham Wood Hedi Salanki Stuart Kinney Tony Chiarito Artistic Staff James Baker Robin Bonta, Production Manager Jonathan Gannon Molly Hollingsworth, Community Engagement Trumpet Dale Riegle, Personnel Manager Dale Riegle, Principal Emily Stubblefield, Librarian Marea Jo Milner Chair Jonathan Martin Ned and Jan Mayo Chair Tom Savage Mike Huff Timothy Tesh

Trombone Bret Barrow, Principal Dona and Milton Usry Chair Don Snowden Joshua Bledsoe

2021 SEASON | 17 Symphony Hall, Pictured In The 1950s

Instrumental music performances and music study clubs began to appear in The Pensacola during the late 1800s and early 1900s. By 1919, the Pensacola Music Study Club formed and in 1925, John and Louise Northup began hosting History regular music gatherings with friends in their home on the southwest corner of Spring and Gregory Streets (today the of the Pensacola Victorian Bed & Breakfast). In 1926, representatives of the Civic Music Association of America came to Pensacola to sell memberships that PSO gave exclusive access to performances of classical music through a series of concerts featuring national talent. In their initial campaign, they were able to sell 800 memberships for the traveling series at $5 each. The Pensacola Philharmonic Orchestra was first formed in 1926 by

18 | PENSACOLA SYMPHONY ORCHESTRA German immigrant John W. Borjes as time he was also the founder of the a reaction to the visiting concert series. Music Department at the University of Professor Borjes, who studied music West Florida, music director of First at the storied conservatory Leipzig, Presbyterian Church, and also brought recognized the need for Pensacola to together a group of singers that later have an institution of its own that could became the Pensacola Children’s Chorus. develop local talent and also provide In 1997, the Pensacola Symphony access to symphonic music for the entire welcomed Peter Rubardt as its new community. We know from Borjes’ music director. Since that time, Dr. comments that he formed the ensemble Rubardt has played a central role in with a hope “to demonstrate to this increasing the organization’s impact city that it is not necessary to go out of through a wide range of classical, town to get good music.” Having been pops, and community engagement music director of orchestras in New programs. In 2003, Rubardt assisted York’s Shubert Theatre and Memphis’ the orchestra in launching a capital Orpheum Theatre no doubt gave Borjes campaign that grew PSO’s endowment, the requisite experience and credibility provided percussion equipment, added this new venture would need. Members chamber orchestra concerts, boosted of this early ensemble included many musician compensation, and expanded members of the 20-piece Saenger community engagement opportunities. Theatre Concert Orchestra, among others. Their debut performance, a free Now in its 95th season, the PSO concert that took place at Pensacola continues to seek ways to fulfill its High School, was well received as mission of promoting the well-being documented in the local newspaper. of the Greater Pensacola community through excellence in live symphonic From those early years, the Pensacola music and lifelong learning through Philharmonic Orchestra transitioned engaging musical activities. From through a few name changes. Under the the stage, PSO’s goal is to provide baton of Dr. John Venetozzi in the 1950s, the Pensacola community with the organization emerged as the Greater transformative musical experiences Pensacola Symphony Orchestra, its legal through performances with world- name to this day. The Ladies Auxiliary renowned artists. In addition to enlivened of the Orchestra formed in 1956, and performances, PSO’s “Beyond the Stage” later the Pensacola Symphony Orchestra program brings musical experiences to Guild formed in 1973. After a major the Pensacola community in virtual and renovation effort in 1982, the Saenger in-person settings that include schools, Theatre became the concert home of retirement communities, health care the Orchestra while under the direction facilities, and galleries. of Dr. Grier Williams. Dr. Williams led the PSO until 1996. During that

2021 SEASON | 19 SEASON CALENDAR

February 20, 2021 Masterworks – Opening Night!

March 6, 2021 Add-On Concert – Russian Spectacular

March 20, 2021 Masterworks – Beethoven & Blue Jeans

April 24, 2021 Masterworks – Haydn, Symphony No. 94, “Surprise”

May 15, 2021 Masterworks – Mendelssohn, Symphony No. 3, “Scottish”

June 26, 2021 Masterworks – Dvořák, Symphony No. 8

20 | PENSACOLA SYMPHONY ORCHESTRA Cox is a proud supporter of the Pensacola Symphony Orchestra. Good luck on this season.

2021 SEASON | 21 Students at Gulf Breeze Elementary dressed up for the Virtual Education Concert Photo by Lindsey Friar Beyond the Stage Since 1926, musicians in our community have been performing, teaching, and sharing music under the auspices of this orchestra. The legacy of this work creates a solid foundation on which we continue to build. During the past several years, your involvement and generosity have made it possible for the Pensacola Symphony Orchestra to move beyond the stage and join with key community partners in providing meaningful musical experiences during every stage of life. During the pandemic, it became critically important to find new ways to experience music, fostering encouragement, joy, and connections. We look forward to resuming on-site activities with our valued community partners as it is safe to do so, but we gratefully embrace these new opportunities to serve.

VIRTUALLY TOGETHER MOZART MADNESS As the world began to shut down in In October, we gathered 31 musicians, response to the pandemic, and our masked and distanced, on the stage of the musicians were unable to share their Saenger to perform for the first time since talent from the stage, they quickly March 2020. Filmed without audience, adjusted and began sharing music this virtual concert featured Mozart’s from their homes. Through short “Posthorn” Serenade and Stephanie Riegle videos posted online, they presented as the soloist on Mozart’s Flute Concerto. pieces that they enjoyed and were turning to during a challenging time. VIRTUAL FIFTH GRADE CONCERTS You can enjoy the full archive of For more than 40 years, Escambia and these videos on our YouTube page. Santa Rosa County fifth graders have

22 | PENSACOLA SYMPHONY ORCHESTRA enjoyed a field trip to the Saenger Theatre to experience a symphony PARTNERSHIPS performance. When it became apparent that this beloved tradition might Community not be possible this year, your local Artel Gallery teachers and administrators made it Azalea Trace a priority for this generation of fifth graders to experience orchestral music in a new way. Through a compilation Health Care of archival and new footage, we put Covenant Care together a virtual education concert Nemours Children’s Specialty Care that was streamed in classrooms across both counties and enjoyed by students The Studer Family Children’s Hospital learning virtually. Through interviews at Ascension Sacred Heart with musicians along with a selection of music, local students were still able Schools to enjoy their day “with” the symphony. Escambia County School District PSO IN THE PARK Santa Rosa County School District In the fall, hundreds joined us for a University of West Florida Strings series of free, outdoor performances at Museum Plaza in Downtown Pensacola. Featuring small ensembles of Pensacola Symphony Orchestra musicians, these concerts were a wonderful way to experience live music in a socially distanced setting.

SPECIAL THANKS These special opportunities would not have been possible without the assistance of the following people and groups:

Escambia County School District The Musicians of the PSO Dale Riegle Saenger Theatre Santa Rosa County School District The Southern Creative Photo by Bill Mertins University of West Florida Historic Trust WUWF Public Media, 88.1 FM 2021 SEASON | 23 EMERALD COAST Photography Sexton Deanie by photo SMILES BY DESIGN Dr. Stephanie Flynn Tilley 3927 Creighton Road Pensacola, FL 32504 850.479.2525 EmeraldCoastSmiles.com

24 | PENSACOLA SYMPHONY ORCHESTRA 2021 SEASON | 25 Board of Directors

From Left: Kevin Nelson, Charles Beall, Jack Zoesch, and Diane Appleyard The board of directors plays an active role in strategic thinking, financial and legal oversight, and relationship building for the organization. Their vast experience and passion for serving our community through music are essential in addressing the PSO’s challenges and opportunities. Members serve a three-year, renewable term and meet regularly to discuss the direction of the PSO, ensuring that our resources are most effectively allocated toward the fulfillment of our mission.

Charles Beall Tom Bailey Jock Mobley President Barbara O. Bruckmann Peter Mougey Dr. F. Terry Bryan Willis Mullet Jack Zoesch Venesulia Carr Ed Park Vice President Margaret Couch Marte Picker Kevin Nelson Nan DeStafney Trey Poirier Treasurer KC Gartman Stephanie Riegle Diane Appleyard A. Newell Hutchinson Betty Roberts Secretary Tad Ihns Jeff Rogers Ron Jackson Todd H. Snyder Cheryl Knowles Robert W. Turner Teri Levin

Ex officio Peter Rubardt Trisha Woodburn Music Director Guild President

Bret Barrow Sonya Davis Executive Director Advisory Council Co-Chair

26 | PENSACOLA SYMPHONY ORCHESTRA Past Board Presidents

1953–54 Mr. Gene Trader 1992–93 Dr. Philip Payne 1954–58 Mr. George Narber 1993–95 Mrs. Dona Usry 1958–60 Mr. Theo Baars, Jr. 1995–96 Mrs. Joyce Porras 1960–61 Mr. James Lay 1996–97 Mrs. Anne Hart 1961–62 Mr. J. McCarthy Miller 1997–98 Mr. Nelson Johnson 1962 Mr. Paul Emerson (May–Dec) 1998–99 Mr. Robert A. Moore, Jr. 1962–63 Mr. Howard Rein (Dec) 1999–00 Mr. David Sjoberg 1963–64 Mr. W. W. Miller, Jr. 2000–01 RADM William Gureck, 1964–66 Mr. Harry E. Newkirk USN (Ret) 1966–67 Mrs. Marjorie Brown 2001–02 Mrs. Gay M. Burrows 1967–68 Dr. W. W. Miller, Jr. 2002–03 Mrs. Suzanne Kahn 1968–69 Mrs. Philomena Marshall 2003–04 Mr. Ken Cole 1969–70 Mrs. Marjorie Brown 2004–05 Dr. Elizabeth L. Smith 1970–71 Mr. Earl Newton 2005–06 Mr. Robert de Varona 1971–72 Mrs. Erica Wooley 2006–08 Mr. Thomas Bailey 1972–73 Mr. Ed Lake 2008–10 Mr. William Dollarhide 1973–74 Dr. Allen Litvak 2010–12 Mr. Tad Ihns 1974–75 Dr. John Brayton 2012–14 Mr. Roger Webb 1975–76 Dr. Frank Dobinson 2014–16 Mr. Mark Lee 1976–77 Dr. Ken Lea 2016–17 Mrs. Bentina Terry 1977–78 Dr. James Potter 2017–19 Ms. Jessica Lee 1978–79 Dr. Newton Allebach 1979–80 RADM Dean Axene, USN (Ret) 1980–81 Dr. James Potter 1981–82 Dr. Philip Payne 1982–83 Mr. Sam Smith 1983–84 Mr. Arden Anderson 1984–85 CAPT J.H.O’Donnell, Jr., JAGC, USN (Ret) 1985–86 Mr. Robert Emmanuel 1986–87 Mrs. Gail Torres 1987–88 CAPT Edward Boywid, JAGC, USN (Ret) 1988–89 Mrs. Muriel Shugart 1989–90 Mr. Rand Spiwak 1990–91 Mrs. Suzanne Scoggins Riley 1991–92 RADM Richard A. Paddock, USN (Ret)

2021 SEASON | 27 Advisory Council

Formed in 2017, this group of creative thought partners meets quarterly to provide input about our artistic imperatives, audience development, and community engagement. With open discussions and opportunities to engage with our musicians, partners, and staff, Advisory Council meetings provide an important space to evaluate the effectiveness of current programs and influence the future direction of the orchestra.

Nora Bailey Patsy Langhorne Co-Chair Ann Litvak Sonya Davis Don Mason Co-Chair Mary Mason

Lucy Belk Kathy Miller William Belk Katrina Mougey Carol Cooper Anne Patterson Dawn Cooper Suzanne Riley Bradley “Beej” Davis, Jr. Larry Schuffman Bet Ellis Marcia Schuffman Lee Ellis Bob Stumpf Jim George Susie Stumpf Judi George Jonathan Thompson Leslie Ginn Dona Usry Warren Ginn Bradley Vinson Betsy Greer Joe Vinson Suellen Hudson Trisha Woodburn Maryette Huntinghouse Janet Kahn Suzanne Kahn Cathy Kress

If you are interested in learning about how you can become more involved with the Pensacola Symphony, contact Jessica Hyche, Advancement and External Relations, at [email protected] or 850.435.2533 ext. 102.

28 | PENSACOLA SYMPHONY ORCHESTRA 2021 SEASON | 29 Pensacola Symphony Orchestra Guild

The Pensacola Symphony Orchestra Guild is a group of dynamic individuals who are passionate about the Orchestra and its mission. With activities that include the annual Magnolias and White Linen benefit event and monthly luncheons, the Guild has been one of the biggest supporters of the Pensacola Symphony for the last 45 years. Operating as a separate non-profit organization from the PSO, the Guild’s mission is to educate and enrich the community by supporting the Orchestra through volunteer and fundraising efforts such as musician hospitality and music in education support.

Trisha Woodburn President

Lyndi Kessler First Vice President

Sooz Cobb Second Vice President

Ann Mitchell Secretary

Janet Puskar Treasurer

Dona Usry Parliamentarian

30 | PENSACOLA SYMPHONY ORCHESTRA 2020 Magnolias and White Linen Sponsors As the Guild’s largest fundraising event, the annual Magnolias and White Linen Luncheon features entertaining speakers at Skopelos at New World Landing. Last year’s event featured Hutton Wilkinson, visionary designer, author, and president of Tony Duquette, Inc. We appreciate the sponsors, listed below, who helped make this event successful.

