WHAT’S INSIDE

CONCERTS

Masterworks Chamber 36 Royal Fireworks 33 Chamber Music at the City Gallery 43 Romeo & Juliet 40 Magnetic South: 59 Mozart’s Requiem Stravinsky and Foss 68 Russian Romantics 56 CSO Brass Quintet and Organ

Pops 30 Around the World in Special Events 80 Minutes 66 Charlton With Strings 52 Masquerade!

Charleston Symphony Youth Orchestra 48 Side by Side Concert

4...... House Notes 18...... CSO Chorus 8...... Musicians 22...... Charleston Symphony 10...... Guest Musician Sponsors Orchestra League, Inc. 11...... Board of Directors 26...... Educational Programs 12...... Administration 29...... Musician Roster 13...... Letter from Executive Director 73...... Membership Benefits 14...... Music Director 74...... Donor Recognition 16...... Principal Pops Conductor 77...... In Honor/In Memory 17...... From the Symphony 80...... Guest Musician Hosts/In-Kind Gifts

ADVERTISING: Onstage Publications This playbill program template is published in association with Onstage Publications, 937-424-0529 | 866-503-1966 1612 Prosser Avenue, Dayton, Ohio 45409. This playbill program template may not be reproduced in whole or in part without written permission from the publisher. Onstage e-mail: [email protected] Publications is a division of Just Business!, Inc. Contents © 2019. All rights reserved. www.onstagepublications.com Printed in the U.S.A.

CharlestonSymphony.org 3 HOUSE NOTES

Thank you for attending this performance of the Charleston Symphony. Here are some tips and suggestions to enhance the concert experience for everyone.

TICKET INFORMATION STUDENT DISCOUNTS Students ages 6-22 may take advantage of the following discounts. Some concerts are excluded INDIVIDUAL CONCERT TICKETS or have special pricing noted on the Charleston Online: Symphony website. Purchase student discount www.CharlestonSymphony.org tickets at the Charleston Symphony box office (not Gaillard). College students must show their In Person: valid college ID card. Charleston Symphony Office: 2133 N. Hillside Drive (West Ashley) Monday thru Thursday, 9am $80 Gold Student Membership to attend to 5pm and Friday 9am to 12pm and beginning two 8 Masterworks, 4 Pops, and 3 Chamber hours prior to a performance at the concert venue. Music concerts. Half Price Student Tickets when purchased Gaillard Center Box Office (for Masterworks and in advance. Pops concerts only): Monday through Friday, $10 Student Rush Tickets (subject to availability, 11am to 6pm and beginning two hours prior to at the box office on night of concert only.) a performance. FOR THE ENJOYMENT OF ALL Will Call closes 30 minutes after performance begins. ELECTRONIC DEVICES By Phone: Please refrain from using personal electronic Charleston Symphony...... (843) 723-7528 devices during the performances. The Gaillard Center Box Office...... (843) 242-3099 LATE SEATING In consideration of both artists and audiences, latecomers will be seated at the discretion of the staff. Doors open one hour before the beginning of concerts and Will Call closes 30 minutes after concert starts.

As an added benefit for our subscribers, if you are unable to attend one of your subscription concerts, visit the Charleston SUBSCRIBER Symphony offices at 2133 N. Hillside Drive no less than 48 hours prior to the performance to exchange tickets for a future concert EXCHANGES (subject to availability, some exclusions apply).

4 CharlestonSymphony.org FOR YOUR COMFORT, PLEASE HELP US RECYCLE CONVENIENCE, & SAFETY Please keep your program guide if you wish. We PARKING also encourage patrons to place your program guide in the recycle baskets outside the entrances Two paid parking garages are located near the to the hall as you leave this performance for use at Gaillard Center: the Gaillard Parking Garage (flat future performances. $5 fee) adjacent to the hall and the parking garage located at the end of Calhoun Street near the South Concerts, performers, dates, times, and locations Carolina Aquarium. are subject to change. The Cumberland Street Parking Garage is near the Your attendance constitutes consent for use of Dock Street Theatre. your likeness and/or voice on all video and/or audio recordings and in photographs made during ACCESSIBILITY Charleston Symphony events. To purchase wheelchair-accessible tickets, please call Patron Services at (843) 723-7528 x110. IMPORTANT INFO RESTROOMS All restrooms in The Gaillard Center are handicap CHARLESTON SYMPHONY accessible. Restrooms are available on all levels, PATRON SERVICES with the exception of the Dress Circle. (843) 723-7528, ext. 110

CONCESSIONS ADDRESS Concessions are available for purchase before Mail: PO Box 30818 Charleston, SC 29417 concerts and during intermission. Food is not Physical: 2133 N. Hillside Drive Charleston, SC 29407 allowed inside either performance hall. OFFICE HOURS FOR YOUR SAFETY Monday-Thursday: 9am - 5pm Friday: 9am - 12pm In the event of an emergency, please use the exit nearest your seat. This is your shortest route out of WEBSITE the hall. Charleston Symphony staff members are www.CharlestonSymphony.org onsite at all performances. DEVELOPMENT (843) 723-7528, ext. 115

CHARLESTON SYMPHONY E-NEWS Receive the latest news, information and special pricing opportunities by signing up for the CSO’s e-news at www.CharlestonSymphony.org.

SOCIAL MEDIA Facebook: www.facebook.com/CharlestonSymphony Instagram: CharlestonSymphonyOrchestra Concerts, performers, dates, times, Twitter: @ChsSymphony and locations are subject to change. YouTube: www.youtube.com/user/ChasSymphony Your attendance constitutes consent for use of Use hashtag #CharlestonSymphony throughout your likeness and/or voice on all video and/or audio the season! recordings and in photographs made during CSO events.

CharlestonSymphony.org 5 6 CharlestonSymphony.org

MUSICIANS

CONDUCTORS

Ken Lam Yuriy Bekker Kellen Gray Music Director Principal Pops Conductor Assistant Conductor Sponsored by Herzman-Fishman Charitable Fund Sponsored by Valerie and John Luther and Carol H. Fishman CORE MUSICIANS

Yuriy Bekker Micah Gangwer Asako Kremer Alexander Boissonnault Concertmaster Assistant Concertmaster Assistant Principal Violin Sponsored by Mrs. Andrea Volpe Sponsored by Second Violin Sponsored by Stuart and Sheila Christie Sponsored by Albert and Caroline Thibault Dr. and Mrs. Mariano La Via

Jan-Marie Joyce Alexander Agrest Norbert Lewandowski Damian Kremer Principal Viola Viola Principal Cello Assistant Principal Cello Sponsored by Sponsored by Sponsored by The Gray Foundation Sponsored by Ted and Joan Halkyard Dr. Jeffery and Mrs. Tammy Dorociak Principal Cello Chair Permanently Barbara Chapman endowed by the CSOL®

8 CharlestonSymphony.org Jessica Hull-Dambaugh Regina Helcher Yost Zachary Hammond Kari Kistler Principal Flute Second Flute & Piccolo Principal Oboe Second Oboe & English Horn Sponsored by Sponsored by Co-Sponsored by Miriam DeAntonio Sponsored in loving memory of Roger and Vivian Steel Paul and Becky Hilstad and Nicholas and Eileen D’Agostino, Jr. John Frampton Maybank

Charles Messersmith Gretchen Roper Joshua Baker (On Leave) Katherine St. John Principal Clarinet Second Clarinet Principal Bassoon Second Bassoon Sponsored by Sponsored by Sponsored by Sponsored by Ilse Calcagno Ann and Henry Fralix Dr. and Mrs. William T. Creasman Rajan and Suman Govindan

Brandon Nichols Anne Holmi Christopher Lindgren Thomas Joyce Principal Horn Second Horn Principal Trombone Bass Trombone Sponsored by Sponsored by Sponsored by Sponsored by Cindy and George Hartley Ted and Tricia Legasey Dr. Cynthia Cleland Austin Robert and Helen Siedell

Thomas Bresnick Antonio Marti Beth Albert Ryan Leveille Principal Bass Principal Trumpet Principal Timpani Principal Percussion Sponsored by Sponsored by Sponsored by Sponsored by Dr. James and Claire Allen Mr. and Mrs. Burton Schools Dr. S. Dwane Thomas Anne P. Olsen

CharlestonSymphony.org 9 GUEST MUSICIAN SPONSORS

he Charleston Symphony is very fortunate to have talented guest musicians who supplement our core orchestra to provide you with the best symphonic experience. TWe are also fortunate to have exceptionally generous donors who help make it possible for us to engage these talented musicans.

For a gift of $5,000 or more, you too can sponsor one of these available guest musician chairs.

Flute Merinda Smith Percussion Available

Available Piano Mr. David Savard

Clarinet Available Violin William and Corinne Khouri

Oboe Ms. Katherine M. Huger Michael and Barbara Moody

Available Available

Bassoon Available Viola Ann and Lee Higdon

Horn Ike and Betsy Smith Available

Available Cello Mr. and Mrs. Wayland H. Cato, Jr.

MacDonald Carew Trumpet * Friend of the CSO Family Fund

Available Sue and Ken Ingram

Trombone Available Elizabeth Rivers Lewine

Tuba Available Available

Harp Available Bass Frank and Kathy Cassidy

Dr. and Mrs. Fritz Lorscheider

Available

To participate, please contact the Developmet Office at (843) 723-7528 ext. 115.

10 CharlestonSymphony.org BOARD OF DIRECTORS

EXECUTIVE COMMITTEE President: Robert Siedell – President, Japan and Australia/New Zealand Region Head, American Express International, Inc. (Retired) Treasurer: Lenna Macdonald – Chairman/Finance & Administration, MedTrust Medical Transport, LLC Vice President, Artistic: Edward Hart – Chair, Department of Music, College of Charleston, Composer Vice President, Development: Lee Higdon – President of Connecticut College (Retired) Vice President, Nominating & Governance: Carol H. Fishman – Attorney (Retired) and Community Volunteer Paul Hilstad – Partner and General Counsel, Lord, Abbett & Co, LLC (Retired) Norbert Lewandowski – Principal Cello, Charleston Symphony Kathleen Reid – President of the Charleston Symphony Orchestra League, Inc.