Speaker Sponsor Sylvia Ronayne/August Pereira, Jr. Teri Levin Valerie and Ray Russenberger Cheryl P. Saiter Event Sponsor Truist Financial Corp. J. Howell Tiller, M.D., Pensacola Cosmetic Surgery Event Chair Sue-Sue Sherrill Benefactor Robert W. and Gloria B. Turner Event Co-Chairs Suzanne Pfeffle, Gloria Turner Grand Honorary Sponsors Baptist Health Care Chair Emeritus of Magnolias Helen Long Ihns and White Linen The Robert H. Kahn Jr. Constance Crosby Family Foundation Monette Kelly Payne Event Committee Drs. Jim and Nell Potter Bonnie Bedics, Richard Bedics, Sooz Cobb, Sue Flanders, Jo Jones, Gold Sponsors Jane Merrill, Rita Meyer, Marte Picker, CAPT Linda (and CDR Philip, dec) Linda Pallin, Janet Puskar, Balink-White USN (ret) Helen Robson, Melinda Saunders, Constance Crosby Interiors, Inc. Lynne Tobin, Robert Turner, Dona Usry, Becky and Terry Cusick and Ellen Vinson, Trisha Woodburn, Jo and Bill Jones Robin Zimmern Ed and Judy Galbavy Patsy Langhorne and Anne Litvak Additional Support Lazy Daisy Garden Club Bodacious Bookstore Nan Harper, Island Realty Buick GMC Cadillac Pensacola Past Presidents of the Pensacola Classic City Catering Symphony Orchestra Guild Culinary Productions Pensacola Museum of Art Great Southern Restaurants Benjamin Haupt Silver Sponsors Patsy Langhorne Frontier Motors, Inc. Hannah Mascaro Jodee Hart Pensacola Little Theatre Rosilan Leahy Skopelos at New World Landing Lesley Lucas Todd Snyder Pete Moore Automotive Team V Pauls Carolyn Pfeiffer

2021 SEASON | 31 Annual Fund Donors

We are deeply grateful to the following individuals who support our concert season and services to the community through their generous contributions to the Annual Fund. The following is a list of donors through December 15, 2020.

$20,000+ William and Cherrie Rankin Drs. Jim and Nell Potter David Richbourg and Norman Ricks Edwin W. and Teresa H. Rogers And one who wishes to remain Dr. and Mrs. Daniel Ross anonymous

$1,000+ $10,000+ CAPT Linda J. Balink-White, USN (Ret) Diane Appleyard Dr. and Mrs. William W. Belk Mr. and Mrs. Robert Byrnes Dr. F. Terry Bryan Tad and Lisa Ihns Barbara O. Bruckmann Jessica Lee Venesulia Carr Mr. Jock Mobley Franklyn Cutrone Mrs. Garlan Sisco Bradley “Beej” Davis, Jr. Robert W. and Gloria B. Turner Jim and Nan DeStafney Joseph Gilchrist And one who wishes to remain Jim and Judi George anonymous Dr. Jerome E. Gurst Nan Harper Dr. Rick Harper and Dr. Ruth Orth $5,000+ Chris Petro Horak Tom and Nora Bailey Hal and Suellen Hudson Charles Beall Ron and Margaret Jackson Lewis and Belle Bear Renata Jankauskas Carol and Dawn Cooper Carl and Ann Jeffcoat Sandra S. Holman The Sid and Jeannie Kamerman The Robert H. Kahn, Jr. Arts Fund Family Foundation Richard and Shirley Knight Teri Levin Catherine Kress Dr. Carol Law LtCol Walter R. Limbach and RADM $2,500+ Joan M. Engel Dr. and Mrs. Gordon T. Couch Mrs. Ann Litvak Scott and Maryette Huntinghouse Dr. and Mrs. Don Mason A. Newell Hutchinson and Michael and Annie Mazenko H. Dean Brown William A. “Tony” McDonald, M.D. Charles and Janet Kahn Marcia D. Moritz Dr. and Mrs. W.H. Langhorne, II Peter and Katrina Mougey Mark E. Lee and Gary Michaels Kevin and Amy Nelson Mark and Lesley Lucas Christa O’Harrow Marte Picker Gene Nell Olsen

32 | PENSACOLA SYMPHONY ORCHESTRA Mr. and Mrs. P. Michael Patterson Mr. Daniel Grace Diane Peterson Donald and Betsy Greer Trey and Claire Poirier Lt Col Dave and Lyndi Kessler Dr. WIlliam Ribelin Thad L. Kopec Charles and Suzanne Riley Rosilan Leahy Ms. Betty Roberts Michael Lewis Maestro Rubardt and Dr. Hedi Salanki John and Romana Lopez Ben and Anne Riddles Michael and Kathryn McGurk Dr. and Mrs. Larry Sauls Don and Rita Meyer Larry and Marcia Schuffman Ron and Jan (Cavanaugh) Miller Dan and Beth Shugart Donald and Marny Needle Dr. Edward Siegel Alva and Linford Niemeyer Justine Simoni CAPT and Mrs. J. H. O’Donnell, Jr., Joel and Wendy Smith JAGC, USN (Ret) Todd H. Snyder LCDR and Mrs. Paul Orr Nancy and William Stafford Denny and Betty Gail Peters William and Karin Streetman Martha and Tom Richard Mr. and Mrs. Clark Thompson Jimbo and Boo Rogers Paul and Lynne Tobin Gene Rosenbaum Sally and Henry Trimble Tony and Rosalie Rouchon The Honorable and Mrs. C. Stephen Simpson and Tina Tortomase Roger Vinson CAPT and Mrs. Robert E. Stumpf, Dr. William and Beverly Zimmern USN (Ret) Jack and Amy Zoesch Jonathan E. Thompson Gordon and Rose Marie Tyrrell And six who wish to remain Joe and Bradley Vinson anonymous Ken and Karen Wilder Dr. and Mrs. Frank E. Witter Trisha Woodburn $500+ Ken and Elizabeth Woolf Jeff and Lydia Abram Mr. Peter Young LT John and Britany Austin Tyler Barrett And two who wish to remain Frank and Sylvia Beall anonymous Richard L. and Judy Cannon Melvyn and Ruth Carson $250+ Mr. Anthony Chiarito Mr. Paul Blakeburn Dr. and Mrs. Alfred G. Cuzan Elmer Brestan Jim and Sonya Davis Mr. and Mrs. George H. Brinkman Mrs. Patricia R. Dyehouse Linda Buehler Darlene Duffie Randle and Suzanne Carpenter Bet Ellis Charlotte Cheney and Thomas Nancy Fetterman and McGuire Martin E. Roberts, Jr. Ferdinand and Elsbeth de la Fontaine Dr. Jeffrey Comitalo KC and Mike Gartman James Cox Leslie and Warren Ginn

2021 SEASON | 33 Annual Fund Donors Continued Norma S. Crooke and Bernard Dr. Wilson Radding and Dr. Terrie E. Crooke C. Reeves Bill and Margaret Dollarhide Dr. and Mrs. Scott Rickoff Rob and Christina Doss Mrs. Dorothy Robideaux Carl and Linda Ennis Mr. and Mrs. Alan Robinson Howard and Betty Gage Edward G. Rodgers David and Dottie Galloway Robert Ruth Ellen Givens Mr. and Mrs. Charles A. Schuster Richard and Diane Hahner Margaret A. Shimmin Claire Hammett Daniel and Dottie Sluka Ron and Emily Hedgecock Cathy and Mike Stephenson Mr. Leon B. Hirsh Gene Strickland Frederick Hoeschler Dr. and Mrs. Charles Terrell Dr. and Mrs. Finley C. Holmes John and Marilyn Thorpe Lynn Howe Bob Tyler Thomas W. Hutton Jill Warren Cheryl Jackson Dan and Connie Wendleton Jon Johnston Mr. and Mrs. Sy White Bill and Jo Jones Cheryl S. Jones, M.D. And two who wish to remain Laura Ericson and Stephanie Karous anonymous Sharon Kelly Mr. and Mrs. Mark King Stanley Knauff $100+ Jacqueline Lane K W Adkisson Peter and Mary Lee Mrs. J.W. Andress Sue and Joel Levin Brad Austerman Michael Lewis Chalita Baehr Janet Lloyd Mr. and Mrs. Steven J. Baker Mrs. Donald C. Long Linda Barrow Ella Manziek Gayle Baugh Rex McKinney Thomas and Kathleen Beckman Donald McPheron Mr. George Belin Dr. and Mrs. James S. Miller Johnny H. Bell and Sue Tate Bell James Mosko Patricia Bennett Dr. Nan H. Mullins CAPT George Bingham Mr. Donald H. Partington Mary Anne Boutin Mr. and Mrs. P. Lloyd Paul, III Richard and Betty Braddock Monette Kelly Payne James Brady Mr. and Mrs. Bruce M. Phillips William and Sheryl Bragwell Dr. J. Michael Plunkett Wayne Brouillette Allen and Susan Pote Amanda Brown Megan and Jerry Pratt Carol Brown Pat and Donna Quinn Barbara Borik

34 | PENSACOLA SYMPHONY ORCHESTRA Karen Burke Lola and Wylie B. Hogeman Anna W. Campbell Virginia Holland Karl Castro and Jeff Benoit Sarah Holt Ms. Rose F. Castro Mr. and Mrs. R. B. Hooper Dr. and Mrs. Carmen Ciardello CAPT and Mrs. F. P. Hopkins John and Pat Chason Suzanne K. Horton Mr. and Mrs. William H. Clark Ann and Kermit Housh Harry and Gayle Cramer Neil Howard Mr. and Mrs. William W. Danner D. Pat Howe Martha Deen Bob Hutchison Beverly DeJarnette Joe and Barbara Jackson Bertrun Delli Ruth N. Jackson Dr. and Mrs. Richard Doelker Rozanne James Lewis and Joann Doman David R. Johnstone Mrs. Patricia Drlicka Richard Joiner William Earnhart Hilda and Ray Jones Donna Edwards Dorothy Kassis Mr. and Mrs. William Elebash Stephanie Knight Roger and Marilyn Emblen Vivian Krumel Marcia Dean Enquist and Eric Enquist Charles Krupnick David and Jody Falvey Sarah Kuhl Pete and Maryann Federovich Sara B. Langston Mr. Paul Fernandez and Ms. Ms. Paula Ellen Launtz Hunter May Jayme Leclaire Scott and Elly Fisher Chuck Guinn Lewis Dr. and Mrs. Douglas Friedrich Mary Lewis Kimberly Forret John and Gail LeRoy Preston and Kaitlin Forshee Russell Lipoff Dean-o and Susan Fournier David Lorenzo Dr. and Mrs. Matthew B. Ganz Danny Lyons Shanna Garbarino Margaret McGranahan Karen Goldschmidt James and Leah McCreary Howard and Angie Goodpaster Mike and Jeannie McGrath Dr. and Mrs. Richard Grayson Dr. and Mrs. Huey McDaniel Helen and Mark Gup Robert McDonald Roy and Cheryl Hall Randy Jo McKenzie Jean Hamilton Olevia McNally Ms. Josephine Hart Nancy McNelis Mr. and Mrs. Robert D. Hart, Jr. Neil E. McWilliams, Jr. Mary Herron Daniel P. Mentel Dr. Rovena L. Hillsman John and Linda Merting Carolyn Hinton Jeanne Meyer and Bill Clancy Dr. and Mrs. Andrew Hinton Bob and Mary Kay Miller F. Brooks Hodnette, Jr. M.D. John Miller David Hoffman Nancy and Guy Miller

2021 SEASON | 35 Annual Fund Donors Continued Ann and Pat Mitchell William Sloan Mr. Phillip Mortimer and Ms. Leila Hobbs Ralph Smith Charles J. Moshell Marilyn Sonderman Shauna Muhl Carl and Pam Speer Rosemarie Mullen Mary A. Long Startz Tyler and Caitlen Murrell George and Pat Stephenson Tim Neller Stephen and Barbara Tanner Crissy Nettles Mrs. Glenna Taylor Stephen B. Newsome, D.M.D. Dr. Leonard A. Temme Renee and Lawrence Nichols George Thau Bill and Elaine Norman Daniel Thomas Clayton Oelkuct Dr. and Mrs. Daniel J. Thomas Chris and Maureen Orrantia Sue and Charles Thomas Dr. and Mrs. Brett L. Parra Dr. and Mrs. Donald Todd Dian Parsley Dr. Louise Tolbert Alice S. Patterson Phyllis Townley Gene and Chung-Chin Pennello Mailande V. Turner Robert Penrose Dona and Milton Usry Alfred and Holly Picardi Dr. and Mrs. F. Norman Vickers Mary Powell Ms. Tatyana Vlasova Vernalda Powell Gisela R. Vogentanz Mr and Mrs. Amos Lee Prevatt Tom and Deb Wachs Drs. Henry Pruett and Donna Sarah Wagner Jacobi-Pruett Gregory Watson Timothy Purcell Joseph and Dona Wcislo Karin Ransdell The Webber Family Sarah Randolph Virginia C. Wells Mr. and Mrs. John W. Renfroe, Jr. Doug and Paula Werber DeWayne Robideaux Patricia and Carl Wernicke Bob and Faye Robinson Lester Westerman Donald Robinson Tom and Patti Wheeler Joe and Faye Rosenbaum Helen Wigersma Ellen Roston Mike Williams Dr. and Mrs. Robert Rubey Barbara Williamson Cindy Gup Rudolph and Joe Rudolph Sue Wilson Valerie and Ray Russenberger John Wimberly Todd Sanders Barbara Wright John Sarachene Meredith Jones Wolf Scott Schneidewind and Mary Bourdier Robert Yates Pam Schwartz Cole and Erin Yuknis James Sexton Dr. Patrick Shannon And four who wish to remain Harold Shelby anonymous Pauli M. Skomp

36 | PENSACOLA SYMPHONY ORCHESTRA Corporate & Foundation Support

$20,000+ $2,500+ Pensacola Symphony Orchestra Guild Azalea Trace Wind Creek Hospitality Baptist Health Care Beggs and Lane RLLP $10,000+ Cox Communications Avalex Technologies Hancock Whitney Centennial Imports Saltmarsh, Cleaveland and Gund Kia AutoSport of Pensacola Regions Bank $1,000+ Drug Free Workplaces $5,000+ Jewelers Trade Shop Appleyard Family Foundation The Bear Family Foundation $999 and Below Levin, Papantonio, Rafferty, Proctor, Fisher Cabinet Company LLC Buchanan, O’Brien, Barr and Frank Brown International Mougey PA Foundation for Music Melba B. Meyer Charitable Trust NAI Pensacola Commerical Moore, Hill and Westmoreland PA Real Estate The Robert H. Kahn, Jr. Rotary Club of Pensacola Foundation Family Foundation Arts Agencies & Government Support

The Pensacola Symphony Orchestra is funded in part by:

The State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture

Arts, Culture, and Entertainment Inc.

National Endowment for the Arts

2021 SEASON | 37 In-Kind Donors

Artel Gallery Ballinger Publishing Blues Angel Music Cat Country 98.7 and NewsRadio 92.3 FM and 1620 AM and ESPN Pensacola 99.1 FM and 1330 AM CPC Office Technologies Cox Communications Cox Media Culinary Productions | Mike DeSorbo Engaged Audiences Evergreen Marketing Solutions Fioré of Pensacola Fusion Fine Wine and Spirits Great Southern Restaurants Hilton Garden Inn – Pensacola Airport/ Medical Center Independent News Jeff Jordan Audio Services Pensacola News Journal Marte Picker Saltmarsh, Cleaveland and Gund Schmidt’s Music Solé Inn and Suites The Southern Creative The University of West Florida University of West Florida Historic Trust Roger and Ellen Vinson WEAR ABC 3 WKRG News 5 WUWF Public Media, 88.1 FM

38 | PENSACOLA SYMPHONY ORCHESTRA Stability Fund

As the potential scope of COVID-19’s financial impact became apparent, PSO’s board of directors moved to establish a Stability Fund to steady the operations of the Pensacola Symphony and the programs of Beyond the Stage during an uncertain time. With a goal of raising $200,000 this season, the fund ensures that we will continue to create and share music in new ways while simultaneously allowing for the necessary planning to emerge from this period on strong footing.

We are grateful to the following donors who have contributed to the Stability Fund as of January 25, 2021:

Appleyard Family Foundation Mr. and Mrs. Michael J. Mazenko

Tom and Nora Bailey Ron and Jan (Cavanaugh) Miller

Charles Beall Diane Peterson

Dr. F. Terry Bryan Marte Picker

Venesulia Carr David Richbourg

Cox Communications Maestro Rubardt and Dr. Hedi Salanki

Carl and Linda Ennis The Sansing Foundation

Bill and Connie Greenhut Mrs. Garlan Sisco

Charles and Janet Kahn The Studer Foundation

Kia AutoSport of Pensacola VADM and Mrs. Jerry Unruh in honor of Pensacola Children’s Chorus Thad L. Kopec and Mr. and Mrs. Alex Gartner

Catherine Kress And three who wish to remain anonymous Mark E. Lee and Gary Michaels

John and Romana Lopez

For more information about the Stability Fund and how you can contribute, contact Jessica Hyche, Advancement and External Relations, at [email protected] or 850.435.2533 ext. 102.

2021 SEASON | 39 Transformative Experiences Gifts to the Annual Fund are an invaluable part of the continuation of the organization’s mission, but there are certain gifts that elevate the experience that the orchestra can bring to our community. With a visionary spirit, donors can support the appearance of world-class guest artists on the Saenger stage and special events that expand the reach of the orchestra.

We would like to recognize and thank the following donors who have invested in transformational artistic experiences as of November 30, 2020:

Ovation: A Fund for Historic Artists Tom and Nora Bailey Carol and Dawn Cooper Dr. Jean-Ellen Giblin and Mr. Jerome Gordon The Robert H. Kahn, Jr. Family Foundation Marte Picker

And one who wishes to remain anonymous

Robert and Gloria Turner Fund for Special Music Robert W. and Gloria B. Turner

For information about how you can become involved, contact Jessica Hyche, Advancement and External Relations, at [email protected] or 850.435.2533 ext. 102.

40 | PENSACOLA SYMPHONY ORCHESTRA Honorariums & Memorials

HONORARIUMS In honor of Diane Appleyard In honor of Suzanne Kahn’s Birthday Carol Thomas Dr. and Mrs. Allen L. Litvak, Sr. Mrs. Donald Long In honor of Beyond the Stage Robert W. and Gloria B. Turner Hal and Suellen Hudson In honor of Richard Jernigan In honor of Bret Barrow Mr. and Mrs. P. Michael Patterson Maestro Peter Rubardt and Dr. Hedi Salanki In honor of Dr. Angela Ziebarth Gene Strickland In honor of George Dmytrenko and Blair Clark Dr. Rick Harper and Dr. Ruth Orth

MEMORIALS In memory of Admiral Mom and In memory of William Jackson Admiral Dad Corbett Dan and Beth Shugart Ben and Anne Riddles

In memory of Commander Philip A. In memory of Franklyn Cutrone Balink-White, MBE, Royal Navy Tom and Nora Bailey CAPT Linda J. Balink-White, USN Rosilan Leahy (Ret) Alfred and Holly Picardi

In memory of David Barrow In memory of Patsy (Patty) Ann Dyer Linda Barrow Davidson Pensacola Symphony Orchestra In memory of Joann Bingham Guild CAPT George Bingham In memory of Daniel Eric Doelker In memory of Dr. Bill Calvert Dr. and Mrs. Richard Doelker Mrs. Patricia Drlicka

In memory of Carolyn Carson Gene and Chung-Chin Pennello

2021 SEASON | 41 Honorariums & Memorials

In memory of William “Bill” Dollarhide In memory of Dr. Allen L. Litvak, Sr. Barbara O. Bruckmann Dick and Laverne Baker Linda and Jamie Foshee Mr. and Mrs. Ellis Bullock Elizabeth and Denis Hudlett Mrs. Patricia Drlicka The Robert H. Kahn, Jr. Family David and LeAyn Dunbar Foundation Mr. and Mrs. William Elebash Mary S. Robinson Carol Fry and Gary Long Ken and Elizabeth Woolf David and Dottie Galloway Helen and Mark Gup In memory of Dr. Albert Drlicka Mr. and Mrs. Robert D. Hart, Jr. Mrs. Patricia Drlicka Tim and Kelly Heindl Nancy Hirsch In memory of Family Dr. and Mrs. Finley Mike and Jeannie McGrath Holmes and Family Hal and Suellen Hudson In memory of Dr. Inge Holman The Robert H. Kahn, Jr. Sandra S. Holman Family Foundation Litvak, Beasley, Wilson and Ball LLP In memory of Finley C. Holmes, Jr. James and Leah McCreary Dr. and Mrs. James S. Miller John Merting Dr. and Mrs. James S. Miller In memory of Martha Ann Hunter Stephen B. Newsome, D.M.D. Pensacola Symphony Orchestra Dr. and Mrs. Brett L. Parra Guild Dr. and Mrs. Amos Prevatt Susan Ragan In memory of Ben and Rose Johns Edwin R. and Teresa H. Rogers Jerry Johns Cindy Gup Rudolph and Joe Rudolph In memory of Albert L. Johnson Dr. and Mrs. Robert Rubey Martha Deen Scott Schneidewind and Mary Bourdier In memory of Colleen M. Jones Arnold Seligman Rosemarie Mullen Donald and Mary Todd Mr. and Mrs. Edgar Turner In memory of James Henry Lane Robert W. and Gloria B. Turner Jacqueline Lane Thomas and Catherine Williams Woodfin Cabassa Orthodontics PA Ken and Elizabeth Woolf Dr. William and Beverly Zimmern

42 | PENSACOLA SYMPHONY ORCHESTRA In memory of John and Anne Lett In memory of Ida Siegel Anonymous Dr. Edward Siegel

In memory of Joanne and Donna In memory of A.B. Sisco Mentel Mrs. Garlan Sisco Daniel P. Mentel In memory of Douglas Vick In memory of George Milner Richard and Shirley Knight Michael and Kathryn McGurk In memory of William Vinci In memory of C. Dian Moore Frances Vinci Dr. and Mrs. Matthew B. Ganz Helen Long Ihns In memory of Patrick and Ellen Jane The Robert H. Kahn, Jr. Watson Family Foundation The Honorable and Mrs. C. Roger Mr. and Mrs. P. Lloyd Paul, III Vinson Pensacola Symphony Orchestra Guild In memory of Johanna Winkler The Tiller Family Christa O’Harrow

In memory of Chuck and C. Dian Moore Dona and Milton Usry

In memory of RADM and Mrs. Richard A. Paddock CAPT and Mrs. Robert E. Stumpf, USN (Ret)

In memory of Dr. and Mrs. Nat Rickoff Dr. and Mrs. Scott Rickoff

In memory of Norman Ricks Robert W. and Gloria B. Turner

In memory of Clarita “Keets” Rivers Mr. and Mrs. Clark Thompson

In memory of Herman Rolfs, M.D. Richard and Shirley Knight

2021 SEASON | 43 Lifetime Giving

These individual donors have generously contributed $25,000 or more to the Symphony during their lifetimes. We are grateful for their enduring support through the years.

Diane Appleyard The Robert H. Kahn, Jr. Family Tom and Nora Bailey Foundation Hilda B. Kahn and Doris Jean Kahn James H. Baroco Foundation, Inc. Ensembles in the Schools Fund The Bear Family Foundation Dr. and Mrs. William Henry Langhorne Bobby and Suzanne Kahn Mary Elizabeth Patterson Flute Chair Oboe Chair In Memory of Mary Elizabeth Lewis and Belle Bear Patterson Johnny H. Bell and Sue Tate Bell Jessica Lee Mr. and Mrs. Robert Byrnes Mark E. Lee and Gary Michaels Gay and Bruce Burrows Teri Levin Gay and Bruce Burrows Flute Chair Ann G. Litvak and Allen L. Litvak Mr. and Mrs. John S. Carr Litvak Family Cello Chair Mr. and Mrs. Kenneth E. Cole Mark and Lesley Lucas Ensembles in the Schools Fund James J. Marks Foundation Dr. and Mrs. Gordon T. Couch Ned and Janet Mayo Norma S. Crooke and Bernard Ned and Janet Mayo Trumpet Chair E. Crooke Mr. George A. Milner M. Blair Clark and George Dmytrenko Mr. Jock Mobley Bill and Margaret Dollarhide Mr. and Mrs. Eric J. Nickelsen Anna and Seymour Gitenstein Pensacola Symphony Orchestra Guild Jean-Ellen Giblin and Jerome Gordon Diane Peterson Bill and Connie Greenhut Drs. Jim and Nell Potter L. Keith and Linda E. Gregory Nell and James Potter Fund RADM, USN (Ret) and Mrs. William Dr. and Mrs. Daniel Ross Gureck Maestro Rubardt and Dr. Hedi Salanki Mr. and Mrs. Robert D. Hart, Jr. Paul and Phyllis Runge In memory of R. Daniel Hart Paul W. Runge and Phyllis G. Runge R.K. “Skip” and Martha Ann Hunter Principal Bassoon Chair Helen Long Ihns Russenberger Foundation Tad and Lisa Ihns Russenberger Foundation Fund for Strings

44 | PENSACOLA SYMPHONY ORCHESTRA William and Mary Smart Ken and Elizabeth Woolf William and Mary Smart Fund Marion Viccars Craig and Carolyn Smith Marion Viccars Viola Chair Bentina and Antonio Terry Helen N. Williams Paul and Lynne Tobin Helen N. Williams Cello Chair Robert W. Turner and Gloria B. Turner Robert and Gloria Turner Fund for And four who wish to remain Special Music anonymous Dona and Milton Usry Dona and Milton Usry Trombone Chair

We have recently changed the formatting of this recognition. If you have inadvertently been omitted, please accept our sincere apologies and contact us at [email protected] or 850.435.2533 so that you may be listed in future publications.

Legacy Society Planned Gifts to Pensacola Symphony Orchestra Legacy Society

BGen Joseph P. Adams, USMC Ann G. Litvak and Allen L. Litvak Margaret S. Allred Marea Jo Milner Tom and Nora Bailey Marveen C. Pakalik Gay and Bruce Burrows Harriett Rosasco Ken and Marsha Cole Paul and Phyllis Runge Carol and Dawn Cooper Robert W. Turner and Gloria B. Turner Norma S. and Bernard E. Crooke Milton and Dona Usry Mr. and Mrs. Robert D. Hart, Jr. Robert H. Kahn, Jr. And one who wished to remain anonymous Dr. and Mrs. William Henry Langhorne

2021 SEASON | 45 Additional Ways to Give

Looking for an opportunity to help further the mission of the Pensacola Symphony Orchestra? There are numerous ways to give that advance the goals of the orchestra while providing meaningful benefits for you and your family.

IRA Charitable Rollovers (Qualified Charitable Distributions or QCDs)

IRA charitable giving is a way you can transfer funds from your IRA directly to the orchestra while realizing some important tax benefits. If you were 70½ or older before December 31, 2019 or turned 72 or older after December 31, 2019 and own an IRA, you can reduce your taxable income and may lower your taxable Social Security (from your IRA withdrawals). Additional Benefits of an IRA Charitable Rollover

• Avoid taxes on transfers of up to $100,000 annually • Satisfy your required minimum distribution (RMD) for the year • Help avoid thresholds for net investment income tax or phaseout range for itemized deductions *401(k), 403(b), SEP IRA accounts, and other retirement accounts do not qualify. *Organizations not currently eligible are certain private foundations and donor advised funds

Legacy Gifts

Most of us would like to leave a lasting legacy – to feel we have made a contribution that will benefit future generations. Those who are most devoted to Pensacola and live symphonic music can help guarantee the future of both – through bequests, trusts, and other planned gifts.

By naming the Pensacola Symphony Orchestra as a beneficiary in your will or by making other planned gifts, you ensure the Symphony’s long-term vitality while possibly realizing significant tax advantages for yourself and your loved ones.

The Symphony always recommends that you consult your tax professional for the most up-to-date and personalized information about giving benefits.

46 | PENSACOLA SYMPHONY ORCHESTRA TRANSFORMING BAPTIST for the FUTURE BAPTIST HEALTH CARE TRANSFORMING FOR THE FUTURE. Guided by our Mission of helping people throughout life’s journey, we are transforming to better care for our community. From our new urgent care/emergency department now open in Navarre to our new main hospital at the southwest corner of the intersection of Brent Lane and I-110 in Pensacola, we continuously explore innovative ways to best serve the people of Northwest Florida and South Alabama now and for many generations to come.