DIRECTORS Judy E. Chitwood – Charleston Symphony Advocate Jerry Hudson Evans – Partner Attorney, Richardson, Patrick, Westbrook & Brickman, LLC Ann Hurd Fralix – Fundraising Professional (Retired), Charleston Symphony Advocate Natalie Ham – General Counsel for Charleston County School District Eddie Irions, M.D. – Partner, Charleston GI Cynthia Mabry – Charleston Symphony Advocate Jon W. Olson – Sr. Vice President & General Counsel, Blackbaud, Inc. Roy Owen – Partner, Deloitte Consulting (Retired) David Savard – Charleston Symphony, Charleston Symphony Orchestra League, Inc., and Artistic Community Advocate, Eaton Corporation (Retired) Byron Stahl – Financial Advisor, Partner, Coastal Wealth Management

VOTING EX-OFFICIO MEMBERS Bob Hill – Banker (Retired)

NON-VOTING EX-OFFICIO MEMBERS Rick Goldmeyer – President, Charleston Symphony Orchestra Chorus Becky Hilstad – Past President, Charleston Symphony Orchestra League, Inc. Kyle Lahm – Cultural Arts Director, City of North Charleston Jennifer Luiken – Professor of Voice, Charleston Southern University Valerie Morris – Dean, School of the Arts, College of Charleston Mike Whack – Special Assistant to the Mayor, City of Charleston

LIFE MEMBERS James Allen Max Hill, Jr. Marianne Mead Burt Schools Ted Halkyard Ted Legasey Eloise Pingry

HONORARY TRUSTEE Ellen Dressler-Moryl

CharlestonSymphony.org 11 ADMINISTRATION

Executive Director FINANCE OPERATIONS MARKETING Michael Smith Director of Finance General Manager Director of Marketing Jeff Irwin Kyle Lane Kate Gray Executive Assistant and Board Liaison DEVELOPMENT Personnel Manager Marketing Coordinator Karen Piraneo Director of Development Thomas Joyce Seda Avdan Alana Morrall PATRON SERVICES Production Manager Marketing Coordinator Director of Patron Development Mason Wills Mandie Ronick Services Coordinator Cynthia Branch Hannah Charney Music Librarian EDUCATION Rachel Gangwer Director of Education and Community Engagement Mitsuko Flynn

12 CharlestonSymphony.org EXECUTIVE DIRECTOR Michael Smith Dear Patrons, I am excited and humbled to welcome each one of you into the hall tonight. This is our 82nd season as a symphony orchestra, and we could not be here without your support.

I could talk at length about this season’s beautiful repertoire, but I will allow Ken to do that on the next page over. Instead, I would like to share with you some highlights we’ve experienced over the last year, and why I believe that the Charleston Symphony has never been stronger.

I am thrilled to report that the Charleston Symphony is as financially healthy as ever. We have just completed an industry- leading eighth consecutive season with a modest operating surplus, devoting 84% of our expenses directly into our artistic and educational programs. Additionally, thanks to the Donnelly Foundation and some very generous patrons/donors, we have established the Symphony’s first-ever Operating Reserve Fund, a rainy-day fund designed to support the Symphony in case of economic downturn. We aim to grow this fund every year so as to ensure that we can always provide Charleston with world class orchestral music.

Last fall, the Charleston Symphony officially acquired the Charleston Symphony Youth Orchestra (CSYO), which has allowed us to deepen and strengthen our involvement in the education of young musicians from all around the tri-county area. The CSYO will operate under the direction of our new Assistant Conductor, Kellen Gray, whom we are delighted to welcome to the Charleston Symphony family.

Finally, I am happy to share that the Charleston Symphony has added more new subscribers than any year since 2011, thanks in part to our flexible new subscription option, Pick 6. In a time when many orchestras are experiencing declines in attendance, we are extremely grateful to witness our audience grow. I see the Symphony as a cornerstone not only of Charleston’s performing arts scene, but of Charleston as a whole, and I am very thankful to see this notion reflected within the community.

I look forward to another season of wonderful music, exciting new initiatives, and growing patron support. I thank the musicians for their incredible artistry and dedication, the staff for their diligent hard work behind the scenes, the board of directors, volunteers, CSOL and CSO Chorus for their generous support, and most of all you, our patrons, for your presence here this evening. Please enjoy the show!

Sincerely,

Michael A. Smith Executive Director

CharlestonSymphony.org 13 ABOUT THE Music Director

en Lam was appointed Music Director of the Charleston Symphony in 2014 and began his first full Kseason with the orchestra in September 2015. Winner of the 2011 Memphis Symphony Orchestra’s International Conducting Competition and a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony, Maestro Lam made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors invited by Leonard Slatkin. In recent seasons he has led performances with the symphony orchestras of Cincinnati, Baltimore, Detroit, Hawaii, Memphis, Illinois and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony and the Taipei Symphony Orchestra.

A keen operatic conductor, Maestro Lam has led numerous productions of the Janiec Opera Company at Brevard Music Center and was Assistant Conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival in Virginia. He has led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada. His performance run of Massenet’s Manon at the Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington/Baltimore area in 2010.

Maestro Lam also holds the posts of Music Director of the Illinois Symphony Orchestra, Resident Conductor of the Brevard Music Center in North Carolina, Artistic Director of Hong Kong Voices and Conductor Laureate of the Baltimore Symphony Youth Orchestras. Previous positions have included posts as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra and Principal Conductor of the Hong Kong Chamber Orchestra.

Maestro Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory. David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen and Leonard Slatkin at the National Conducting Institute. He read economics at St. John’s College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

Maestro Lam is the recipient of the 2015 Johns Hopkins University Global Achievement Award, given to alumni who exemplify the university’s tradition of excellence and who have brought credit to the university and their profession in the international arena through their professional achievements.

14 CharlestonSymphony.org MUSIC DIRECTOR Ken Lam Dear CSO Patrons, In the words of Aldous Huxley, “That which comes nearest to expressing the inexpressible is music.” I believe I can speak for all our musicians when I say that we create, interpret and play music not simply to make a living, but to make ourselves— our spirits and our minds—whole. We play, as Huxley so aptly said, to express the inexpressible, both for ourselves and for our audience.

I have designed each concert in this season’s program to bring to life that which I feel cannot be expressed in words alone. Some pieces, like Aaron Copland’s Third Symphony and Beethoven’s 5th, may inspire and uplift, while others, like Daugherty’s Raise the Roof and Richter’s The Four Seasons Recomposed, may challenge and provoke. While Rachmaninoff’s Piano Concerto No. 3 may charm some with its musical virtuosity, it will captivate others through its sweeping Russian melodies. Of course, some works will exhilarate you while others will soothe—all of which is testament to the inherent power of the music.

It is our life’s work, and indeed our life’s pleasure, to bring our interpretation of these magnificent works to you: to add texture and depth to your daily life, to fill your soul as it has ours, and to express a part of the human experience that would otherwise go unwritten and unspoken. I hope that you will join us for what will surely be a transcendent season.

Sincerely,

Ken Lam

CharlestonSymphony.org 15 PRINCIPAL POPS CONDUCTOR Yuriy Bekker

uriy Bekker, critically-acclaimed violinist and conductor, has led the Charleston Symphony as YConcertmaster since 2007 and was named its Principal Pops Conductor in 2016. Bekker served as the orchestra’s Acting Artistic Director from 2010-2014 and Director of Chamber Orchestra from 2014-2015, playing a major role in the orchestra’s successful resurgence. Mr. Bekker has served on faculty as a violinist and conductor for the Miami Music Festival in Miami, Florida since 2014. He is also an adjunct faculty member of the College of Charleston School of the Arts as a violin professor and as conductor of the College of Charleston Orchestra. He is Music Director of Piccolo Spoleto Festival’s Spotlight Chamber Music Series and co-founder of the Charleston Chamber Music Institute. Mr. Bekker was given the Outstanding Artistic Achievement award from the city of Charleston to honor his cultural contributions. Bekker has also held the position of concertmaster for the Orlando Philharmonic Orchestra and the AIMS Festival in Graz, Austria, and has held additional positions with the Houston Symphony and the Houston Grand Opera and Ballet Orchestras. Bekker has performed worldwide as a celebrated guest concertmaster, avid chamber musician, and critically-acclaimed soloist. In addition to over a dozen concertos with the Charleston Symphony, he has performed with the Vancouver Symphony (British Columbia), Ulster Orchestra (Northern Ireland), Buffalo Philharmonic, Chicago Chamber Music Society, European Music Festival Stuttgart (Germany), Pacific Music Festival (Japan), Spoleto Festival USA, Piccolo Spoleto Festival, Aspen Music Festival, at the Kennedy Center, and in cities including New York City, Chicago, Miami, Orlando, Amarillo, Missoula, Asheville, Flagstaff, Scottsdale, Barcelona, and Graz. He has collaborated with Herbert Greenberg, Claudio Bohorquez, Alexander Kerr, Andres Cardenes, Andrew Armstrong, Robert DeMaine, Sara Chang, Gil Shaham, Ilya Kaler, Joshua Roman, JoAnn Falletta, and Andrew Litton. As Principal Pops Conductor of the Charleston Symphony, Bekker has worked with notable guests artists such as Ben Folds, Tony Desare, Ellis Hall, and Cirque de la Symphonie. Bekker’s recent and upcoming engagements include conductor and violinist with the Amarillo Symphony, violinist on Tchaikovsky’s and Bruch’s Concertos for Violin with the Charleston Symphony, conductor of Mahler’s Symphony No. 6 at the Miami Music Festival, a chamber music appearance with the Fort-Worth Chamber Music Society, and a busy upcoming pops season packed with exciting repertoire and guest artists. Bekker earned a Graduate Performance Diploma from the Peabody Conservatory under the tutelage of Herbert Greenberg. He also holds bachelor’s and master’s degrees from the Indiana University School of Music, where he studied violin with Nelli Shkolnikova and Ilya Kaler. Mr. Bekker has studied conducting with Christopher Wilkins, David Zinman, Imre Pallo and David Effron. His debut CD, Twentieth Century Duos, received world-wide acclaim and a nomination for the International Classical Music Awards. Born in Minsk, Belarus, Bekker is now a United States citizen, and is a proud husband and father to his wife, Jenny, and their toddler son, Nathanael. Visit www.YuriyBekker.com for more information.

16 CharlestonSymphony.org FROM THE Symphony

ood evening and welcome to the 2018-19 season of the Charleston Symphony! My name is Zac GHammond and I am the principal oboist of the CS. This year marks my fourth season as a member of this outstanding ensemble, and the past four years have flown by. It feels like just yesterday I was sitting down for my first rehearsal in Charleston. Anytime you play with a new orchestra, it takes a while to overcome your nerves and really begin to feel comfortable. In Charleston however, I found that I was comfortable almost immediately. Every musician, staff member, and even audience member was so warm and supportive, I felt completely welcome from my first day.

There are many things about the CSO that I think set it apart from other groups. The extremely high-level music making of this orchestra of course cannot be overstated. Whenever I travel to play with another group and I come back to play in Charleston, I am always reminded of just how talented this group of musicians is. Another less noticeable, but I think equally impressive, strength of the CSO is its collaborative attitude. Whether it is my fellow musicians, the staff, the board, or even the community, everyone has an open mind and a willingness to work on new projects or try something different. This is something that I have found is really rare among orchestras and a unique feature of the Charleston Symphony.