Baptist Hospital / Gulf Breeze Hospital / Jay Hospital / Andrews Institute / Lakeview Center Baptist Medical Park – Airport / Baptist Medical Park – Nine Mile / Baptist Medical Park – Navarre Baptist Medical Park – Pace / Baptist Medical Group / Baptist Heart & Vascular Institute

eBAPTISTHEALTHCARE.ORG

Wess Hillman Tony Chiarito Maeanna Naffe Tom Savage Kim Whaley Don Snowden Bass Trombone Horn Violin Trumpet Clarinet Trombone

What do all of these outstanding PSO musicians have in common? They are also the faces of public school music! We are proud to support the PSO, and all of our local

Richard Jernigan teachers who are sharing the joy of music Peter Krostag Percussion Clarinet with the next generation. Schmidt’s Music — Where It All Begins www.schmidtsmusic.com Downtown Pensacola (850) 434-0317

2021 SEASON | 47 Attorneys & Counsellors Since 1883

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48 | PENSACOLA SYMPHONY ORCHESTRA Wanna play? Get your favorite NPR programs as well as local news and music. Tell your smart speaker to “Play WUWF.”

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2021 SEASON | 49 Opening Night! Masterworks Series Presented by Wind Creek Hospitality

Saturday, February 20, 2021

Peter Rubardt, Conductor Jennifer Frautschi, Violin

Aaron Copland Appalachian Spring (Ballet for Martha): (1900 – 1990) Suite for 13 Instruments

Johannes Brahms Violin Concerto in D Major, Op. 77 (1833 – 1897) I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace

Featuring Jennifer Frautschi, Violin

The program will be performed without intermission.

Piano Provided By: Blues Angel Music

Media Sponsors: WEAR ABC 3, WKRG News 5, Cox Media, Cat Country 98.7 FM, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF Public Media, 88.1 FM

Official Automobile Sponsor: Centennial Imports

Official Hotel Sponsor: Solé Inn and Suites

Guest Artist Accommodations Provided By: Hilton Garden Inn

50 | PENSACOLA SYMPHONY ORCHESTRA Mostly Mozart Festival. Highlights of recent seasons include performances with Cincinnati Symphony Orchestra, Minnesota Orchestra, St. Paul Chamber Orchestra, Boston and Buffalo Philharmonics, and Orchestra of the Teatro di San Carlo Opera House, and the Eugene, Jacksonville, Milwaukee, New Jersey, Tucson, and Utah Symphonies.

Selected by Carnegie Hall for its Distinctive Debuts series, she made her New York recital debut in Weill Hall; and as part of the European Concert Hall Organization’s Rising Stars series, debuted at ten of Europe’s most celebrated concert venues.

Frautschi performs regularly at Caramoor Photo Lisa-Marie Mazucco by Center for the Arts, where she was first invited by André Previn as a “Rising Star” at the age Jennifer of 18, during her freshman year at Harvard. As a chamber artist she has appeared at the Frautschi Spoleto USA Chamber Music Festival, Bravo! Violin Vail, Chamber Music Northwest, La Jolla Summerfest, and Music@Menlo. She has also performed at the Library of Congress, New Two-time Grammy nominee and Avery Fisher York’s Metropolitan and Guggenheim Museums career grant recipient Jennifer Frautschi has of Art, the 92nd Street Y, Philadelphia Chamber garnered worldwide acclaim as a musically Music Society, and Mainly Mozart in San Diego. adventurous violinist with a wide-ranging repertoire. As the Chicago Tribune noted, Born in Pasadena, California, Frautschi began “violinist Jennifer Frautschi is molding a studying violin at age 3. She was a student career with smart interpretations of both of Robert Lipsett at the Colburn School for warhorses and rarities.” Equally at home in the Performing Arts in Los Angeles. She also the classic and contemporary repertoire, her attended Harvard, New England Conservatory recent seasons have featured innumerable of Music, and The Juilliard School, where she performances and recordings of works ranging studied with Robert Mann. She currently from Brahms and Schumann to Berg and teaches violin in the graduate program at Schoenberg. She has also had the privilege Stony Brook University. She performs on of premiering several new works composed a 1722 Antonio Stradivarius violin known for her by prominent composers of today. as the “ex-Cadiz,” on generous loan to her from a private American foundation with Frautschi has appeared as soloist with Pierre support from Rare Violins in Consortium. Boulez and Los Angeles Philharmonic, Christoph Eschenbach and Chicago Jennifer Frautschi appears by arrangement Symphony Orchestra at the Ravinia Festival, with Arts Management Group Inc. and at Wigmore Hall and Lincoln Center’s

2021 SEASON | 51 Opening Night!

Aaron Copland as though Copland had taken to heart Appalachian Spring (Ballet for Thoreau’s urgings to “Simplify, simplify!” Martha): Suite for 13 Instruments In works like El Sálon México, Billy the Kid, Fanfare for the Common Man, Rodeo, Aaron Copland was born on November 14, and his opera The Tender Land, Copland 1900 in Brooklyn, New York and died on spoke in a musical language both learned December 2, 1990 in North Tarrytown, and vernacular at the same time. His New York. Appalachian Spring was written musical dialect permeated his works for in 1943 – 44 on commission from the the concert hall as well as for the stage and Elizabeth Sprague Coolidge Foundation. screen; it could be said that Copland was It was first performed at the Library the first composer to “speak American.” of Congress on October 30, 1944. The work is scored for flute, clarinet, bassoon, In 1942, the pioneering dancer and piano, and nine string instruments. choreographer Martha Graham commissioned Copland to write a ballet “If a gifted young man can write a score, stipulating only that it be on an symphony like this at age 23, within five American theme. While composing the years he will be ready to commit murder.” music, Copland gave it the working title Ballet for Martha, but had no specific It almost sounds like a quote about scenario in mind. Graham suggested the Beethoven or Mahler, perhaps Schoenberg title largely because of Copland’s use of or Stravinsky. This quote, too, is surprising: the Shaker hymn Simple Gifts, which conductor Walter Damrosch uttered concludes the ballet. In later years, Copland these words about the young Aaron admitted that he chuckled at the well- Copland. Copland began his career as an meaning listeners who told him how well unashamed modernist, influenced by such the piece captured the pioneer spirit of avant-garde heavy hitters as Prokofiev, Appalachia, even though he was thinking Bartók, and Stravinsky. Jazz influences of nothing of the sort when he wrote it. abound in his earlier works, like his Piano Concerto and Music for the Theater. Originally written for just 13 instruments, Copland later extracted Over time, Copland began listening to a suite from the ballet for concert other voices as well – American folk use. He was later persuaded by the and popular music from both past and conductor Artur Rodzínski to arrange present and from South America as well the suite for full symphony orchestra. as North. As Copland absorbed these new sounds into his musical vocabulary, Appalachian Spring begins in sweet the simplicity of American folk songs serenity, with the clarinet rising out of a fused with the modernist techniques silvery string background. This peaceful Copland had learned in Europe. The result meditation is interrupted by vigorous, was a spare but communicative style, stomping arpeggios in the strings that both immediate and intellectual. It was then pass through the entire orchestra. The 52 | PENSACOLA SYMPHONY ORCHESTRA suite is a seamless fusion of the evocative unfeeling conventions of society. Just as music of American hymns and dances the voice of the individual roars defiantly with the musical language of Debussy, to be heard above the crowd, so, too, Ravel, and Stravinsky, with its exotic does the violin soloist strain his or her harmonies and asymmetrical rhythms. instrument to its limits to project above the clamoring of a symphony orchestra. Lyrical meditations and lively barn dances lead to the final section of the From Mendelssohn’s iconic concerto suite, with the hymn Simple Gifts as its through 20th-century works as disparate cornerstone. Copland draws upon the as those of Samuel Barber and Alban simplicity of the Shaker tune to evoke both Berg, this struggle can take on epic calm and activity. A serene solo clarinet proportions, casting the violin in the role first sings this hymn with sparse string of the lonely and perhaps misunderstood accompaniment. A series of variations protagonist who asserts herself in passages follows, presenting the hymn in different of knuckle-busting virtuoso display, colors and speeds, concluding with a testing the mettle of both instrument and grand statement of the tune by the full instrumentalist. One might even consider ensemble. After this grandiose climax, that in some concertos the soloist is the gentle hymn-like textures gradually opposed by Nature itself – it’s not difficult fade away, leaving the clarinet to lead to hear the finale of the Sibelius violin us into serenity and, finally, silence. concerto as an epic pursuit, the soloist being chased across a freezing tundra lit only by the Northern Lights, a pack of Johannes Brahms ravenous wolves snapping at his heels. Violin Concerto in D Major, Op. 77 The violin concerto of Johannes Brahms Johannes Brahms was born May 7, 1833 in is cut from a different cloth. While no Hamburg, Germany and died April 3, 1897 violinist would deny that the concerto is in Vienna. He composed the Violin Concerto ferociously difficult to play, not to mention during the summer of 1878 in Pörtschach, exhausting (a typical performance lasts Austria. The concerto’s first performance was more than 40 minutes), any virtuoso given on January 1, 1879 with Joseph Joachim display in the work derives its necessity as the soloist and the composer conducting from the musical argument. The orchestra the Leipzig Gewandhaus Orchestra. The is far more than mere accompaniment, work is scored for solo violin, pairs of flutes, it is an active partner in the musical oboes, clarinets and bassoons, four horns, discourse. It is a concerto of integration two trumpets, timpani, and strings. rather than of opposition, of unity rather than division, of voices intertwined for It is easy to see the Romantic violin the purpose of creating timeless beauty. concerto as the perfect expression of the Romantic notion of the creative This unity of purpose may stem from individual versus the immovable and the two creative personalities involved in

2021 SEASON | 53 Opening Night!

the work’s inception, Johannes Brahms Carinthia in southern Austria, where he and his lifelong friend, the Hungarian had written the vibrant and sunny Second violinist Joseph Joachim. They first Symphony during the previous summer. met in 1853, though Brahms later told Brahms found the setting stimulating to his friend that he had heard him play his creativity; he wrote to the Viennese the Beethoven concerto several years critic Eduard Hanslick “There are so many previously and had been enraptured by melodies flying about (at Pörtschach) one his performance. Joachim’s repertoire was must be careful not to step on them.” grounded in the “Classics” – Beethoven, Schubert, Schumann, Mendelssohn – and Brahms wrote the bulk of the concerto he eschewed virtuosity for its own sake. at Pörtschach, cleaning up minor details In Brahms, he discovered a kindred spirit and completing the orchestration that whose aesthetic mirrored his own. fall in Vienna. The premiere performance was given in Leipzig on New Year’s While Brahms had a long association Day of 1879, with Joachim as the with the violin (he had been the pianist soloist and the composer conducting for several recitals and concert tours the Leipzig Gewandhaus Orchestra. with the violinist Ede Reményi), he felt The performance survived two wardrobe inadequate to the task of writing a major mishaps on the part of the composer – work for his friend Joachim. He even he had forgotten his formal dress pants postponed writing the concerto for a and had to conduct in a pair of regular decade or more, fearing to overshadow grey trousers, and evidently a pair of Joachim’s own compositions. Once he did ill-fitting suspenders left him looking start work, Brahms consulted Joachim something less than sartorially splendid. frequently on matters of the instrument’s technique and sound. Brahms’ trust in The first performance earned only grudging Joachim was so great that he reverted to applause; it was thought that the work’s the 18th-century practice of allowing the length and lack of flashy virtuosity did performer to create his or her own cadenza, not endear it to either audiences or critics, the unaccompanied passage for the solo though both soloist and concerto received instrument found at the end of each greater acclaim at the Vienna premiere. movement. Since Mendelssohn’s concerto, Other violinists felt it lacked the virtuoso composers had written out the cadenzas flair they felt they needed. The great for the performer, but Brahms felt Joachim Spanish violinist Pablo de Sarasate never would make a better job of it. Performers played the work because, in his words, he today usually learn and perform Joachim’s wasn’t going to “stand on the platform, cadenzas, though others have taken up violin in hand, to listen to the oboe play the challenge of creating their own. the only tune in the whole work.” The conductor Hans von Bülow said that it Brahms started work on the concerto was a concerto “for the violin against the in the summer of 1878 at his favorite orchestra.” Despite the initial resistance, summer hideaway of Pörtschach in this seemingly unlovable concerto has

54 | PENSACOLA SYMPHONY ORCHESTRA taken its place beside Beethoven’s Concerto the other movements, the soloist both as one of the great violin masterpieces. leads and follows, sometimes singing the principal melodic material, at other The work is in the Classical three- times weaving tendrils of counterpoint movement concerto form, but the around the orchestra. The high spirits proportions of each movement are greatly of the opening prevail throughout, and expanded from the concertos of Bach after a brief cadenza the meter changes or Mozart. The first movement is an from 2/4 to 6/8. Soloist and orchestra epic construction, with a full orchestral joyfully scamper to the end, where a introduction highlighting two of the rallentando and diminuendo serve as principal themes of the movement. The Brahms’ final bit of humor before the opening theme begins in unison, quietly three majestic chords that bring this singing in violas and cellos, then builds epic concerto to a noble conclusion. in energy until it blazes forth in the full orchestra. While the soloist’s first — David Cole entry storms in with fiery octaves, this conflict is brief and leads to the solo violin’s calm and lyrical statement of the opening theme. A waltz-like second theme plays a vital part in the first movement’s discussion, and the majority of the movement delights in the warm interplay between soloist and orchestra.

A serene solo oboe begins the Adagio, floating over the rest of the orchestra on a simple but enchanting melody. As the movement progresses, the violin solo weaves beautifully sculpted arabesques around the woodwinds, occasionally playing with romantic ardor, but with few other disturbances to the gentle lyricism of the movement.

Brahms’ finale (Allegro giocoso, ma non troppo vivace) pays tribute to Joachim’s Hungarian ancestry, and, perhaps, with a little nostalgia for the Gypsy-like music Brahms used to play with Ede Reményi many years before. The soloist starts the dancing with a vigorous theme of capricious double stops. As in

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56 | PENSACOLA SYMPHONY ORCHESTRA 100 | PEnsacola symPhony orchEstra 2021 SEASON | 57 Russian Spectacular Saturday, March 6, 2021

Peter Rubardt, Conductor Jeffrey Biegel, Piano

Sergei Prokofiev Symphony No. 1 in D Major, Op. 25, “Classical” (1891 – 1953) I. Allegro II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace

Peter Ilyich Tchaikovsky Piano Concerto No. 1 in B Minor, Op. 23 (1840 – 1893) I. Allegro non troppo e molto maestoso – Allegro con spirito II. Andantino semplice – Prestissimo III. Allegro con fuoco

Featuring Jeffrey Biegel, Piano

The program will be performed without intermission.

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58 | PENSACOLA SYMPHONY ORCHESTRA Symphony Orchestra, Stuart Malina conducting. In 2019 Grammy-winning composer Dick Tunney unveiled the new Peanuts Concerto for Piano and Orchestra based on music by Vince Guaraldi for its world premiere with Orchestra Kentucky and Biegel.

Equally championing pop music icons, Biegel has brought Jimmy Webb’s Nocturne for Piano and Orchestra to the public along with P.D.Q. Bach’s Concerto for Simply Grand Piano and Orchestra by Peter Schickele with the Colorado Symphony Orchestra. The first solo digital Photo Jerry by LoFaro recordings on Biegel’s Naturally Sharp label were released and upcoming plans include Jeffrey Biegel world-premiere performances of Daniel Perttu’s Piano A Planets Odyssey, Jim Stephenson’s first piano concerto, and Farhad Poupel’s Legend of Bijan Until the age of 3, Jeffrey Biegel could neither and Manijeh. In tribute to the late Justice hear nor speak, until corrected by surgery. The Ruth Bader Ginsburg, Biegel has created a “reverse Beethoven” phenomenon explains project for vocalist/narrator, piano, and small his life in music, having heard only vibrations orchestral ensemble. The work will be composed in his formative years. Since 1999, Biegel has by Pulitzer Prize-winning composer Ellen commissioned 10 composers to bring new Taaffe Zwilich and will feature the respected music for piano and orchestra to the repertoire. mezzo-soprano Denyce Graves. Biegel is On February 10, 2019, Kenneth Fuchs’s currently organizing the Rhapsody in Red, Piano Concerto: Spiritualist with the London White, & Blue project for a planned 50-state Symphony Orchestra led by JoAnn Falletta and, perhaps, global project post-pandemic. garnered a Grammy win in the Best Classical This will coincide with centennial celebrations Compendium category, featuring Biegel as its for George Gershwin’s Rhapsody in Blue. soloist. Considered the most prolific artist of his generation, Biegel was awarded an Honorary An avid composer, Biegel’s choral music is Doctorate of Humane Letters from Moravian published by the Hal Leonard Corporation, College in Bethlehem, Pennsylvania, for his Carl Fischer, Porfiri and Horvath, and LeDor achievements in performance, recordings, and Group. Leonard Bernstein said of pianist chamber music, recognizing his work as a Jeffrey Biegel: “He played fantastic Liszt. He is champion of new music, composer, arranger, a splendid musician and a brilliant performer.” and educator. Among his recent recordings These comments launched Biegel’s 1986 New and performances, Biegel performed the world York recital debut, as the third recipient of premiere of Giovanni Allevi’s Concerto for the Juilliard William Petschek Piano Debut Piano and Orchestra with Orchestra Kentucky Award in Lincoln Center’s Alice Tully Hall. and in Milan’s Teatro dal Verme, recording He studied at The Juilliard School with Adele with Orchestra Sinfonica Italiana. During Marcus, herself a pupil of Josef Lhevinne and 2018 he performed the world premiere of Artur Schnabel, and is currently on faculty at Christopher Theofanidis’s Concerto No. 2 the Conservatory of Music at Brooklyn College, for Piano and Orchestra with the Harrisburg a City University of New York (CUNY). 2021 SEASON | 59 Russian Spectacular

Sergei Prokofiev the turn of the 20th century. He might be Symphony No. 1 in D Major, the last composer you would connect to Op. 25, “Classical” any kind of classical order and balance.

Sergei Sergeyevich Prokofiev was born in Yet in the summer of 1917, with the rest Sontsivka, Ukraine on April 27, 1891 and of Russia in the throes of revolution, died in Moscow on March 5, 1953 on the Prokofiev retreated to a dacha outside same day as the death of Joseph Stalin. The Petrograd to write a symphony of a very Symphony No. 1 was written in 1917 and different character from his previous was given its first performance on April music. He had been studying with Nikolai 21, 1918 in Petrograd with the composer Tcherepnin (1873 – 1945) at the St. conducting. The work is scored for pairs of Petersburg Conservatory, and Tcherepnin flutes, oboes, clarinets, bassoons, horns and immersed Prokofiev in the works of Haydn trumpets, along with timpani, and strings. and Mozart, with an emphasis upon the musical structures found in the symphonic Imagine buying concert tickets to hear movements of those two Classical masters. the glam-rock influenced band KISS. The warm-up band has raised the excitement Prokofiev later wrote about the gestation in the arena to a fever pitch, and you’re of the “Classical” Symphony: eagerly anticipating Paul, Gene, Peter, and Ace strutting onstage in their full “The idea occurred to me to compose an regalia, jumping and cavorting through entire symphonic work without the piano. a full salvo of onstage ordnance. The Composed in this fashion, the orchestral lights dim, the spotlight swings to center colors would, of necessity, be clearer and stage, and… the band walks calmly cleaner. Thus the plan of a symphony in onstage wearing no makeup, business Haydnesque style originated, since, as suits, and conservative neckties. a result of my studies in Tcherepnin’s classes, Haydn’s technique had somehow This highly implausible scenario is become especially clear to me, and with designed to give you some idea of what such intimate understanding it was it might have been like for the first much easier to plunge into the dangerous audience of Sergei Prokofiev’s “Classical” flood without a piano. It seemed to me Symphony, technically his Symphony that, were he alive today, Haydn, while No. 1. As someone whose music tended retaining his style of composition, would to cause riots among the audience (both have appropriated something from the his First and Second piano concertos) modern. Such a symphony I now wanted to and was sometimes so avant-garde that compose: a symphony in the classic manner.” even his own teachers walked out of performances (Alexander Glazunov, at The first movement’s opening would the first performance of the Scythian barely surprise Haydn or Mozart at Suite), Prokofiev had built a reputation all – the opening arpeggio could easily for being the bad boy of Russian music at be a modern take on the “Mannheim 60 | PENSACOLA SYMPHONY ORCHESTRA rocket” (a quick upward arpeggio) that Peter Ilyich opened many Classical symphonies. Tchaikovsky The movement follows Classical sonata Piano Concerto No. 1 form, but with jokes fully worthy of Papa in Bb Minor, Op. 23 Haydn: harmonic slights of hand, sudden shifts in volume, and a development Peter Ilyich Tchaikovsky was born in Votkinsk section that seems just about ready to in the Russian Empire on May 7, 1840 and dissolve into complete chaos before the died on November 6, 1893 in St. Petersburg, first theme returns to restore order. Russia. The Piano Concerto No. 1 in Bb minor was written in 1875, with further revisions The slow movement’s serene opening in 1879 and 1888. The work was given its melody floats in the violins above a stately first performance in Boston on October 25, accompaniment. A contrasting middle 1875 with Hans von Bülow as soloist and section builds over quiet staccato in the Benjamin Johnson Lang conducting the strings and bassoon and then becomes orchestra of the Harvard Musical Society. the accompaniment to a return of the The concerto is scored for two flutes, two opening section before the movement oboes, two clarinets in Bb, two bassoons, evaporates in graceful elegance. four horns in F, two trumpets in F, three trombones, timpani, solo piano, and strings. The ensuing Gavotte might seem a dignified predecessor to Prokofiev’s Tchaikovsky’s two best known and most later “Montagues and Capulets” from beloved concertos both needed to walk a Romeo and Juliet. The capricious difficult path to finally arrive in the concert opening section gives way to a gentle hall. His violin concerto was snubbed musette before a subdued version of by its original dedicatee, Leopold Auer, the opening closes the movement. and after its world premiere in Vienna in December 1881, the critic Eduard The Finale bursts into life as an exuberant Hanslick condemned the work in the galop, challenging the entire orchestra to press the following day: “…the violin is maintain the pace in the face of death- no longer played; it is torn asunder, it is defying violin acrobatics and ferocious beaten black and blue.” Despite these fast tonguing in the woodwinds. This initial birthing pains, the violin concerto movement, too, adheres to Classical became and remains one of the most forms, while the high spirits never flag, beloved works in the violin repertoire. and the symphony charges into the final cadence with reckless abandon. Six years earlier, Tchaikovsky’s Piano Concerto No. 1 faced a similar uphill battle. Not a virtuoso pianist himself, Tchaikovsky was self-conscious about his ability to write idiomatically for the instrument. He pinned his hopes on persuading the brilliant Russian pianist Nicolai Rubinstein to take

2021 SEASON | 61 Russian Spectacular

on the challenge of the first performance. talents upon Tchaikovsky’s poor Rubinstein was a composer as well as a little concerto. Tchaikovsky absorbed pianist, and he was the head of the Moscow Rubinstein’s criticism stoically, but the Conservatory where Tchaikovsky served on conservatory director’s harsh comments the faculty. As one of the leading pianists and condescending attitude must have hit of his time, if he would lend his advocacy a nerve – Tchaikovsky soon after wrote to Tchaikovsky’s concerto, it would be to a friend, “I will not alter a single note, assured of a place in the concert repertoire. and will publish it exactly as it is!” Just as Beethoven angrily tore the title page of his Upon putting the finishing touches on the ”Eroica” Symphony when scratching out work, Tchaikovsky made an appointment the dedication to Napoleon Bonaparte, to play the concerto for Rubinstein on Tchaikovsky rubbed out the dedication Christmas Eve of 1874. The older composer to Rubinstein and instead dedicated it to listened thoughtfully through the entire the German pianist and conductor Hans performance. At the end, when greeted von Bülow (who just happened to be with Rubinstein’s stony silence, Tchaikovsky one of Rubinstein’s professional rivals). asked for his opinion. Rubinstein launched into a vicious diatribe on the defects of the Karma was on Tchaikovsky’s side. Von composition, not sparing Tchaikovsky’s Bülow not only graciously accepted the feelings in the least. Tchaikovsky dedication, but immediately included it described it in a letter to a friend: on a concert tour of the United States. Instead of a world premiere in Moscow “There burst from Rubinstein’s mouth a with Rubinstein at the piano, Tchaikovsky’s mighty torrent of words. He spoke quietly First Piano Concerto made its debut in at first, then he waxed hot, and finally Boston, with von Bülow as soloist with the he resembled Zeus hurling thunderbolts. orchestra of the Harvard Musical Society, It seems that my concerto was utterly a pick-up group of professional musicians worthless, absolutely unplayable. Certain from the area. The young, American passages were so commonplace and composer George Whitefield Chadwick awkward they could not be improved, was in the audience attending the and the piece as a whole was bad, trivial, premiere and found the work powerful and vulgar. I had stolen this from somebody enchanting; American audiences agreed. and that from somebody else, so that Von Bülow reported the work’s success only two or three pages were good for back to Tchaikovsky, who gushed in a letter anything and all the rest should be to a friend, “Each time Bülow was obliged wiped out or radically rewritten.” to repeat the whole finale of my concerto! Nothing like that happens in our country.” Rubinstein told Tchaikovsky that if he would undertake radical and extensive Tchaikovsky’s concerto has been so alterations, and if the revisions met beloved for so long that it is easy to with Rubinstein’s approval, the great overlook its unique musical features. virtuoso would deign to bestow his The opening movement is announced

62 | PENSACOLA SYMPHONY ORCHESTRA in portentous horn fanfares, punctuated to the wistful opening tune and brings by sharp chords from the rest of the the movement to a quiet conclusion. orchestra. The soloist enters with arpeggiated chords to accompany the The finale (Allegro con fuoco) bursts forth orchestra in one of the lushest Romantic in a whirlwind of orchestral energy, which melodies in the concerto repertoire – the piano seizes upon immediately in in the “wrong” key (Db Major, not Bb a vigorous, demonic dance, punctuated Minor). The piano repeats the same by syncopated accents in the orchestra. melody, adorned with filigree decoration, The pianistic fireworks relent only for over a quiet pizzicato accompaniment. an ardently lyrical waltz, introduced After a brief piano cadenza, this by the strings and taken up by the ravishingly beautiful tune returns one soloist. Virtuoso pianism and passionate more time in full Hollywood orchestration lyricism vie for the spotlight throughout over cascades of chords in the piano… and the movement, answered by muscular it is never heard again. A quiet interlude orchestral tuttis. The lyrical waltz appears that follows leads to the Allegro con spirito, in one final grand peroration for both whose initial idea is a nervous figure in piano and orchestra before the soloist the piano, which is then heard in the brings the house down with the final orchestra. The contrasting second theme is adrenaline-fueled sprint to the finish. a sensitive and melancholy tune that sighs with each phrase. The piano’s pyrotechnics — David Cole are evident throughout the movement, answered by the passionate outbursts of the orchestra. While the movement is identifiable in sonata form, the overall feeling is one of an extended rhapsody, with a free interplay of the movement’s themes. The energy builds throughout the movement to an extended piano cadenza, a brief reprise of the lyrical second theme and a final sprint to the final chords.

The Andantino semplice is an ABA song form, but the central section serves not just as a contrast, but as a miniature scherzo within the bookends of the opening and closing sections. The opening flute melody passes to the piano, which extends and elaborates its simple song, with gentle responses from solo woodwinds and horn. After the central section’s bouncy exuberance, the piano returns

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66 | PENSACOLA SYMPHONY ORCHESTRA Beethoven & Blue Jeans Masterworks Series Presented by Wind Creek Hospitality

Saturday, March 20, 2021

Peter Rubardt, Conductor

Ludwig van Beethoven Symphony No. 3 in Eb Major, Op. 55, “Eroica” (1770 – 1827) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace – Trio IV. Finale: Allegro molto

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2021 SEASON | 67 Beethoven & Blue Jeans

Ludwig van Beethoven accounts socially inept, often bordering Symphony No. 3 in Eb Major, on rude and boorish – and those were Op. 55, “Eroica” the opinions of his dearest friends!