A project that I think really illustrates this collaborative spirit is the new solo piece that I am premiering this season. I feel so honored to be performing a completely new oboe concerto with the CSO in January. While playing a concerto is always exciting, this one holds very special significance because the piece is being written by local composer, Yiorgos Vassilandonakis, who is a faculty member at the College of Charleston. I view this as a really important project, not only because it demonstrates the huge pool of talent and experience that exists in Charleston, but also because I think it is the duty of classical musicians to support the music of living composers. It is a crucial aspect of being a musician that I believe will contribute to the future and longevity of orchestral music.

We are looking forward to a great season full of exciting and innovative concerts at the CSO. None of that would be possible without your continued support, so on behalf of all of the musicians of the Charleston Symphony, thank you!

Sincerely, Zachary Hammond Principal Oboe

CharlestonSymphony.org 17 CSO CHORUS Dr. Robert Taylor, Director

he Charleston Symphony Orchestra Chorus is the premier all- volunteer chorus in Lowcountry South Carolina. Composed Tof auditioned volunteers drawn from the greater Charleston metropolitan area, the Chorus is an independent, non-profit organization under the direction of Dr. Robert Taylor, the Director of Choral Activities for the College of Charleston. Dedicated to the promotion, enjoyment, and appreciation of choral music, the Chorus performs a diverse choral repertoire presented in concerts of the highest musical excellence that seek to entertain and educate audiences of all generations as well as nurture and encourage young singers.

Founded by Emily Remington as the Charleston Singers Guild, the full, 120-voice Chorus has provided the choral component for a broad range of classical and modern choral Masterworks, Pops, and Spoleto USA concerts for the City of Charleston for four decades. Major work performances routinely include the voices of the College of Charleston Concert Choir and more recently the Charleston Southern Singers as well as area children’s choirs. The Chorus Chamber Singers, a select sub-division of the CSO Chorus, provides a smaller ensemble to perform works in the chamber repertoire, including three annual performances of Handel’s Messiah.

The 2017–2018 season included two Charleston Symphony Masterworks appearances: Beethoven’s Ninth Symphony and Ralph Vaughn Williams Toward the Unknown Region; the ever-popular Holiday Pops; and a full evening of Italian opera music which included presentations of six well known Italian opera choruses. The Chamber Chorus sang a chamber music program in the Dock Street Theatre for Shubert’s Standchen and excerpts from Brahms’ Zigeunerlieder as well as the traditional and popular Holy City Messiah performances. The Chorus concluded the symphony concert season to excellent critical reviews performing Carl Orff’s popular Carmina Burana in collaboration with the Charleston Symphony, the Gaillard Performing Arts Center, and the Nashville Ballet. The Chorus’ performance season climaxed with an appearance in Spoleto USA along with the Westminster College Choir singing Brahms German Requiem to rave reviews: “The chorus was the undisputed star.”

The Chorus continues to seek skilled, experienced vocal talent and offers audition opportunities routinely in August and January. For additional information about the CSO Chorus or to register for an audition, please visit www.CSOChorus.com.

18 CharlestonSymphony.org CHORUS ROSTER

SOPRANOS Silke Sida Nancy Pellegrini BASSES Starr Acheson Danielle Simonian* Kourtnee Pierson Tom Bracewell Inga Agrest Cathy Sippell Rachel Premo Stanley Chepenik Mary Bell Sharon Spruell Lauren Reynolds Kevin Crenshaw Pat Benzien Sharon Steffan Jessica Schlotfeld Bill Flack Ali Berry Libby Summerford Taylor Seman Marlon Fox Susan Borick Sarah Tuley Marybeth Sgambelluri Joe Gamboa Jenny Brennan Meta Van Sickle Jenna Tobin Rick Goldmeyer Susan Chagrin Samantha Vandapuye Eileen Vanhorn David Hunt Katherine Clifton Lena Vennstrom Rachel Walls Stuart Kaufman Lilly Cooper Lorraine West Judy Warren Lee Kohlenberg Gail Corvette Leah Whatley Charlene Whalen Wei-Kai Lai Casey Cross Sarah Woods Sarah Woodall Doug Ludlum Maryileen Cumbaa Sophia Zimmermann Christina Wynn Scott McBroom Erin Danly Nate Medford Libby Davis ALTOS TENORS Ed Mitchell Helena Dilling Rennie All Philip Amarendran Walter Moser Ruth Dombrowski Jean Breza Kirk Beckstrom Gary Nichols Tammy Dorociak Eloise Brooks Jason Bendezu Dick Pekruhn Anna Doyle Susan Cheves Celeste Carlson Jack Pitzer* Debbie Fox Mary Ellen Doyle Gabriel Chavarria Brandon Szustakowski Linda Gast Logan Doyle Jeff Collins Stuart Terry Michelle Graham Julie Fenimore Bill Gesin Keith Timmons Janice Grant Sue Findlay Terry Goans Dwight Williams Janet Hildebrand Jaimie Flack Stevenson Griggs Susan Hoskins Melody Flowers Steve Gurry Laura Irick Jiska Ford Wayne Heckrotte Phyllis Jestice Savannah Gignac Mark Lazzaro* * section leaders Annie Kouba Carol Heckrotte Hank Martin Donna Mastrandrea Patricia Hoff Mike Mout Mendy McGuire-Gray Celia Johnson Richard Rathmann Sabrina McIntyre Judith Johnson Mark Rippe Yon Meyer Janice Kisling Theresa Robards Bethany Moebs Jean Kuhn Jordan Stoner Ru Monsell Amanda Mazzaro Bill Thornby Aimie Morris Lisa McClure McIver Watson Mary Moser Christe McCoy- Curtis Worthington Martina Mueller Lawrence Alyssa Nestman Sarah Napier Kay Nickel Sally Newell Ally Noone Tara Noone Emily Payton Marianne Nubel Rebecca Peters Donna Padgette Carlen Quinn Joyce Peach* Meghan Ravenel Faith Pecorella

CharlestonSymphony.org 19 PROTECTING THE WILDEST JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn beneath our feet, the food on our plate, and the air we breathe. And it’s why the Natural Resources Defense Council is working to protect the most important places on Earth. Whether it’s the rainforest, the arctic, or your living room. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard.

Because the environment is everywhere.

20 CharlestonSymphony.org

24 CharlestonSymphony.org

EDUCATION AND COMMUNITY ENGAGEMENT

id you know the CSO offers a multitude of education programs for students and teachers to foster lifelong relationships with music? The CSO believes in the immense value Dof education through music, and it is our goal to reflect this belief in the mission of our educational programs—to inspire, challenge, and educate students through musical experiences. To fulfill our mission, the CSO invests over $350,000 annually towards our educational initiatives. ABOUT OUR INITIATIVES:

Charleston Symphony Youth Orchestra: The CSYO performances at participating schools to connect musical is the core of our educational programs. Over seventy elements and concepts they are learning through young musicians from the Lowcountry ranging in The Orchestra Swings curriculum to further prepare ages 13-18 rehearse weekly and perform three students for the culminating concert! concerts throughout the season with CSO Assistant Conductor, Kellen Gray. These students work closely In-School Program: CSO Musicians perform at local with CSO musicians in sectionals and side-by-side schools throughout the tri-county region free of charge, events, enriching their musical education and creating eliminating barriers of access such as affordability and impactful experiences. transportation. For many students, this is their first experience and only opportunity to see a live musical Young Peoples Concert: The Orchestra Swings The performance. Last season, CSO ensembles gave 124 CSO partners with Carnegie Hall’s Link Up program performances at 75 schools, reaching over 18,500 to present The Orchestra Swings, a highly interactive students, many of whom are from Title I schools. and participatory concert for students in grades K-5, where they sing and play recorder alongside the CSO. Residency Program: Throughout the season, CSO All participating teachers attend a district accredited Principal Timpanist, Beth Albert, and Principal teacher workshop lead by CSO Director of Education Percussionist, Ryan Leveille visit the Allegro Charter and Community Engagement, Mitsuko Flynn, and School of Music as part of an on-site residency program Charleston Jazz’s Director of Education and Outreach, that collaborates with music teachers to enhance David Carter, and receive free teacher and student classroom curricula and aims to create long lasting curriculum guides. CSO ensembles give In-School impact of mentorship through music.

26 CharlestonSymphony.org Professional Learning: The CSO offers district SPECIAL THANKS TO OUR accredited workshops for educators throughout the tri-county to enhance their curricula. Last season, EDUCATION SPONSORS Ken Lam and the CSO String Quartet held a conducting workshop for 15 Charleston County School District Anonymous music teachers. Six teachers were selected to prepare Mr. and Mrs. Frank L. Barkley, Jr. a score and conduct the quartet to receive feedback Bihun Family Foundation from Maestro Lam on subjects such as score study, conducting technique, and rehearsal technique. Boomtown BlueCross BlueShield of Community performances: The CSO partners with a South Carolina variety of local organizations to bring the community performances such as Saltwater Sounds at the South City of Charleston Carolina Aquarium, Rush Hour concerts at the Gibbes County of Charleston Museum of Art, and Story Time at the Charleston County Charleston Symphony Public Library. Orchestra League Student Ticket Options: Steeply discounted student Michael Griffith and Donna Reyburn tickets are available including $10 Student Rush tickets Robert and Catherine Hill on the evening of all CSO performances, making Town of Kiawah musical experiences more accessible and affordable for young people. Kiawah Seabrook Exchange Club Ellen Moryl CSOgo: The CSO offers a monthly membership, giving The Mark Elliott Motley Foundation young professionals affordable access to Charleston’s best music as well as to networking events, where Publix Super Markets Charities the Lowcountry’s most driven young professionals Mr. and Mrs. G. Richard Query can collaborate with one another and socialize with Harriet Ripinsky Charleston’s business leaders. South Carolina Arts Commission HOW DO WE DO IT? SCE&G The CSO is committed to serving our community and offers Speedwell Foundation meaningful musical experiences to students through the generous support of donors, corporate sponsors, Additional thanks to the Robert Bosch and community partners. To learn more about how you can support these programs, please contact the CSO’s Corporation for their support of the Director of Education and Community Engagement, David Stahl Education though Music Mitsuko Flynn, at [email protected] or Endowment Fund. call (843) 723-7528 ext. 103.

CharlestonSymphony.org 27

MUSICIAN ROSTER SPRING 2019

VIOLIN VIOLA OBOE TRUMPET Yuriy Bekker* Jan-Marie Joyce* Zachary Hammond* Antonio Marti* Alexander Boissonnault* Alexander Agrest* Kari Kistler* James Ackley Micah Gangwer* Kathryn Dark Martha Kleiner Timothy Hudson Asako Kremer* Sadie deWall Megan Kyle Kyle Lane Karel Abo Rachel Gangwer Rachel Maczko Susan Messersmith Kathleen Beard Zoe Harbison Rebecca Nagel Greg Schoonover Corine Brouwer Jeremy Keinbaum Alexandra Shatalov Chi-Yin Chen Nicole Moler TROMBONE Lydia Chernicoff Taliaferro Nash ENGLISH HORN Christopher Lindgren* Rex Conner Scott Rawls Kari Kistler* Carrie Bates David Edwards Daniel Urbanowicz David Roode Andrew Emmett Benjamin Weiss CLARINET Brian Santero Tracy Ensley Charles Messersmith* Shannon Fitzhenry CELLO Gretchen Roper* BASS TROMBONE Seth Gangwer Norbert Lewandowski* Thomas Joyce* Christen Greer Damian Kremer* BASS CLARINET Catherine Hazan Alvaro Angulo Jeffrey Brooks TUBA Pam Hentges Christopher Glansdorp Chris Bluemel Frances Hsieh Ismar Gomes BASSOON Carson McTeer Tomas Jakubek Daniel Mumm Katherine St. John* Ha-Young Kim Elizabeth Murphy John Kriewall TIMPANI Lenora Leggatt Joshua Nakazawa Joseph Merchant Beth Albert* Patrick Lin Daniel Pereira Jacob Thonis Mayumi Nakamura Stephen Thomas PERCUSSION Liviu Onofrei Dusan Vukajlovic CONTRABASSOON Ryan Leveille* Nina Sandberg Cameron Williams Sean Gordon Robert Burrows Lauren Scott Ashley Hedrick Michael Haldeman Stephanie Silvestri BASS Jeffrey Handel Michael Sutton Thomas Bresnick* SAXOPHONE Mathew Masie Marius Tabacila Michael Ashton Jonathan Kammer Diana Sharpe Mary Taylor Peter Berquist Robert Lewis Ryo Usami Mark Chesanow Mark Sterbank HARP Jenny Weiss Joseph Farley Kathleen Wilson Shr-Han Wu Ben Jensen HORN Andrea Mumm Christian Zamora Jan Mixter Brandon Nichols* Cody Rex Anne Holmi* KEYBOARD Paul Sharpe Debra Sherrill-Ward Michael Braz Katharine Caliendo Julia Harlow FLUTE/PICCOLO Michael Daly Chee Hang See Jessica Hull-Dambaugh* Alex Depew Ghadi Shayban Regina Yost* Andrew Fierova *Core musician Tacy Edwards Chris Komer Jeanna Melilli Grace Salyards

CharlestonSymphony.org 29 POPS January 17, 2019 • 7:30pm Gaillard Center

AROUND THE WORLD IN 80 MINUTES Taiko Charleston, Tracy Bush Traver, Director Gino Castillo, Percussion Chee-Hang See, Erhu Yuriy Bekker, Conductor

Piotr Ilych Tchaikovsky Capriccio Italien, Op. 45

Johannes Brahms Hungarian Dance No. 1 in G minor

Johann Strauss, Jr. Radetzky March

George Gershwin An American in Paris

INTERMISSION

Arturo Márquez Danzon No. 2

Tan Dun “Eternal Vow” from Crouching Tiger, Hidden Dragon

Taiko Charleston Chichibu Yatai Bayashi

Maurice Ravel Bolero

30 CharlestonSymphony.org ABOUT THE ARTISTS

Gino Castillo Percussion

ino Castillo is a recording artist, music educator, composer, singer, and Clinician Percussionist. His percussion studies include the Caturla GConservatory and Felix Varela Conservatory. He was named Jazz Artist of the Year by the City Paper Music Awards in 2013 and 2014, and Jazz Artist of the Year by the Independent Tone Awards in 2015 and 2016.

Castillo has performed and collaborated with a number of international artists, including Earl Klugh, Al Turner, Michael Mossman, Quentin Baxter, Etienne Charles, Horacio el Negro Hernández, Oscarito Valdés, Eddie Venegas, Charleston Jazz Orchestra, Charleston Smooth Jazz Orchestra, Lowcountry Latin Jazz Collective, Charleston Latin Jazz Collective, Jose Pepito Gomez, John Benítez, Pascoal Meirelles, Paulo Moura, Alex Alvear, Jessy J, Zacai Curtis, Ymelda Marie-Louisa, and more.

Castillo has taught at the Berklee College of Music International Network, Centro de Percusión Latina GC, the George Gershwin Conservatory, and in more than 200 workshops with Sabian Cymbals and Pearl Drums.

CharlestonSymphony.org 31 ABOUT THE ARTISTS Taiko Charleston

aiko drumming is a Japanese musical art form grounded in core aspects Tof martial arts, dance and percussion. The rhythms of the heavy wooden Taiko drum have figured prominently in traditional roles from ancient times in Japan. During times of war, the Taiko’s resonating pulse echoed through vast distances as both a call to battle and a tool of intimidation against the enemy. Taiko was also as a component within the regional Japanese cycles of festival life rooted in the agricultural seasons. Within these festivals known as Matsuri, its role ranged from a pulse to sustain the tempo of celebration to an astounding range of elaborate and intricate forms of drumming and dance traditions.

During the last fifty years, Taiko has gone far beyond it’s traditional role and emerged as one of the most energizing and innovative of Japanese art forms. Taiko has come into it’s own as it exemplifies passionate musical expression, precision, power and grace.

Since 2009, the drummers of Taiko Charleston led by Sensei Tracy Bush Traver have inspired audiences with their high intensity and passionate performances and established themselves as a leading Taiko ensemble in the southeast. We strive to honor the Japanese culture in which it is grounded and to connect and inspire across cultural lines through the power of this unique and vibrant art form.

ABOUT THE DIRECTOR

racy Bush Traver performed internationally as the only foreign member of various professional Japanese troupes as well as receiving the Japanese Ministry of Culture grant for her studies in folk performing arts. TShe has taught and performed Taiko for over ten years.

32 CharlestonSymphony.org CHAMBER January 25 and 26, 2019 • 7:00pm City Gallery at Waterfront Park

CHAMBER MUSIC AT THE CITY GALLERY

Paul Schoenfield (b.1947) Café Music Jihye Chang, Piano; Yuriy Bekker, Violin; Norbert Lewandowski, Violoncello I. Allegro con fuoco II. Andante moderato III. Presto

Ernő Dohnányi (1877-1960) Serenade for String Trio, Op.10 Asako Kremer, Violin; Jan-Marie Joyce, Viola; Damian Kremer, Violoncello I. Marcia: Allegro II. Romanza: Adagio non troppo III. Scherzo: Vivace IV. Tema con variazioni: Andante con moto V. Finale: Rondo

W. A. Mozart (1756-1791) Quintet for Piano and Winds in E Major, K.452 Jihye Chang, Piano; Kari Kistler, Oboe; Gretchen Schneider Roper, Clarinet; Katherine St. John, Bassoon; Brandon Nichols, Horn I. Largo – Allegro moderato II. Larghetto III. Allegretto

CharlestonSymphony.org 33 34 CharlestonSymphony.org

MASTERWORKS February 1 and 2, 2019 • 7:30pm Gaillard Center

ROYAL FIREWORKS Yuriy Bekker, Violin and Conductor

George Frideric Handel (1685-1759) Royal Fireworks Music, HWV 351 I. Overture II. Bourrée III. La Paix IV. La Réjouissance V. Menuet I & II Sponsored by Dr. William D. Gudger

Johann Sebastian Bach (1685-1750) Orchestral Suite No. 3 in D Major, BWV 1068 I. Overture II. Air III. Gavotte I & II IV. Bourrée V. Gigue

INTERMISSION

Max Richter (b. 1966) The Four Seasons Recomposed Spring 1 Spring 2 Spring 3

Summer 1 Summer 2 Summer 3

Autumn 1 Autumn 2 Autumn 3

Winter 1 Winter 2 Winter 3 Sponsored by Gerald and Gretchen Tanenbaum

36 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

George Frideric Handel (1685-1759) one of Handel’s most popular scores, and he himself Royal Fireworks Music, HWV 351 conducted a second performance just weeks later at a benefit concert.

In the eighteenth century world of George Frideric The occasional function of music during this period— Handel, composers were craftsmen, skilled artisans namely, the fact that pieces were written for one producing beautiful goods primarily for those specific occasion rather than for the eternal gaze wealthy patrons who could afford them. Rather than of posterity—makes it all the more incredible that spending time crafting timeless art works to be Handel was able to come up with such magnificent enjoyed in perpetuity, composers were often simply music under such bizarre circumstances. The aptly- filling an order. For Handel, those orders tended to titled “Royal Fireworks Music” is a collection of short come from his patron, King George. The King would movements designed around several of the most inform Handel that he wished to have some new popular dance forms of the eighteenth century, music at a party, event, or state function, and the including the French minuet and bourrée. The piece composer would dutifully comply, creating music that opens with a stately French overture and is anchored met whatever conditions the King had requested. In around a pair of movements to celebrate the April 1749, King George II planned a massive public occasion: first “Peace” (La Paix) and then “Rejoicing” fireworks display to celebrate the end of the War of (La Réjouissance). As you listen, you might imagine the Austrian Succession. The celebration was to take how this elegant collection of dances might have place in Green Park, just across the mall from George’s sounded from a common Londoner’s perspective, residence in St. James’s Palace, and would feature drifting across the traffic-jammed lanes of London new musical accompaniment written by Handel, the Bridge or reverberating along the southern banks of same composer who had famously provided the the Thames. “Water Music” soundtrack to King George I’s boat trip down the Thames more than 30 years prior. Johann Sebastian Bach (1685-1750)

By the time of Royal Fireworks Music, Handel had Orchestral Suite No. 3 in D Major, been composing for British monarchs for nearly BWV 1068 four decades, and enjoyed a phenomenal level of celebrity. Perhaps the best evidence of this are When asked about what message we might send to the stories surrounding the public “rehearsal” of an extraterrestrial civilization, physician and former the Royal Fireworks Music, which took place in dean of the Yale and NYU medical schools Lewis Vauxhall Gardens the week prior to the official debut. Thomas remarked, “I would vote for Bach, all of Vauxhall is located on the South Bank of the Thames Bach, streamed out into space, over and over again. River and the only accessible route led interested We would be bragging of course.” After more than concertgoers through a bottleneck across the London two-and-a-half centuries since his death in 1750, the Bridge. More than twelve thousand Londoners made music of Johann Sebastian Bach continues to serve the trek, each paying two-and-a-half shillings for a as a high watermark for many musicians, composers, ticket (about $20 in today’s money), and causing a conductors, and music fans. Mozart, Beethoven, nearly three-hour traffic jam on the London Bridge. and Mendelssohn regarded J.S. Bach as the giant In contrast to the April 21st rehearsal, the actual on whose shoulders they stood, and it was his premiere six days later was a bit of a fiasco. The spectacular vision and intricate craftsmanship that rainy conditions and poor planning on the part of the inspired them to create masterpieces of their own. organizers meant that many of the fireworks actually In 1977, the first movement of Bach’s Brandenburg misfired, including several that started a small blaze Concerto No. 2 was chosen as the first musical inside the specially-designed pavilion that housed piece to be played on the Voyager Golden Record, the musicians playing Handel’s score. Despite the a phonograph record containing a broad sample difficult premiere, however, this piece quickly became of Earth’s common sounds, languages, and music