Yet this diminutive, awkward, angry Ludwig van Beethoven was born in man created some of the most soul- December 1770 in Bonn, Germany and stirring music ever written on our planet, died on March 26, 1827 in Vienna. His music that is as dynamic, inspiring, and Symphony No. 3 was written in 1804 and moving today as it was two centuries received its first performance in Vienna ago when it was first composed. His at the Theater an der Wien on April 7, music has been recorded by the greatest 1805. The work is scored for pairs of flutes, musicians of every generation; numerous oboes, clarinets, bassoons, three horns, two movies and countless books have been trumpets, two timpani, and strings. devoted to his life; his music appears in advertising and video games; and his He was short, probably standing no sonatas, string quartets, and symphonies more than 5 feet, 4 inches tall. His are integral to the concerts of pianists, face bore the pockmarks of an attack chamber groups, and orchestras the of smallpox that he endured in his world over. His immortal music fuels youth. Women found him fascinating both our compassion and our aspirations, because of his genius but also physically reflects both our humanity and our repulsive. That he was sometimes divinity, and, even in those works’ bad-tempered, there is absolutely no darkest moments, gives us hope for doubt; when served a plate of meatballs a better future for all humankind. that he found improperly cooked, he dumped the entire bowl of food His name was Ludwig van Beethoven. over the waiter’s head. His advancing deafness increased his irritability and In an era where most musicians were his isolation from everyone except his little more than servants to the noble closest friends. By early middle age, he families and royal courts of Europe, was using ear trumpets to amplify the Beethoven conversed with his noble sounds of other people’s voices, and Viennese patrons as their social equal. he could eventually only communicate He championed the Enlightenment through a correspondence book, in which concepts of “Liberté, Egalité, Fraternité friends and acquaintances would write (Liberty, Equality, Brotherhood)” their side of the conversation and he espoused by the leaders of the French would reply by speaking. He was by all

68 | PENSACOLA SYMPHONY ORCHESTRA Revolution. In a letter to one of his While the title of Beethoven’s Symphony aristocratic patrons, Beethoven wrote: No. 3 owes its origins to the French Revolution and Napoleon Bonaparte, “Prince, you are what you are through it is the musical revolution of the work the accident of birth; I am what I am by that is most relevant today. At nearly what I have made of myself. There are twice the length of either of Beethoven’s and always will be hundreds of kings and first two symphonies, the “Eroica” princes; there is only one Beethoven!” changed the ways in which composers conceived the symphony. Along with Written in 1803 – 04, Beethoven’s the Fifth and Ninth symphonies, the Symphony No. 3 originally bore a Third Symphony stands in relation to the dedication to Napoleon. An ardent rest of the 19th century as Stravinsky’s democrat, Beethoven greatly admired Rite of Spring relates to the 20th the French Consul’s commitment to century; after the “Eroica,” symphonic the ideals of the French Revolution. music would never be the same. Upon hearing of Napoleon’s seizure of the emperor’s crown, Beethoven The work is in four movements. The flew into a rage and violently first is a huge work in sonata form, attacked the title page of the work opening with two explosive Eb chords. with a pen. Beethoven’s student The melodic material throughout is both Ferdinand Ries relates the incident: simple (the opening theme is based on the tones of the Eb Major chord) and “I was the first to tell him the news widely varied (music in transitional that Bonaparte had declared himself passages is developed and reshaped). In Emperor, whereupon he broke into a the middle of the development section, rage and exclaimed, ‘So he is no more a huge dissonant climax is followed by than a common mortal! Now, too, he a new idea not heard in the exposition will tread under foot all the rights of and heard only again in the coda. Clearly man, indulge only his ambition; now Beethoven is thinking not so much of he will think himself superior to all “sonata form” as “sonata process” – using men, become a tyrant!’ Beethoven went the Classical forms of Haydn and Mozart to the table, seized the top of the title but adapting and stretching them for page, tore it in half and threw it on even greater emotional impact. The coda the floor. The page had to be re-copied, of the work, which in symphonies by and it was only now that the symphony Haydn and Mozart might last a mere received the title ‘Sinfonia eroica.’” 16 measures, functions as almost a second development section, summing Upon publication in 1806, Beethoven up the movement with the same gave the work the title Sinfonia Eroica... chords which opened the symphony. composta per festeggiare il sovvenire di un grand Uomo (“heroic symphony, composed The second movement, “Funeral March,” to celebrate the memory of a great man”). plumbs the depths of emotion, from the

2021 SEASON | 69 Beethoven & Blue Jeans

grim sotto voce opening through a brief theme is initially presented as merely its episode in a major key which builds to harmonic structure in pizzicato strings. a triumphant climax, only to return to Subsequent variations take the form of a the initial funeral march. An emotionally rapid march in G Minor, and two highly intense fugato section leads back to the imaginative fugato sections, the second opening material, which is interrupted by of which leads (after a brief pause) to a a fanfare leading to a highly mysterious slower Poco andante section, beginning presentation of the march in oboe and in tranquility but ending majestically. clarinet but accompanied by distant The music drops to pianissimo, with fanfares in the horns and trumpets. At two-note figure being traded between the end, the march collapses on itself, strings and woodwinds over ominous the tune shattered into hesitant, weeping triplets in the cellos and basses, before fragments before the final anguished cry. the final exultant Presto concludes the symphony in exultant triumph. The third movement scherzo begins as a light, gossamer dance of uncertain meter, but builds to joyous outbursts of — David Cole muscular energy. The central trio section showcases the three horns for which Beethoven writes, adding a richness to the writing (most symphonies before the “Eroica” used only two horns) and taxing the skills of his horn section. In 1805, horns had no valves, so accuracy of pitch depended both upon the player’s adeptness with their lips, and with the hand that was inserted in the bell of the instrument to produce pitches not found naturally on the instrument.

The finale bursts into life with a vigorous fanfare-like passage (presaging a similar fanfare that opens the finale of the Ninth Symphony). Beethoven sets this movement as a theme and variations, with the theme taken from his own earlier ballet The Creatures of Prometheus and also used for his Theme and Variations in EbMajor, Op. 35 for piano (later dubbed the “Eroica” Variations). The

70 | PENSACOLA SYMPHONY ORCHESTRA 2021 SEASON | 71 Haydn, Symphony No. 94, “Surprise” Masterworks Series Presented by Wind Creek Hospitality Saturday, April 24, 2021

Peter Rubardt, Conductor Corey McKern, Baritone

Gustav Mahler Adagietto from Symphony No. 5 in C# Minor (1860 – 1911)

Gustav Mahler Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (1860 – 1911) I. Wenn mein Schatz Hochzeit macht (When My Sweetheart is Married) II. Ging heut’ Morgen über’s Feld (I Went This Morning Over the Field) III. Ich hab’ ein glühend Messer (I Have a Gleaming Knife) IV. Die zwei blauen Augen von meinem Schatz (The Two Blue Eyes of My Beloved)

Featuring Corey McKern, Baritone

Franz Joseph Haydn Symphony No. 94 in G Major, “Surprise” (1732 – 1809) I. Adagio – Vivace assai II. Andante III. Menuetto: Allegro molto IV. Finale: Allegro molto

The program will be performed without intermission.

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Media Sponsors: WEAR ABC 3, WKRG News 5, Cox Media, Cat Country 98.7 FM, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF Public Media, 88.1 FM Official Automobile Sponsor: Centennial Imports Official Hotel Sponsor: Solé Inn and Suites

72 | PENSACOLA SYMPHONY ORCHESTRA Greatest Hits” and returned to Pensacola Opera as Captain Corcoran in H.M.S. Pinafore. He performed as a soloist in Nashville Opera’s Opera Jukebox.

Of his performance in La bohème, the Santa Fe New Mexican said, “Corey McKern’s resolute, robust-voiced and rambunctious Marcello, a perfect picture of a wannabe Parisian painter, was one of the best I’ve ever heard.” McKern garners attention at leading opera houses for his charming and dynamic portrayals of his signature roles: Marcello in La bohème in his Asian début at Opera Hong Kong, Santa Fe Opera, Florentine Opera of Milwaukee, Nashville Opera, Corey and Opera Grand Rapids; Figaro in Il barbiere di Siviglia with Nashville Opera McKern and Opera Birmingham; the Count in Baritone Le nozze di Figaro with Nashville Opera, Opera Cleveland, Opera Columbus, Award-winning baritone Corey McKern Michigan Opera Theatre, Tulsa Opera, continuously earns critical acclaim and Opera Birmingham, and Syracuse Opera; accolades in every appearance he makes. Gabriel von Eisenstein in Die Fledermaus Of his performance as Figaro in Il with Nashville Opera and Florentine barbiere di Siviglia, critics hailed: “Corey Opera; Papageno in Die Zauberflöte with McKern… has all the goods to rise to star Opera Omaha, Arizona Opera, Opera stature – timing, stamina, vocal heft, and Birmingham, and Tulsa Opera; as Silvio an easy-going stage presence – especially in Pagliacci with Austin Lyric Opera, telling in Figaro’s signature aria, Largo al Arizona Opera, Opera Birmingham, and factotum della citta.” Recent engagements Central City Opera. include Older Thompson in Glory Denied with Opera Birmingham, Sharpless in Madama Butterfly with Inland North West Opera, the title role in Don Giovanni with Pensacola Opera, performances as a soloist in Carmina Burana with Missoula Symphony, Handel’s Messiah with the Alabama Symphony, and Beethoven’s Symphony No. 9 with the Tallahassee Symphony. He also returned to the Florentine Opera for a concert of “Opera’s

2021 SEASON | 73 Haydn, Symphony No. 94, “Surprise”

Gustav Mahler Mahler fell for Alma immediately and Adagietto from Symphony proposed three weeks later. Alma’s No. 5 in C# Minor family went to great lengths to persuade her to refuse him, concerned about his Jewish background (he had converted Gustav Mahler was born in Kalischt to Catholicism in order to accept the (Kaliště), Bohemia on July 7, 1860 and Vienna Court Opera post), his middle- died in Vienna on May 18, 1911. The class upbringing, and his age – he Symphony No. 5, from which the Adagietto was 19 years her senior. She was also is taken, was first performed on October taken back by his 20-page letter to her, 18, 1904 in Cologne, by the Gürzenich dated December 19, 1901, in which Orchestra conducted by the composer. The he outlined his expectations that she Adagietto is scored for strings and harp. give up her composing career for the sake of their marriage. Nevertheless, To what lengths would you go to the couple formally announced their impress a significant other? Dinner, engagement four days later and they candy, and flowers are all very nice, but were married on March 9, 1902, not very original. An original poem at the Karlskirche in Vienna. or song? It could work, but unless you are a professional poet or musician, After Mahler’s death, it became standard such an artistic attempt at romance practice to perform the Adagietto as could be painfully embarrassing. a memorial work, much as Leonard Bernstein did at the funerals of both Fortunately for Gustav Mahler, he already Serge Koussevitzky and John F. Kennedy, had four symphonies and numerous art with a typical performance lasting songs under his belt by the time he met anywhere from 12 to 16 minutes. Alma Schindler at the home of a mutual More recently, newly-discovered letters friend in November 1901. Alma was between Alma and the Dutch conductor an intelligent, talented, and beautiful Willem Mengelberg have revealed that young woman, and an accomplished instead of a lament, the Adagietto is an composer in her own right. When ardent love letter from the composer she met Mahler, he had risen from to his young wife, delivered wordlessly his humble beginnings to become the by the strings of the orchestra. Music Director of the Vienna Court Opera, the most prestigious conducting The Adagietto opens with whispering post in the German-speaking world. strings and a quietly murmuring harp that introduce a hesitant violin melody, wistful and longing, like a plant tendril

74 | PENSACOLA SYMPHONY ORCHESTRA rising to greet the sun. This achingly standards and attention to musical detail. beautiful tune is taken up by other string Romance had bloomed with one of the sections, elongated and elaborated upon, company’s sopranos, Johanna Richter. rising to climactic moments, and falling Yet within a year, Mahler’s love affair had away again into chamber-music delicacy. gone sour, and his beloved Johanna had There is passion and ardor in addition to dumped him. Her father was the local sweetness and serenity, all the way to the postmaster and did not believe Mahler final nostalgic and poignant final bars. to be a good match for his daughter; as a result, many of Mahler’s letters to Johanna were returned to him unopened. Gustav Mahler Mahler remained in Kassel only through Lieder eines fahrenden Gesellen the summer of 1885, resigning from his (Songs of a Wayfarer) post to accept a conducting position with the Czech National Theatre in Prague. Gustav Mahler was born in Kalischt (Kaliště), Bohemia on July 7, 1860 and Rather than wallowing in his sorrow, died in Vienna on May 18, 1911. The Mahler channeled it into music, Songs of a Wayfarer were written between specifically the four Lieder eines December 1884 and January 1885. The fahrenden Gesellen, begun in December first performance of the cycle was given 1884, and finished in piano score on March 16, 1896, with baritone Anton in early 1885. Initially, he may have Sistermans as soloist and the composer just written the songs just to ease conducting the Berlin Philharmonic. The his emotional pain, but after 1890 work is scored for solo voice, two flutes, he returned to the cycle, reduced the piccolo, two oboes, English horn, two number of songs from six to four, and clarinets, bass clarinet, two bassoons, four began to orchestrate the piano part. horns, two trumpets, three trombones, timpani, percussion, harp, and strings. The title is usually translated into English as “Songs of a Wayfarer,” but it would “The course of true love did never be more accurate to call it “Songs of a run smooth.” – William Shakespeare, Journeyman,” since the title really means A Midsummer Night’s Dream a workingman who goes from place to place plying his trade. Unsurprisingly, the Shakespeare’s sadly wise proverb was poetry (by Mahler himself ) concerns a never so true as it was for the lovelorn young man who journeys from home to Gustav Mahler in the autumn of 1884. ease the pain of a failed romance. Mahler Just one year before, his life seemed to wrote to a friend that “The songs are a be nearly perfect: at 23 years old, he had sequence in which a wayfaring craftsman, been appointed to the position of second who has had a great sorrow, goes out conductor and choirmaster with the opera into the world and wanders aimlessly.” company in Kassel, Germany, where he One might dispute that the wandering became immediately known for his high of Mahler’s protagonist is aimless – the

2021 SEASON | 75 Haydn, Symphony No. 94, “Surprise” poetry of the four songs traces a path and the song closes with echoes of the from grief to acceptance, and each of the wedding music fading to silence. songs ends in a different key from which it began, indicating that the “wandering” Ging heut’ Morgen über’s Feld (I Went pervades the music as well as the text. This Morning Over the Field) sings forth without fear or sorrow; it is The music of Songs of a Wayfarer is closely the most joyful of the four songs in linked to Mahler’s Symphony No. 1, the set. The wayfarer marvels at the which premiered in Budapest in 1889. The glories of nature, repeatedly asking, principal melody of Ging heut’ Morgen “Is this not a beautiful world?” It ends über’s Feld appears as the initial Allegro calmly, though the text asks if the in the Symphony’s first movement, wayfarer’s luck will ever change. though Mahler left no indication of why he employed it. Likewise, melodies Ich hab’ ein glühend Messer (I Have a from Die zwei blauen Augen von meinem Gleaming Knife) plumbs the depths of Schatz appear in the third movement despair, ushered in by desperate leaping of the symphony, again without arpeggios in strings and woodwinds, explanation. We do not know if they had and the singer intoning that he has a a particular extra-musical association gleaming knife stuck in his chest, in for Mahler, or he repurposed the older reality a metaphor for his sorrow in melodies in the symphony because he losing his love. At the end, the music felt them perfect for the symphony. collapses, exhausted, into silence.