CharlestonSymphony.org 37 PROGRAM NOTES MASTERWORKS sent into outer space with the two Voyager space in which he composed an eight-and-a-half hour probes. Perhaps someday, an alien civilization will long listening experience designed with the help of acknowledge our “bragging” by sending along some neuroscientist David Eagleman to accompany a good music by a Bach of their own. night’s rest. So, it is perhaps surprising that Richter would undertake a project based on one of the most The “suite” or “partita” was one of the most popular conventional and ubiquitous pieces in the classical instrumental forms during the Baroque period (roughly repertoire, Vivaldi’s Four Seasons. 1600 to 1750). The format consisted of a prelude or overture followed by a series of contemporary dances Richter is careful not to identify this work as an drawn from the high societies of Europe. In fact, many arrangement or a brand-new piece written in of the names of these dances still bear the names of response to Vivaldi’s original. Rather, he refers to it as their countries of origin, such as Allemande (from the a “recomposition,” attempting to transpose the original French for “German”) or Polonaise (from the French materials of the Four Seasons into a contemporary for “Polish”). Bach’s Orchestral Suite No. 3 begins compositional context. For example, Richter takes with an overture in the French style and concludes the famous opening bars of “Spring”—which seem to with a set of three lively, if somewhat restrained have been endlessly used and reused in advertising, dances. The Gavotte and Bourrée are both originally muzak, and telephone hold music—and he treats them French folk dances that were adapted and highly- as a kind of tape loop, allowing them to repeat freely stylized in the many ballets and dance performances over a warm bed of newly-composed accompaniment at the court of Louis XIV. Though originally directed in the low strings. In an interview with NPR, which from the humble Irish “jig,” the Gigue too is a French recorded and live-streamed the American premiere of creation, stylized through the French theatre and the piece, Richter commented that sometimes during “grand opera” traditions, and subsequently included the compositional process, he actually didn’t know in many Baroque dance suites. The most famous where Vivaldi’s creativity ended and his own began. movement of Orchestral Suite No. 3 is undoubtedly the second, the so-called “Air on the G String” made “The first thing that was sort of difficult—and I wasn’t famous in a nineteenth-century arrangement by expecting this, actually—was trying to understand German violinist August Wilhelmj. This movement is who I was at each moment of writing it. That sounds modeled on earlier French and English “airs,” which a bit crazy, but in the piece, there are sections which typically consisted of lament ballads with simple, are just Vivaldi, where I’ve left it alone. I’ve done sort folk-inspired melodies. of a production on ‘Autumn,’ but I’ve left the notes. And there other bits where there’s basically only Max Richter (b. 1966) a homeopathic dose of Vivaldi in this completely The Four Seasons Recomposed new music. So I have to figure out how much Max and how much Vivaldi there was going on at every moment.” Few composers in the past 50 years have cultivated such a diverse output as the German-born British At the end of the process, Richter estimates that he composer Max Richter. He has written traditional ditched about 75% of Vivaldi’s original score, while concert works for ballets, operas, and symphony the ideas he retained are often re-contextualized orchestras, composed scores for film and television, through looping and phasing techniques. However, produced albums for popular recording artists, made the piece is 100% original in its conception, and its his own solo albums of angular electronic music, and ability to join together the musical thought processes even undertaken a massive project called “Sleep,” of composers separated by nearly three centuries.

38 CharlestonSymphony.org

CHAMBER February 8, 2019 • 7:30pm Simons Center Recital Hall

MAGNETIC SOUTH: STRAVINSKY AND FOSS Kayleen Sanchez, Soprano Dr. Robert Taylor, Narrator Evan Perry, Devil TBD, Soldier Ken Lam and Yiorgos Vassilandonakis, Conductors

Lukas Foss (1922-2009) Thirteen Ways Of Looking At A Blackbird

Igor Stravinsky (1882-1971) Histoire du Soldat Part One The Soldier’s March Scene One Airs by a Stream Narration The Soldier’s March Scene Two Pastorale Narration Interlude Narration Airs by a Stream Scene Three Airs by a Stream Part Two The Soldier’s March Narration The Royal March Scene Four The Little Concert Scene Five Three Dances: Tango, Waltz, Ragtime Narration The Devil’s Dance Narration Little Chorale Narration The Devil’s Song Great Chorale Scene Six Triumphal March of the Devil

40 CharlestonSymphony.org ABOUT THE ARTISTS

Yiorgos Vassilandonakis Conductor

riven by a strong dramatic and formal sense, Yiorgos Vassilandonakis’ music is emotionally engaging and cerebral at the same time. Venturing Dinto chamber, vocal, orchestral, opera, film, electronic & multimedia genres, his works reveal a mastery of timbre, sonority and temporal space, and a deep interest in sound itself as a physical entity.

Vassilandonakis’ music is frequently programmed on both sides of the Atlantic, and has been commissioned and performed, among others, by the New York New Music Ensemble, the San Francisco Contemporary Music Players, the Nouvel Ensemble Moderne, the Juilliard Percussion Ensemble, ALEA III, the Del Sol String Quartet, Ensemble Cairn, Meridian Arts Ensemble, Ensemble In Extensio, the Athens Camerata and the Hellenic Contemporary Ensemble. It has been supported by grants from Meet-the-Composer, the American Music Center and the French Ministry of Culture, and featured in the Aspen, Ernest Bloch, Domaine Forget, Wellesley and Patras International Festivals.

Yiorgos holds advanced degrees from the University of California, Berkeley, where his principal composition teachers were Edmund Campion, Richard Felciano, John Thow, Jorge Liderman and Cindy Cox. As the recipient of the George Ladd Prix de Paris, he spent two years in Paris, studying advanced composition, orchestration and electronic music with Philippe Leroux, at the École Nationale de Musique et de Danse, Erik Satie. He also studied composition with Paul Reale and Ian Krouse, and Film Music with the legendary Jerry Goldsmith, Paul Chihara & Don Ray. His conducting teachers were David Milnes and Jeffrey Schindler.

A dedicated educator, Dr. Vassilandonakis has taught Composition and Music Theory at the University of California, Berkeley and the University of Virginia, as well as electronic music at the Centre de Création Musicale, Iannis Xenakis, in Paris, before joining the faculty at the College of Charleston in 2010.

Also active as a conductor and proponent of contemporary music, he has conducted the GuitArte Ensemble, the Young People’s Symphony Orchestra, the Prometheus Symphony Orchestra, the UCLA Philharmonia, and the UC Berkeley Symphony. He was the Music Director at the Oakland Cathedral of the Ascension, and is the Composer-In-Residence with the Worn Chamber Ensemble in San Francisco.

CharlestonSymphony.org 41 Thirteen Ways of Looking At A Blackbird Lukas Foss (1922-2009) Text by Wallace Stevens (1879-1955) “Thirteen Ways of Looking at a Blackbird” from Harmonium

I. VIII. Among twenty snowy mountains, I know noble accents The only moving thing And lucid, inescapable rhythms; Was the eye of the blackbird But I know, too, That the blackbird is involved II. In what I know. I was of three minds. Like a tree IX. In which there are three blackbirds. When the blackbird flew out of sight It marked the edge III. Of one of many circles. The blackbird whirled in the autumn winds. It was a small part of the pantomime. X. At the sight of blackbirds IV. Flying in the green light, A man and a woman Even the bawds of euphony Are one. Would cry out sharply. A man and a woman and a blackbird Are one. XI. He rode over Connecticut V. In a glass coach. I do not know which to prefer, Once, a fear pierced him, The beauty of inflections In that he mistook Or the beauty of innuendoes, The shadow of his equipage The blackbird whistling For blackbirds. Or just after. XII. VI. The river is moving. Icicles filled the long window The blackbirds must be flying. With barbaric glass. The shadow of the blackbird XIII. Crossed it, to and fro. It was evening all afternoon. The mood It was snowing Traced in the shadow And it was going to snow. An indecipherable cause. The blackbirds sat In the cedar-limbs. VII. O thin men of Haddam Why do you imagine golden birds? Do you not see how the blackbird Walks around the feet Of the women about you?

42 CharlestonSymphony.org MASTERWORKS March 1 and 2, 2019 • 7:30pm Gaillard Center

ROMEO & JULIET Robyn Bollinger, Violin Ken Lam, Conductor

Charles Gounod (1818-1893) Ballet Music from Faust I. Dance of the Nubian Slaves IV. Dance of Cleopatra and Her Slaves V. Dance of the Trojan Maidens VI. Mirror Dance VII. Dance of the Phryne

Nicolò Paganini (1782-1840) Violin Concerto No. 1 in D Major, Op. 6 I. Allegro maestoso II. Adagio III. Rondo: Allegro spiritoso Sponsored by Gerald and Gretchen Tanenbaum

INTERMISSION

Sergei Prokofiev (1891-1953) Selections from Romeo and Juliet Montagues and Capulets Morning Serenade The Child Juliet Scene Morning Dance Masks Dance Death of Tybalt Romeo and Juliet Before Parting Romeo at the Grave of Juliet The Death of Juliet

CharlestonSymphony.org 43 ABOUT THE ARTISTS

Robyn Bollinger Violin

aring, versatile, charismatic and passionate, violinist Robyn Bollinger is a young artist on the rise. Having made her Philadelphia Orchestra Ddebut at age twelve, Ms. Bollinger has since performed with orchestras and at festivals nationwide. 2018-19 season highlights include debuts with the symphony orchestras of Knoxville, Helena, Charleston, Bakersfield and California, performances with String Theory at the Hunter, a six-city tour of the East Coast with the Musicians from Marlboro, a recital with pianist Sergey Schepkin, as well as concerts with A Far Cry and Chameleon Arts Ensemble. Last season, Ms. Bollinger released her debut solo CD and DVD, both titled “CIACCONA: The Bass of Time” on Crier Records. As a member of A Far Cry, she has recorded the Grammy nominated “Dreams and Prayers” and “Visions and Variations,” an all-premieres CD. A sought-after collaborator, Ms. Bollinger is a popular figure on the chamber music stage, both as a member of the renowned, Grammy-nominated Boston-based ensemble A Far Cry, and for her work at festivals and on chamber music series. A recipient of top prizes at many international competitions, including Vienna’s International Fritz Kreisler Competition, France’s Yehudi Menuhin International Competition for Young Violinists, and Germany’s Louis Spohr International Competition, Robyn was honored with a prestigious 2016 Fellowship from the Leonore Annenberg Arts Fellowship Fund for her multimedia performance project entitled “CIACCONA: The Bass of Time,” which she began touring in 2018. She performs on a 2017 violin made by the world-renowned luthier Samuel Zygmuntowicz, on loan from a private collection.

44 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

Charles Gounod (1818-1893) by companies in Dresden, Milan, and London. The Ballet Music from Faust piece gained such notoriety that in 1869, Gonoud was offered a chance to stage it at the Salle Le Peletier in Paris, on the condition that he include in The story of Faust is as old as creative endeavor itself. the composition new music for a ballet. Gonoud The idea of a “devil’s bargain,” in which someone was reportedly ambivalent about making these exchanges their soul for an extraordinary gift or talent additions to the score nearly ten years after the piece is a powerful plot device and a compelling allegory. premiered, and he even contacted a young Camille The two composers most closely associated with Saint-Saëns about writing the new additions on his the story of Faust—Gounod and Paganini—are both behalf. Despite his reluctance, however, the seven featured on tonight’s program: the former because of short movements of this new ballet music are one of his depiction of Faust on the operatic stage, and latter Gonoud’s most frequently performed works, thanks because many of his contemporaries believed that he in part to the daring choreography given to the ballet himself made a Faustian bargain (more on that below). by George Balanchine in 1975. The ballet depicts a While the Italian opera tradition epitomized by Mozart, series of scenes inspired by the German feast of Rossini, Verdi, and Puccini is much better known Walpurgisnacht (April 30), a night on which witches today, France has an equally long and storied tradition and demons are believed to congregate and conspire of opera that is entirely distinct from its European across the earth. The devilish Mephistopheles brings counterparts. In some ways, working in French opera— the titular Faust to witness this macabre spectacle especially during the nineteenth century—constituted and the music is suffused with a sense of this a kind of Faustian bargain of its own. In exchange for otherworldly revelry. access to unrivaled performance venues and almost limitless coffers of state and royal funding afforded Nicolò Paganini (1782-1840) to the Académie d’Opéra, composers surrendered a great deal of their creative freedom to conform to the Violin Concerto No. 1 in D Major, Op. 6 blueprint of grand opera enforced by French cultural authorities. Some of these guidelines were fairly Though he started playing the violin and mandolin unobtrusive and presumably easy to accommodate, at the age of five, it wasn’t until 30 years of age including writing exclusively in the French language that Paganini finally took on the outsized reputation and refraining from the use of any spoken dialogue. that would carry him through the rest of his adult Others, however, imposed much more strict rules on life. In no less of a venue than the fabled La Scala the composer, including the dictum that every story opera house in Milan, Paganini gave a performance be structured into five acts and contain a very specific that announced his presence to the world, and sequence of different vocal genres. Another of these within just a couple of years, he became the most guidelines is perhaps unsurprising given the fact that famous musician in Europe. At nearly every stop French opera was first developed in the court of the on his subsequent twenty years of concert touring, ballet-crazy Sun King, Louis XIV, but every “grand audiences, critics, and fellow musicians alike opera” was also required to have a grand ballet at wondered if there might be something sinister some point during the second act. involved in his extraordinary playing. Following a performance in Leipzig, one critic wrote: “To describe Interestingly, when Faust made its debut in 1859, him, one needs poetry or fairy tales. There is, in his a ballet was not included in the score because appearance, something so demonic that one looks Gounod’s opera was presented by a new upstart for a glimpse of cloven hoof or an angel’s wing.” company called Théâtre Lyrique, which hoped to The Berlin music critic A.B. Marx referred to him break the stifling orthodoxy imposed by the Académie “Dr. Faustus” throughout his reviews and French critic d’Opéra. The opera in its original form was also Joseph d’Ortigue remarked after an 1833 concert toured to great acclaim by the original cast and then “Yes, it’s him, it’s Mephistopheles…I saw him and staged in new productions in subsequent years heard him play the violin.” Stories that Paganini had

CharlestonSymphony.org 45 PROGRAM NOTES MASTERWORKS sold his soul to the devil in exchange for his abilities Sergei Prokofiev (1891-1953) on the violin circulated so widely, that upon his death Selections from Romeo and Juliet in 1840, the Catholic Church actually denied his body a proper Catholic burial in Genoa. It took more than four years and a formal appeal to the Pope before his The story of Sergei Prokofiev’s Romeo and Juliet body could even be transported into the gates of the is nearly as tumultuous and tragic as the story of city, and nearly thirty more years before he was finally the ill-fated lovers themselves. Prokofiev fled his interred at a cemetery in Parma. native Russia following the Bolshevik Revolutions of 1917 and lived in San Francisco, New York, and This First Violin Concerto was written shortly after Paris at various points during the 1920s. During the Paganini’s performance at La Scala and was designed early 1930s, Prokofiev began to grow homesick to showcase his astonishing command of every and reached out to several friends still living and possible technique on the instrument. The designation working in the Soviet Union. Throughout the 1920s of “Op. 6” tells us that this was only the sixth original and 1930s, the Soviet Union had robust and well- composition (or “opus”) that Paganini had published funded communities of composers in both Moscow and that his career as a composer and as a virtuoso and Leningrad (St. Petersburg). However, at the performer are inextricably intertwined. Paganini exact moment that Prokofiev finally decided to return does not simply use his virtuosity as a decorative or to his home country, Soviet leader Joseph Stalin incidental feature of his compositions, rather he seems initiated a severe crackdown on artistic production to elevate it to the level of a structuring principle in throughout the country. Beginning with an excoriating which each new idea or section is designed to give concert review in Pravda that called fellow composer himself new challenges and opportunities to display Dmitri Shostakovich’s new opera “Muddle Instead his skills. One clear evidence of this approach comes of Music,” Stalin and the Soviet Central Committee from the fact that the concerto was originally written began outlining a new artistic standard they in E-flat major rather than the more conventional called “socialist realism.” Increasingly draconian D major to which it was later revised (and in which enforcement of the party line among Soviet artists, key you’ll hear the piece this evening). Paganini called writers, and intelligentsia culminated in the publication for the piece to be played in E-flat major with the violin of the official aesthetic Zhdanov Doctrine in 1946, a soloist re-tuning their instrument a half-step higher—a document that controlled cultural production in the technique known as scordatura—to accommodate the Soviet Union until Stalin’s death in 1953. unusual key. The result was that the orchestral string instruments were dulled by the fact that none of them Prokofiev’s ballet score to Romeo and Juliet was slated could use the open strings or natural resonances of to premiere at the Mariinsky Theatre in the spring of their instruments, while the violin soloist was as bright 1936 and was intended to act as an announcement and resonant as ever, ringing the open notes in the of his return to the Soviet art world. However, in the key of E-flat and with an added brilliance from the months leading up to the premiere, the theatre had extra tension on the strings. A later published version a rash of resignations and terminations connected to of the piece eliminated the alternate tuning and placed the broader upheaval of Stalin’s cultural revolution. the entire composition in the much more reasonable Three “concert suites” consisting of excerpted music key of D, but the overall effect is the same. The from the ballet score—selections from which are devilishly difficult violin solo inevitably shines brightest included on tonight’s program—were developed in throughout the three movements. desperation during these tense years when Prokofiev wasn’t sure that his music would ever be heard. Prokofiev sent copies of the suites to friends in Europe and the United States, where they received

46 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS near immediate performances and acclaim. Such was her sleeping potion and the two lovers embrace and the appetite for the full ballet score, that a premiere celebrate their good fortune as the ballet ends. Due to for a shortened version of the ballet was arranged in pressure from Soviet authorities, Prokofiev ultimately 1938 in Czechoslovakia, but Prokofiev was ultimately rewrote the ending prior to the ballet’s premiere in unable to attend the performance due to Soviet travel 1940, but he frequently wrote about this experience restrictions. Inside the Soviet Union, the piece lingered later in his life. In an autobiographical essay from the for nearly five years after its completion before finally time, he wryly commented that “Shakespeare scholars being premiered in a substantially-revised form in proved more papal than the pope” when they heard Leningrad in January 1940. of his changes, though he eventually came to prefer the revised story. The revised version of the ballet One of the most serious Soviet objections to was critically lauded at the premiere and eventually Prokofiev’s original ballet would likely be shared by received the Stalin Prize for excellence in the arts. the majority of contemporary audiences. Contrary to Just after Prokofiev’s death, a filmed version of the Shakespeare, the plot originally outlined by dramatist ballet was produced under the direction of Lev Adrian Piotrovsky actually called for a “happy ending” Arnshtam and received high honors at the 1955 in which Romeo and Juliet end up together. Just at Cannes Film Festival, including a nomination for the the moment that Romeo reaches for the poison at coveted Palme d’Or. the motionless Juliet’s bedside, he is stopped by Friar Laurence, who whisks the two lovers into a nearby grove of trees. Juliet slowly recovers from

CharlestonSymphony.org 47 CHARLESTON SYMPHONY YOUTH ORCHESTRA March 3, 2019 • 3:30pm Lightsey Chapel, Charleston Southern University

SIDE BY SIDE CONCERT Charleston Symphony Emma Joyce, Violin, 2018 Concerto Competition Winner Kellen Gray, Conductor Ken Lam, Conductor

Felix Mendelssohn (1809-1847) The Hebrides, Op. 26 “Fingals Cave”

Pablo de Sarasate (1844-1908) Zigeunerweisen, Op. 20 “Gypsy Airs”

Piotr Ilyich Tchaikovsky (1840-1893) Symphony No. 1 in G minor, Op. 13 “Winter Daydreams” I. Daydreams on a Winter Journey: Allegro tranquillo IV. Finale: Andante lugubre - Allegro moderato - Alllegro maestoso

48 CharlestonSymphony.org ABOUT THE ARTISTS

Kellen Gray Conductor

he 2018-19 season marks Kellen Gray’s first as Assistant Conductor at the Charleston Symphony Orchestra and Music Director of the Charleston TSymphony Youth Orchestra. Kellen has earned a reputation as a versatile and imaginative conductor through his enthusiasm for traditional, experimental, and integrative multimedia art programs.

Prior to his appointment in Charleston, Kellen served as Project Inclusion Freeman Conducting Fellow, and later, Assistant Conductor at Chicago Sinfonietta, while fulfilling duties as Associate Conductor of the Columbus Youth Ballet (GA) from 2016-18. Before leaving Chicago, Kellen made his Chicago Symphony Center debut, which Jacob Davis of Chicago’s Picture This Post, described as, “laser-like focus that allowed the entire orchestra to seem to become one organism.”