The initial song in the cycle, Wenn In the final song, Die zwei blauen Augen mein Schatz Hochzeit macht (When my von meinem Schatz (The Two Blue Eyes of Sweetheart is Married), is clothed in my Beloved), the wanderer finally achieves gloom. The singer unleashes his grief a sense of closure. Initially lamenting the from knowing that his beloved is amount of pain his beloved’s blue eyes marrying someone else that very day. The have brought him, he finds a linden tree music alternates between two tempos, under which to rest, and the nap that the achingly slow tempo of the young follows brings him a sense of peace, and man’s lament, and the slightly faster that love, grief, life, and the world will all music that sounds like a distant echo of continue to carry on. The music pulsates happy wedding music played by double gently as it finally fades to silence. reeds and clarinets with discreet string accompaniment. Interestingly, these two sections both begin with the same phrase, played faster by the woodwinds and sung much more slowly by the soloist. A brief shaft of sunlight appears when the singer notices the joys of nature around him, but the mood quickly darkens,

76 | PENSACOLA SYMPHONY ORCHESTRA Franz Joseph Haydn When Prince Nikolaus died in September Symphony No. 94 in G 1790, Haydn’s sheltered creative life came Major, “Surprise” to an end. Nikolaus’ successor, Prince Anton, severely cut the musical staff at his court. Most of the musicians were Franz Joseph Haydn was born in Rohrau, given six weeks severance pay, and Haydn Austria on March 31, 1732 and died in was given a pension, with almost no Vienna on May 31, 1809. The Symphony demands on him for new compositions. No. 94 was written in 1791. The premiere With more than 90 symphonies to took place on March 23, 1792 in the his credit along with numerous other Hannover Square Rooms in London. Haydn works in all genres, no one could blame conducted an orchestra assembled especially Haydn for contemplating a quiet (if for the concert. The work is scored for two austere) retirement at the age of 58. flutes, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. Fortunately for Haydn and the history of music, fate had other plans. Haydn’s Joseph Haydn’s 30-year career with the dull retirement was shattered by the Esterházy family proved to be a fruitful appearance of one Johann Peter Salomon, relationship for both musician and a violinist, composer, and conductor monarch. While it is true that Haydn who had made a very successful career was treated as a servant – his contract as a concert impresario in London. specified that he and his musicians Salomon made the journey from London “appear in white stockings and white to Vienna to entice Haydn to return shirt, with either pigtail or tiewig, and with him to write music, give concerts thoroughly powdered” – his patrons, – and make obscene piles of money. Prince Paul and his successor Prince According to Haydn’s first biographer, Nikolaus, provided Haydn with all the Albert Christoph Dies, Salomon’s first resources he could want in order to make words to Haydn were, “I am Salomon of the Esterházy musical establishment one London and I have come to fetch you; of the most renowned in all of Europe. tomorrow we will establish an accord.” Since Haydn needed to please only one While Haydn was initially skeptical and fairly liberal patron without the need slightly apprehensive of undertaking such to entertain a fickle public, he could a long journey at his age, the lure both experiment to his heart’s content. In so of a new audience and much-needed doing, he forged the modern forms of financial security proved irresistible. both the symphony and string quartet. With the contractual promise of 5000 Haydn wrote of his time at Esterházy: Austrian gulden (roughly $65,000 in “I was cut off from the world. There today’s currency) in hand, Haydn landed was no one to confuse or torment me, in Britain on New Year’s Day, 1791 after and I was forced to become original.” a two-week journey across Europe.

2021 SEASON | 77 Haydn, Symphony No. 94, “Surprise”

Salomon was as good as his word. Within wrote accordingly. While today we are days of setting foot in England, Haydn accustomed to performance practice with wrote “My arrival caused a sensation an orchestra of perhaps 30 musicians, throughout the city, and I went the we know from contemporary accounts round of all the newspapers for three that performing these pieces with large successive days. It appears that everybody groups of players was also common wants to know me.” His concerts were practice. In one instance, Haydn heard considered the most important events of one of his symphonies performed by an the society season, playing to sold-out orchestra of more than 300 musicians. houses on almost every occasion. The musicologist and critic Charles Burney The Symphony No. 94, known to the attended Haydn’s first concert in London world as the “Surprise” Symphony, was and reported the sensation it caused: probably written sometime during 1791 for Haydn’s first season in the British “Haydn himself presided at the piano- capital. The reason for the nickname is forte; and the sight of that renowned obvious – (*SPOILER ALERT*) – the composer so electrified the audience, as fortissimo crash at the end of the 16th to excite an attention and a pleasure measure of the quiet slow movement superior to any that had ever been caused – but the inspiration for the surprise by instrumental music in England.” remains. In the original manuscript, the fortissimo is absent, with the phrase During his visits to England, Haydn ending quietly. One source claims that was awarded an honorary doctorate Haydn mischievously told a friend that from Oxford and was a frequent guest he wanted to “make the ladies jump;” and performer for the Royal Family. yet another said that Haydn wanted to startle an older gentlemen who came Haydn’s two seasons in London to his concerts and invariably dozed (1791 – 92) proved so artistically and off in his chair. When asked about the financially successful that Salomon title by his biographer, Georg August arranged a second London trip for Griesinger, Haydn’s answer was in 1794 – 95. For both sojourns, Haydn’s itself a surprise – he wanted to present contract called for him to produce something new and brilliant, because six new symphonies to be given their he didn’t want to be outdone by a rival initial performances in London. These (Ignaz Pleyel, a former student) who 12 works (numbered as symphonies also gave concerts in London. The 93 – 104) have been collectively dubbed symphony received great audience and the “London” symphonies, and you critical acclaim at its first performance may occasionally see them called the and has remained one of the most “Salomon” symphonies. Thanks to popular of all of Haydn’s symphonies. Salomon’s connections in London’s music world, Haydn’s orchestra was staffed The work is in four movements. Like with the best players in London, and he most of the “London” symphonies,

78 | PENSACOLA SYMPHONY ORCHESTRA Symphony No. 94 begins with a slow vigorous peasant dance from the Austrian introduction, gentle woodwinds answered mountains rather than an elegant by soothing strings. Under a gentle ballroom minuet. The contrasting trio pulsation, the music builds to climactic section is quieter and more mellifluous, forte chords, but the slenderest tendril but we are still never far away from the of a violin line subtly launches into the rustic character of the menuetto which rustic 6/8 Vivace assai of the movement. returns to conclude the movement. The movement is a contrast between the lyricism of its first idea and the The Finale is full of bustling energy, bold, energetic responses that answer it, even in the quiet skipping tune that powered by energetic runs in the strings. opens the movement. Here, too, The second theme has the character of a Haydn gives his musical material a folk dance, leading brilliantly to the end full workout, transforming it into of the exposition. In the development, a musical kaleidoscope of colors, Haydn delights in turning some of his textures, and moods, propelled by a musical material on its head, creating a relentless vivacious energy. In the coda, thunderstorm out of the warmly lyrical trumpets and horns chortle merrily music of the exposition. Out of nowhere, over a timpani tattoo, bringing the the recapitulation chimes in with the symphony to a joyous conclusion. Even opening material of the Vivace assai, and 200 years later, Haydn’s “surprise” has the other themes are brought back from lost none of its freshness and humor. the exposition before the energetic coda. — David Cole The Andante begins with the simplest, most innocuous tune ever, just the perfect music to nap to – until Haydn unleashes his musical “popped paper bag” as the perfect musical joke. Like any good comedian, Haydn doesn’t repeat the joke, but fashions his theme into a series of variations that grow more complex and grandiose as the movement progresses. The final variation and coda clothe the theme in the brilliance of horns and trumpets surrounded by swirling string triplets. Yet at the end, the movement ends the way it began, with an eerie reharmonization of the main theme, and gently closing with pizzicato strings.

Haydn’s Menuetto is marked Allegro molto and is more in the character of a

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2021 SEASON | 81 82 | PENSACOLA SYMPHONY ORCHESTRA Mendelssohn, Symphony No. 3, “Scottish”

Masterworks Series Presented by Wind Creek Hospitality Saturday, May 15, 2021

Peter Rubardt, Conductor

Johann Sebastian Bach Brandenburg Concerto No. 3 in G Major, BWV 1048 (1685 – 1750) I. Allegro II. Adagio-Allegro Assai

Felix Mendelssohn Symphony No. 3 in A Minor, Op. 56, “Scottish” (1809 – 1847) I. Andante con moto – Allegro un poco agitato II. Vivace non troppo III. Adagio IV. Allegro vivacissimo – Allegro maestoso assai

The movements are performed without pause.

The program will be performed without intermission.

Orchestra Sponsor:

Harpsichord Provided By: Claire Hammett Media Sponsors: WEAR ABC 3, WKRG News 5, Cox Media, Cat Country 98.7 FM, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF Public Media, 88.1 FM Official Automobile Sponsor: Centennial Imports Official Hotel Sponsor: Solé Inn and Suites

2021 SEASON | 83 Mendelssohn, Symphony No. 3, “Scottish”

Felix Mendelssohn of northern Scotland, through France, Symphony No. 3 in A Minor, Germany, and Austria, to the sunny hills Op. 56, “Scottish” of Italy. In addition to his numerous letters, sketches, and watercolors from his trips (he was a talented visual artist), Felix Mendelssohn-Bartholdy was born Mendelssohn’s “souvenirs” from his February 3, 1809 in Hamburg and died on journey included some of his greatest November 4, 1847 in Leipzig. The Third instrumental music, including the overture Symphony was composed largely in 1820 – 42 “The Hebrides” (also known as “Fingal’s and given its first performance on March Cave”) and two symphonies, the “Scottish” 3, 1842 with the composer conducting the (No. 3) and the “Italian” (No. 4). Leipzig Gewandhaus Orchestra. The symphony is scored for pairs of woodwinds, four horns, Departing from Berlin in early 1829, two trumpets, timpani, and strings. Mendelssohn headed for London to meet up with his boyhood friend Mark Twain once wrote “Travel is fatal to Karl Klingemann, the Secretary to prejudice, bigotry, and narrow-mindedness, the Hannoverian Legislation (a minor and many of our people need it sorely diplomatic post) in London. While on these accounts. Broad, wholesome, Mendelssohn had letters of introduction to charitable views of men and things cannot many famous musicians and members of be acquired by vegetating in one little the English nobility, he seemed far more corner of the earth all one’s lifetime.” Our excited about exploring England’s northern propensity to travel and explore is one of neighbor. In a letter to Klingemann dated the primary urges of the human species. March 26, he let his friend know that his From accounts of tourism throughout the London arrival was imminent, and of his Roman Empire to Chaucer’s Canterbury excitement to revel in Scottish culture, Pilgrims to today’s glitzy advertisements musical and otherwise: “NEXT AUGUST for romance and adventure from Cancun I AM GOING TO SCOTLAND, to Kuala Lumpur, we seem to have an with a rake for folk songs, an ear for insatiable desire to explore our world. the lovely, fragrant countryside, and a heart for the bare legs of the natives.” From 1829 – 31, Felix Mendelssohn, at the insistence of his wealthy and cultured Following several months of making banking family, embarked upon the the rounds of London’s musical society, traditional European “Grand Tour,” where Mendelssohn and Klingemann left London young men and women spent their time for Scotland by stagecoach, arriving in viewing the landscapes, churches, and Edinburgh on July 26. They spent three museums of the great European capitals. weeks touring the country, venturing as far His itinerary took him from the mists as the Isle of Staffa, where Mendelssohn

84 | PENSACOLA SYMPHONY ORCHESTRA visited the basalt cave on the sea known While Mendelssohn began work on the as Fingal’s Cave after the hero of Scottish symphony with the best of intentions, and Irish legend. The cave and the the rest of his Grand Tour occupied his windswept coast inspired Mendelssohn to thoughts and his imagination to the set down a brief melody, which became the fullest extent. The charms of Italy, where principal tune of the concert overture “The Mendelssohn spent nearly a year, kept Hebrides,” later given the title “Fingal’s him distracted from completing the work. Cave” by Mendelssohn’s publisher. From Rome, he wrote to his parents, “The loveliest time of the year in Italy is the An even stronger inspiration came from period from April 15 to May 15. Who then Mendelssohn’s visit to Holyrood Palace, can blame me for not being able to return now the British Monarch’s official residence to the mists of Scotland? I have therefore in Scotland, but at the time a decrepit ruin, laid aside the symphony for the present.” not yet restored to its former glory. In a letter to his parents, dated July 30, 1829, The gestation period of the ”Scottish” he told them of an emotional experience took a little longer than Mendelssohn that would result in a symphony: expected, largely due to the duties he had taken on in Leipzig as the general “In the evening twilight we went today music director of the city – duties which to the palace where Queen Mary lived included the conducting the Leipzig and loved; a little room is shown there Gewandhaus Orchestra. It would take a with a winding staircase leading up to decade for Mendelssohn to return to his the door: up this way they came and found Scottish work, with indications through Rizzio in that dark corner, where they his correspondence that he had picked pulled him out, and three rooms off there it up again from time to time in the is a dark corner, where they murdered interim. Toward the end of 1840 he began him. The chapel close to it is now roofless, to explore it again, and he worked on it grass and ivy grow there, and at that in earnest through 1841. Mendelssohn broken altar Mary was crowned Queen of conducted the premiere with the Leipzig Scotland. Everything round is broken and Gewandhaus Orchestra on March 3, 1842. mouldering and the bright sky shines in. I For a work so steeped in extra-musical believe I have found today in that old chapel inspiration, it might be surprising to note the beginning of my ‘Scottish’ Symphony.” that Mendelssohn provided no description or other programmatic indication about His sketchbook ever at the ready, the music, letting it stand on its own Mendelssohn jotted down 16 measures without explanation. Yet Robert Schumann of music, with small annotations for and others remarked upon the folk-like instrumentation. This short musical doodle melodies heard throughout the work. evolved eventually into the Andante which opens his “Scottish” Symphony. The ”Scottish” Symphony is actually Mendelssohn’s last (the current numbering reflects the order of publication, not