From 2014-16, Kellen was Assistant Conductor at the Valdosta Symphony Orchestra and Music Director of the Valdosta Symphony Youth Orchestra of Georgia. Also in 2016, he was one of eight Conducting Fellows at Eastern Music Festival where he studied with Gerard Schwarz, Grant Cooper, and Jose-Luis Novo. Of his North Carolina debut at Eastern Music Festival, Peter Perret of the Classical Voice of North Carolina referred to Kellen as an “...imposing young Georgian with gestures so smooth and polished they’re almost choreography in themselves.” Kellen is a frequent cover conducting at the Charlotte Symphony; and in December 2018, makes his Charlotte debut with the Charlotte Symphony and Charlotte Ballet Nutcracker. About the CSYO he Charleston Symphony Youth Orchestra (CSYO) engages and inspires young musicians in a collaborative environment, and gives students the platform to strive for excellence with the highest Tquality performing arts education. The CSYO rehearses weekly and receives access to the instructional resources of the CSO, including coaching and side by side opportunities with CSO core musicians, artistic leadership from CSO Assistant Conductor Kellen Gray, administrative oversight from CSO Director of Education and Community Engagement Mitsuko Flynn, and complimentary tickets to all CSO series performances. The CSYO currently serves 75 musicians ranging in ages 13-18 enrolled in the program, from 24 schools and 3 counties. For more information, visit www.charlestonsymphony.org/csyo.

CharlestonSymphony.org 49 DONATIONS

The Charleston Symphony Youth Orchestra gratefully acknowledges supporters for their commitment to moving our mission forward. Listed below are gifts received between November 1, 2017 through November 19, 2018. Please consider making a tax-deductible contribution in the lobby before or after today’s concert to help the CSYO continue to offer highest level musical experiences to young students of the Lowcountry! Donations may also be mailed to the CSYO at P.O. Box 30818, Charleston, SC 29417, or give online by visiting www.charlestonsymphony.org/csyo.

Maestro Level Musician Level $5,000 + $100-$499

Robert and Catherine Hill Anonymous (6) Margaret Brockinton Soloist Level Mr. and Mrs. Terry Cullen $1,000-$2,999 Mr. and Mrs. Cliff Genatt Mr. Jon Kidder Anonymous Amy and Daniel Lloyd Charleston Symphony Renee Marshall Orchestra League, Inc. Ellen Moryl SC Arts Commission John and Denise Myers Steve and Tae Cha Normoyle Concertmaster Level Mr. and Mrs. Kevin Overend $500-$999 Mr. James Paxton

City of Charleston Alesia and Scott Ross

50 CharlestonSymphony.org CharlestonSymphony.org 51 POPS March 14, 2019 • 7:30pm Gaillard Center

MASQUERADE! Dimitri Pittas, Tenor Leah Edwards, Soprano Charleston School of the Arts Chorus, Heather Hammond, Director College of Charleston Concert Choir, Dr. Robert Taylor, Director Yuriy Bekker, Conductor

Andrew Lloyd Webber “Masquerade” from Phantom of the Opera

Andrew Lloyd Webber “All I Ask Of You” from Phantom of the Opera

Giacomo Puccini “O mio babbino caro” from Gianni Schicchi

Giuseppe Verdi “La donna è mobile” from Rigoletto

Georges Bizet Selections from Carmen “Habanera” “Je dis que rien ne m’epouvant” “La fleur que tu m’avais” “Danse Boheme “

Giacomo Puccinni “Bimba bimba, non piangere” from Madama Butterfly

INTERMISSION

52 CharlestonSymphony.org

Johann Strauss, Jr. Fledermaus: Overture

Frederick Loewe and Alan Jay Lerner “I Could Have Danced All Night” from My Fair Lady

Claude Michel Schönberg “Bring Him Home” from Les Misérables

Elton John and Tim Rice, arr. Crafton Beck “Circle of Life” from Lion King

Richard Rogers and Oscar Hammerstein II “Do Re Mi” from The Sound Of Music

Robert Wright and George Forrest “Stranger in Paradise” from Kismet

Leonard Bernstein “Make Our Garden Grow” from Candide

CharlestonSymphony.org 53 ABOUT THE ARTISTS

Dimitri Pittas Tenor imitri Pittas has appeared on leading opera stages throughout North America and Europe, including the Bavarian State Opera, the Vienna DState Opera, the Royal Opera House Covent Garden and the Canadian Opera Company. He is a graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program and has been heard on the Met stage as Rodolfo in La bohème, Macduff in Macbeth, Nemorino in L’elisir d’Amore, Cassio in Otello and Tamino in Die Zauberflöte. His repertoire includes performances as the title role of Don Carlo, Riccardo in Un ballo in maschera, Alfredo in La traviata, Tebaldo in I Capuletti e i Montecchi, Edgardo in Lucia di Lammermoor, Oronte in I Lombardi, the Duke of Mantua in Rigoletto and Michele in the world premiere of La Ciociara (Two Women) with San Francisco Opera.

This season marks a role and house debut as Werther with Florida Grand Opera. Recent operatic engagements include Alfredo in La traviata with Houston Grand Opera, Nemorino in L’Elisir d’Amore with Pittsburgh Opera and Opera Philadelphia, Lt. Pinkerton in Madama Butterfly with Washington National Opera, and performances of Alfred in Die Fledermaus with Santa Fe Opera, at the Met conducted by James Levine, and in Japan under the baton of Seiji Ozawa.

Concert performances include Verdi’s Requiem with the Atlanta Symphony, the Portland Symphony and for the BBC Proms with the Orchestra of the Age of Enlightenment led by Marin Alsop, Beethoven’s Symphony No. 9 with the Oslo Philharmonic, Cleveland Orchestra and Cincinnati Symphony, and Rachmaninoff’s The Bells with the Orchestre Metropolitain de Montreal, under the baton of Yannick Nézet-Séguin.

Dimitri was last seen in Charleston as Mario Cavaradossi in Tosca with the Charleston Symphony.

54 CharlestonSymphony.org ABOUT THE ARTISTS

Leah Edwards Soprano eah Edwards captivates audiences as an actress, singer, dancer and pianist. She made her Broadway debut in 2011 as a member of the Lcompany of Terrence McNally’s Master Class and, off-Broadway, regularly joins the company of the Encores! series at New York City Center. Most recently, Ms. Edwards starred as Cinderella (Into The Woods), Rosemary (How To Succeed…), Carrie (Carousel), Laurey (Oklahoma) and Cosette (Les Misérables). She can be seen in the Emmy-nominated production of Carousel with the New York Philharmonic, has appeared as a musical guest on A Prairie Home Companion, and recorded the latest cast album of George and Ira Gershwin’s Lady, Be Good. Ms. Edwards has been presented in concert at Carnegie Hall, Alice Tully Hall, Avery Fisher Hall, with the New York City Ballet Orchestra and nationally with the Charleston Symphony Orchestra, Rochester Philharmonic, Las Cruces Symphony and the Utah Festival Opera Orchestra. Ms. Edwards is also sought after for her experience with new music, which has resulted in world premiere recordings for the Opera America Songbook. An award-winning pianist, Ms. Edwards appeared as a guest artist at The Gilmore International Keyboard Festival, enjoyed the honor of performing as the musical ambassador to the Chinese Consulate, and her presentation of Prokofiev’s Third Piano Concerto was a featured segment on National Public Radio. In Charleston, she has performed at The Gaillard, Charleston Performing Arts Center and in recital with the Piccolo Spoleto Festival.

CharlestonSymphony.org 55 CHAMBER March 21, 2019 • 7:30pm Cathedral of St. John the Baptist

CSO BRASS QUINTET AND ORGAN

CSO Brass Quintet Daniel Sansone, Organ

Richard Strauss (1864-1949), arr. Gary Olsen Feierlicher Einzug, TrV 224

Giovanni Gabrieli (1557-1612), arr. Robert King Canzona Primi Toni

Solo organ selection to be announced

Johann Sebastian Bach (1685-1750) Nun Dunket Alle Gott, BWV 192

Sigfrid Karg-Elert (1877-1933) Nun Dunket Alle Gott

Johann Sebastian Bach (1685-1750) Herz und Mund und Tat und Leben, BWV 147, “Jesu, Joy of Man’s Desiring”

Solo organ selection to be announced

Sigfrid Karg-Elert (1877-1933), arr. Thomas Brantigan Praise the Lord with Drums and Cymbals

Eugène Gigout (1844-1925), arr. John Kuzma 6 Pièces d’orgue, VI. “Grand Choeur Dialogue”

56 CharlestonSymphony.org ABOUT THE ARTIST

Daniel J. Sansone Organ

aniel Sansone received his Bachelor of Music Degree in Organ Performance from the State University of New York at Fredonia, studying Dwith Dr. John Hofmann. Daniel also holds a Master of Music degree in Organ Performance and Literature from the University of Notre Dame. While at the University of Notre Dame, he was a student of Dr. Craig Cramer.

Daniel has held numerous church positions including serving as Director of Music and Liturgy at St. Ignatius Loyola Cathedral in Palm Beach, Florida and serving as organist at St. Mary’s Cathedral in Portland, Oregon. Daniel also worked in the Office of Campus Ministry at the University of Portland in Oregon, and served as adjunct faculty in the Performing and Fine Arts Department, teaching organ and harpsichord. Daniel has performed organ recitals throughout the United States including the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C., St. Paul’s Cathedral in Pittsburgh, and has appeared as guest organ soloist with the Peabody Concert Orchestra, the United States Naval Academy Brass Ensemble and the Charleston Symphony Orchestra. He has also performed as organ soloist on the Baltimore Bach Series.

He is a past recipient first-prize winner of the Arthur Poister National Organ Playing Competition sponsored by the Syracuse New York Chapter of the American Guild of Organists.

At his most recent position, Daniel served as Director of Music Ministry at the Cathedral of Mary Our Queen, serving the Archdiocese of Baltimore. Daniel oversaw a comprehensive Liturgical Music Program, and was Artistic Director of the Cathedral Music Series. He assumed this position at the Cathedral of Mary Our Queen in November of 2000.

In January of 2014, Daniel was appointed Director of Music and Liturgy for the Cathedral of St. John the Baptist, serving the Diocese of Charleston, South Carolina. Daniel directs and accompanies the Cathedral Choir for the Cathedral’s Sunday 11:15am Solemn Choral Liturgy, as well as other parish liturgies such as Solemn Choral Vespers. He plans and plays Cathedral weddings, funerals, and memorial liturgies.

Daniel established and directs the Cathedral Men’s Schola, chanting the various Propers of the Roman Liturgy using original notation, as well as the Cathedral Schola, specializing in music from the Renaissance Period and earlier.