2021 SEASON | 85 Mendelssohn, Symphony No. 3, “Scottish” composition), and documents his transition much in the manner of Mendelssohn’s from writing “Classical” works (like his earlier Songs without Words for the piano, early Octet for Strings) to more “Romantic” with the expressive melody heard in the pieces. The work is unconventional in violins spinning out over a gently pulsating some of its structural details. Mendelssohn accompaniment. The music rises to an writes in the preface to the score that impassioned climax before retreating into “the movements of this symphony must a gentle calm. The robust finale (Allegro follow one another immediately and must vivacissimo) starts more like material cut not be separated by the customary long from the earlier “Italian” Symphony, but the pauses.” While Beethoven connected music soon turns darker and more agitated, one or two movements at the end of passing through several different stormy some of his symphonies (like the Fifth sections, before dwindling in tempo and and the Sixth), Mendelssohn heard his volume to a mysterious pause. From out of symphony as an organic whole, with the this silence, a majestic, hymn-like melody ideas for each of the five movements in A Major (Allegro maestoso assai) brings growing from the initial melodic kernel the symphony to a triumphant conclusion at the opening of the first movement. – perhaps proving that occasionally Scotland does get a bright, sunny day. The opening movement begins with sonorous low strings intoning the chorale- — David Cole like melody Mendelssohn wrote down in Holyrood Palace (Andante con moto), but the introduction gradually brightens before the opening music returns. This leads to a vigorous but nervous Allegro un poco agitato in 6/8 which begins quietly, but retains a nervous, stormy character. The music rises to several tempestuous climaxes before the opening Andante restores calm. The ensuing Scherzo (Vivace non troppo) substitutes a 2/4 meter for the traditional 3/4 of a typical scherzo, but the lively character remains. The music imparts the feeling of a hunting scene in the Scottish forests, with both hunters and hunted spurred on by the ebullient (and fiendishly difficult) chortling of the horns. In this feather-light music, the fairies of Mendelssohn’s Midsummer Night’s Dream music are not far away, perhaps lurking in the shadows, waiting to see how this hunt turns out. The slow movement (Adagio) is a heartfelt lament,

86 | PENSACOLA SYMPHONY ORCHESTRA 2021 SEASON | 87 Dvořák, Symphony No. 8

Masterworks Series Presented by Wind Creek Hospitality Saturday, June 26, 2021

Peter Rubardt, Conductor James Lee, III, Guest Composer

James Lee, III Restored Images (b. 1975)

Antonín Dvořák Symphony No. 8 in G Major, Op. 88 (1841 – 1904) I. Allegro con brio II. Adagio III. Allegretto grazioso – Molto vivace IV. Allegro ma non troppo

The program will be performed without intermission.

Composer Sponsor: Robert and Gloria Turner Fund for Special Music

Media Sponsors: WEAR ABC 3, WKRG News 5, Cox Media, Cat Country 98.7 FM, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF Public Media, 88.1 FM

Official Automobile Sponsor: Centennial Imports

Official Hotel Sponsor: Solé Inn and Suites

Guest Artist Accommodations Provided By: Hilton Garden Inn

88 | PENSACOLA SYMPHONY ORCHESTRA Baltimore Symphony Orchestra to compose a work about the life of Harriet Tubman. Lee composed Sukkot Through Orion’s Nebula that was premiered by Michael Tilson Thomas and the New World Symphony Orchestra in October 2011 in Miami. In 2014 Lee was a Fulbright Scholar and Visiting Professor to the State University of Campinas in Campinas, São Paulo, Brazil.

Since Lee’s graduation from the University of Michigan, his orchestral works have been commissioned and premiered by the National Symphony Orchestra, Detroit Symphony Orchestra, Baltimore Symphony Orchestra, New World Symphony Orchestra, and the orchestras of Philadelphia, Indianapolis, James Lee, III Omaha, Pasadena, Memphis, Grand Rapids, Cincinnati, Atlanta, Akron, and Composer have been conducted by such artists as Leonard Slatkin, Marin Alsop, Michael Tilson Thomas, Juanjo Mena, David James Lee, III, born 1975 in St. Joseph, Lockington, Thomas Wilkins, and others. Michigan cites as his major composition teachers Michael Daugherty, William In a future season, the Detroit Symphony Bolcom, Bright Sheng, Betsy Jolas, Susan Orchestra will premiere his newly Botti, Erik Santos, and James Aikman. He commissioned work Amer’ican. Upcoming graduated with a Doctor of Musical Arts premieres of Lee’s work include his degree from the University of Michigan Violin Concerto No. 2, “Teshuah” to be in 2005. As a composition fellow at the premiered by violinist Carla Trynchuk Tanglewood Music Center in the summer and the Andrews University Symphony of 2002, he added Osvaldo Golijov, Michael Orchestra, Concerto for Piano and Gandolfi, Steven Mackey, and Kaija Orchestra to be premiered by Daniel Lau Saariaho to his roster of teachers, and he and the New England Youth Ensemble, studied conducting with Stefan Asbury. Wakayoha Concerto for Bayan, Percussion, and Strings to be premiered by Franko In 2006 he premiered Beyond Rivers of Bozac and the Oregon Music Festival Vision in Washington D.C. at the Kennedy Orchestra. Many other works for orchestra, Center with the National Symphony narrator and orchestra, symphonic band, Orchestra. During the 2009 – 10 season and chamber music will also be premiered Lee won the Wladimir and Rhoda Lakond during the upcoming seasons. Lee is Award from the American Academy of currently a Professor of Music at Morgan Arts and Letters in New York City. He was State University in Baltimore, Maryland. also the composer-in-residence for the Ritz Chamber Players, an African-American chamber music society based in Jacksonville, Florida. Lee was also commissioned by the

2021 SEASON | 89 Dvořák, Symphony No. 8

James Lee, III Antonín Dvořák Restored Images Symphony No. 8 in G Major, Op. 88 James Lee, III was born on November 26, 1975 in St. Joseph, Michigan. Restored Antonín Dvořák was born in Nelahozeves, Images was written in 2020 and was first Bohemia, Austrian Empire (now part of performed on April 22, 2021 in Easton, the Czech Republic) on September 8, 1841 Maryland by the Mid-Atlantic Symphony and died in Prague on May 1, 1904. His Orchestra conducted by Julien Benichou. Symphony No. 8 in G Major was written The work is scored for string orchestra. in 1889 and given its first performance in Prague on February 2, 1890, with Restored Images is a work that is inspired the composer conducting the Orchestra by the difficult challenges of the year 2020. of the National Theatre. The work is It is a piece about the idea of breaking scored for 2 flutes (2nd doubling piccolo), various forms of harmful tensions and the 2 oboes (1st doubling English horn), 2 final restoration of images of beauty on this clarinets, 2 bassoons, 4 horns, 2 trumpets, planet. The work begins solemnly with a 3 trombones, tuba, timpani, and strings. slow and hopeful ascent. These ascending lines become more intense as the music Many composers have found their progresses. Once the music reaches a musical voice by assimilating the essential certain height, there is a sense of hopeful style and flavor of folk music. Certain anticipation of sustained joy. Along this inspired flashes of it can be found in path of anticipating joy, there are various Joseph Haydn’s music, possibly because reminders of challenges and obstacles the teenage Haydn made part of his that need to be overcome. As the work living as a street musician in Vienna. Béla nears its climax, I intended for the music Bartók and Zoltán Kodály took the music to evoke the beautiful, restored images they heard in the far reaches of Eastern of love and respect in humanity. This is Europe and created their own distinctive then followed by other images regarding vocabularies. Gustav Holst and Ralph the restored image of God in man, the Vaughan Williams drew a similar wealth restoration of harmony in families, the of inspiration from English folk songs. restoration of the beauty of nature and the earth, and finally a blissful anticipated Antonín Dvořák filled his works with vision of having eternal life and seeing the rhythms and melodies of Czech and the light and glory of the eternal God. Bohemian folk songs and dances. Even in his so-called “abstract” compositions — James Lee, III (symphonies, string quartets, etc.) the distinctive features of Czech music abound – syncopated rhythms, modal melodies and harmonies, distinctive melodic contours. Even in compositions 90 | PENSACOLA SYMPHONY ORCHESTRA given programmatic titles that would accompanied by clarinets, bassoons, and suggest places far away from his native trombones. The somber mood does not last land (the “New World” Symphony, the for long; the solo flute introduces a rising “American” String Quartet), Dvořák may melody soon exultantly taken up by the be speaking of “new worlds” but he speaks rest of the orchestra. A second idea appears of them with a distinctly Czech accent. richly scored in clarinets, violas, and cellos, with fragments of the flute melody The Symphony No. 8 in G Major, written intertwined with it. As the music gains in 1889 and first performed in Prague in power, it builds to a restatement of the flute 1890 with the composer on the podium, idea in the whole orchestra. This leads to stands as a largely cheerful, bright, and a lyrical idea in the strings, and then an sunny work between the brooding power of extended melody in clarinets and violins, the Seventh and epic visions of the Ninth accompanied by restless triplets in violins, (“New World”) Symphony. Written at violas, and cellos. A short chorale in the the composer’s country home in Vysoká, winds suddenly explodes into colorful life far away from the worries of performers, in the full orchestra; as this climax subsides, publishers, concert promoters, and the initial melancholy cello theme returns students, the symphony seemed to flow to begin the development section, where spontaneously from Dvořák’s pen – he said the melodies from earlier in the movement at the time “Melodies seem to pour out of reappear in many different guises. A very me.” He wrote the entire work in a little contrapuntal section ensues, leading to the under a month and spent the following movement’s high point: trumpets declaim six weeks completing the orchestration. the opening cello theme fortissimo over After the premiere in Prague, Dvořák a chromatic fury in upper strings and conducted the work to great acclaim in punctuations in the cellos, basses, and low Frankfurt, London, and Cambridge; the brass. The music turns from G Minor to last performance was part of the ceremony G Major at the climactic point of this at which Dvořák received an honorary outburst, and the recapitulation enters in a doctorate from Cambridge University. masterstroke of orchestration: the first flute Because of the success of the Cambridge melody appears in the English horn (the performance, the symphony was, for only moment in the symphony that this a time, nicknamed Dvořák’s “English” instrument plays). All the melodic material Symphony. The symphony received just of the movement returns, and the final as enthusiastic a reception in Chicago, coda treats the flute melody as a vigorous where Dvořák conducted the Chicago march all the way to the final chords. Symphony in a performance at the World’s Columbian Exposition of 1893. The second movement opens with a yearning melody in the strings, which Dvořák’s Eighth Symphony is set in the alternates with a more foursquare response traditional four movements. The first from flutes and oboes, and a much more movement opens with a wealth of melodic lyrical reply from the two clarinets. These material: a lament led by the cellos and two ideas pass back and forth between

2021 SEASON | 91 Dvořák, Symphony No. 8

winds and strings, and the clarinet duet suddenly evaporates into three final wind gains in prominence. After a brief forte chords, and a calm string harmony. statement based on the opening music, a more warm and lyrical chorale-like The finale opens in a blaze of trumpets and texture leads to a surprise: cellos and is nominally in the form of a theme and basses start playing dance rhythms, which variations. The cellos introduce a principal are then taken up in the whole orchestra: melody, accompanied by bassoons and descending scales in the violins with pizzicato basses. The initial variations are punctuation from pizzicato strings as well also led by the cellos, with the rest of the as clarinets, horns, and bassoons. Over strings adding counterpoint above the this dance-like texture, the solo flute and cello line. The full orchestra enters at a oboe sing a long-breathed melody which faster tempo, with the initial cello melody passes to a solo violin. When the violin’s altered into a more dramatic version. double stops subside, the orchestra roars After a virtuoso variation for the solo to life in a majestic version of both the flute, the full orchestra returns, leading dance rhythms and the initial melody of to a minor-key interlude featuring two the movement. This ceases abruptly, and melodies: a chorale-like proclamation from a warm lyrical string texture leads to a the woodwinds answered by a descending return of the earlier woodwind dialogue. pattern in the flutes. These two melodies Instead of dance rhythms, this time the increase in intensity: the first heard in the music turns darker and more dramatic, with full woodwind section against a scurrying melodic fragments in canon over dramatic violin and cello accompaniment, the second tremolo strings. Ferocious string chords boldly proclaimed by the trombones follow, punctuating insistent triplets from against forceful chords from the strings. woodwinds and trumpets. These finally A contrapuntal variation of this section collapse, and the nostalgic dance returns, follows, leading back to a triumphant this time with the violins singing the restatement of the opening fanfare, this melody and the woodwinds dancing. The time in the full orchestra. As this subsides, music calms gradually, builds again to a final the music returns to the initial cello melody, climax, and subsides over a distant tattoo and several more lyrical variations follow. of trumpets, timpani, and low strings. The music gradually softens and fades; just as it seems as though the work will end The third movement is a melancholy pianissimo, the full orchestra roars back waltz, begun in the violins and taken up to life, and the movement sprints to its in the woodwinds. This is interrupted conclusion in high spirits, capped by the by fanfare-like figures in winds that are final fanfares in the horns and trumpets. echoed in the rest of the orchestra. The middle section is a delightful folk dance, — David Cole making much of different cross rhythms between strings, winds, brass, and timpani. The opening waltz returns and leads to a bright coda in duple meter, which

92 | PENSACOLA SYMPHONY ORCHESTRA Curiosity never retires.

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