He also serves on the Diocesan Liturgical committee where his responsibilities include the planning and implementation all Diocesan Liturgies in collaboration with the Office of Worship for the Diocese of Charleston.

Daniel is Artistic Director for the Cathedral Concert Series, which features a variety of musical offerings including the Charleston Symphony Orchestra and Chorus, the Cathedral of St. John the Baptist Choir, and the Taylor Festival Choir which is the professional choir-in-residence. The Cathedral also hosts a number of performers on the annual Piccolo Spoleto Festival including the L’Organo Recital Series of which Daniel is a committee member.

He is a member of the American Guild of Organists, the Conference of Roman Catholic Cathedral Musicians, National Pastoral Musicians, the Chorister Guild and the Royal School of Church Music.

CharlestonSymphony.org 57

MASTERWORKS March 29 and 30, 2019 • 7:30pm Gaillard Center Sponsored by John and Betsy Cahill

MOZART’S REQUIEM

Awet Andemicael, Soprano Faith Sherman, Mezzo-Soprano John Noh, Tenor Brandon Hendrickson, Baritone Charleston Symphony Orchestra Chorus, Dr. Robert Taylor, Director College of Charleston Concert Choir, Dr. Robert Taylor, Director Charleston Southern University Concert Singers, Dr. Dustin Ousley, Director Ken Lam, Conductor

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

INTERMISSION

Wolfgang Amadeus Mozart (1756-1791) Requiem in D minor, K. 626 Completed by Franz Xaver Süssmayr I. Introitus - Requiem II. Kyrie III. Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa IV. Offertorium Domine Jesu Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio

CharlestonSymphony.org 59 ABOUT THE ARTISTS

Awet Andemicael Soprano

oy is the hallmark of soprano Awet Andemicael’s artistry. She has been acclaimed for her “sparkling solo verses” (Opera News), “vivid musical Jpersonality” (Boston Globe), “honeyed tone” (San Francisco Classical Voice), “fine comic interplay and […] superb singing” (Washington Times). Closely associated with De Falla’s El Retablo de Maese Pedro, she has sung the role of El Trujamán with numerous ensembles, including the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic, and, most recently, the Knights at the Tanglewood Festival.

Awet’s special affinity for eighteenth-century sacred music has been featured in concerts with the Bach Collegium Japan, the Handel and Haydn Society, at Carnegie Hall and the Ravinia and Aldeburgh Festivals, with the Symphonies of Pittsburgh, Nashville, Jacksonville, Richmond, and Memphis, and with the Sebastians Chamber Ensemble.

Awet is delighted to return to Charleston, after a wonderful experience performing Messiah with the Symphony Orchestra and Chorus last year. Awet will be back again later this season to sing Mozart’s Requiem with the CSO. In between, she performs with the acclaimed ensemble The Knights at the BRIC Festival in Brooklyn, as well as the Charlotte Master Chorale and the Colorado Bach Ensemble. For more information on Awet’s performance schedule and upcoming recordings, please visit her website: www.awetandemicael.com.

Faith Sherman Mezzo-soprano

cclaimed by the New York Times as a “luminous mezzo-soprano,” and praised by Opera News for her “rich mezzo,” Faith Sherman has enjoyed Asuccesses on both the operatic and concert stages. Ms. Sherman recently made “a sensational European debut” (Financial Times) at the English National Opera in Kaijia Saariaho’s L’Amour de loin as the Pilgrim to rave reviews from the international press. Last season, she made her German operatic debut as Concepcion in L’heure espagnole at Oper Frankfurt and premiered the mezzo-soprano lead role in Ricky Ian Gordon’s Rappahannock County at Virginia Opera. In addition, she covered the role of the Composer in Ariadne auf Naxos at Houston Grand Opera. Ms. Sherman sang Verdi’s Messa da requiem with period instruments at the Ludwigsburger Schlossfestspiele and at the Opéra de Vichy under Michael Hofstetter, and was recently presented in recital for The Arts at St. Matthew’s, a ministry of St. Matthew’s Episcopal Church in Wilton, Connecticut and with The Artist Series of Sarasota in Sarasota, Florida. In the future, she will be seen at Houston Grand Opera, Seattle Opera, and the English National Opera.

60 CharlestonSymphony.org ABOUT THE ARTISTS

John ChongYoon Noh Tenor

auded by Opera News as “Mellifluous Tenor”, John ChongYoon Noh is in the master of musical arts program at Yale School of Music with a full Lscholarship award under the guidance of Richard and Doris Yarick-Cross. Recently, Mr. Noh performed as a tenor soloist in Handel’s Messiah with New Haven Symphony orchestra, Mozart’s Requiem at Carnegie Hall (Stern Auditorium/Perelman Stage) with the Cecilia Chorus of New York and Orchestra, Juilliard 415 The Genius of Monteverdi led by William Christie at Lincoln Center. He has also performed such operatic roles as Lenski in Tchaikovsky’s Eugene Onegin, Danny Chen in Huang Ruo’s An American Soldier, Fenton in Nicolai’s Die Lustigen Weiber von Windsor, Nemorino in Donizetti’s L’elisir d’amore, Ferrando in Mozart’s Cosi fan tutte, Tamino in Mozart’s Die Zauberflöte, Belmonte in Mozart’s Die Entführung aus dem Serail, Rinuccio in Puccini’s Gianni Schicchi and Lysander in Britten’s A Midsummer Night’s Dream performing with Yale Opera; National Sawdust; Juilliard Opera; Music Academy of the West; Peabody Opera Theatre; Lyric Opera Baltimore; Amalfi coast Music Festival. He participated in masterclasses with Marilyn Horne, Martin Katz, Warren Jones, Neil Shicoff, Alan Held, Patricia Racette, Julius Drake, Will Crutchfield, Fabio Luisi, Alan Gilbert, Emmanuel Villaume and Yannick Nezet-Seguin. He is a graduate of the Peabody institute of the Johns Hopkins University (Bachelor of Music ‘16), The Juilliard School (Master of Music ’18) and has been awarded prizes in the Metropolitan Opera National Council Audition (D.C.), Annapolis Vocal Competition, Gerda Lissner Lied/Song Competition, Russell C. Wonderlic Voice Competition, and among others. Brandon Hendrickson Baritone

n the 2018-2019 season, Mr. Hendrickson sings the world premiere of Paul Sanchez’s new song cycle Gothic Atonement with the San Francisco IInternational Piano Festival as well as a European premiere with the Autunno Musicale Festivale in Casterta, Italy.

He also performs, as the baritone soloist, in Brahms’ Requiem with the Great Falls Symphony and South Dakota Symphony’s production of Mahler’s Symphony No. 8. Opera performances include a debut with Annapolis Opera performing the role of Doctor Bartolo in Il Barbiere di Siviglia, a debut with First Coast Opera performing the role of Count Almaviva in Le Nozze di Figaro, and a return to the musical theatre world performing the role of the Captain in a production of Titanic at Bob Jones University. Other career highlights include his debut at Carnegie Hall and with the National Philharmonic as the baritone soloist in Carmina Burana last season and working as a soloist with Duke Chapel’s Bach Cantata Series, Piccolo Spoleto Music Festival, Oklahoma City Philharmonic, Madison Symphony Orchestra, and The Baton Rouge Symphony Orchestra. An active recitalist, Hendrickson performs frequently across the United States, including in his home state of Iowa, as well as in California, South Dakota, Minnesota, Nebraska, Michigan, North Carolina, South Carolina, Louisiana, and Texas. His International credentials include performances in Italy, Canada, Ireland, Malaysia, and the United Kingdom. Dr. Hendrickson is also an artist in residence at Louisiana State University. PROGRAM NOTES MASTERWORKS

Franz Joseph Haydn (1732-1809) And work he certainly did. Haydn’s Symphony No. 94 is one of six symphonies that Haydn wrote during this Symphony No. 94 “Surprise” first trip to London. The symphony’s four movements are entirely typical of the eighteenth-century Franz Joseph Haydn worked in the service of a single symphonic blueprint that Haydn, the so-called “Father family—the fabulously wealthy and immensely powerful of the Symphony,” helped to standardize. But the Esterházys—for nearly thirty years. Beginning when he real star of the show is the jump-inducing second was only 29 years old, Haydn enjoyed a comfortable movement that gives the symphony its nickname life in the Esterházy palaces throughout the Austro- as the “Surprise Symphony.” The movement is cast Hungarian Empire composing music for his patron, as a theme and variations with the delicate opening Prince Nikolaus I, and directing musical activities theme based on the French folk song “Ah, vous throughout the household. While in their service, dirai-je, Maman,” which all of us undoubtedly know Haydn produced thousands of works, including 92 of better by the English lyrics “Twinkle, Twinkle, Little his 104 symphonies and 53 of his 67 string quartets. Star.” The initial “surprise” of the sixteen-bar theme’s When Prince Nikolaus died in 1790, his son, Prince sudden fortissimo gives way to a series of four colorful Anton, replaced the 58-year-old Haydn with other variations that build to a march-like climax before musicians, thus forcing Haydn into a kind of retirement returning to the delicate bounce of the opening. with a generous pension from the family. Haydn could easily have enjoyed a comfortable retirement in the Wolfgang Amadeus Mozart (1756-1791) rural Eszterháza Palace, but as a gregarious and social man, he instead chose to spend his final decades in Requiem the buzzing musical capitals of eighteenth-century Europe: Vienna, Paris, and, most importantly, London. Few pieces in the classical repertoire are more fully shrouded in mythology than Wolfgang Amadeus In the final decade of his service to Prince Nikolaus, Mozart’s Requiem, left unfinished at his death in Haydn’s international reputation had been slowly December 1791. This mythology springs, at least in building in a way he couldn’t have fully understood part, from the supreme irony that seems to permeate from inside the Eszterháza bubble. However, upon the work’s existence: one of the Western world’s most arriving in England on New Year’s Day 1791, he was spectacular artistic statements on death cut short confronted with just how famous his compositions by the untimely demise of its author. Biographical had made him. He spent nearly 18 months in London retellings of his life have often played up the idea that and was treated to a seemingly non-stop barrage of Mozart somehow knew he was composing a requiem banquets, festivals, and even an honorary doctorate mass for his own funeral, with some even going so from Oxford University. In one letter home to a friend far as to suggest that commission for the work came in Vienna, Haydn describes a slightly embarrassing from a “mysterious stranger,” who seems to function as moment where his attendance at a banquet in his both a supernatural harbinger and an externalization of honor made him late to a concert being offered in Mozart’s own anxieties about his worsening illness. Still his honor later that same evening. Having arrived at others suggest foul play in Mozart’s death, centering the concert after the start of the first piece, he waited on a jealous contemporary, such as fellow Viennese for a break in the performance for the ushers to opera composer Antonio Salieri. escort him to his seat. However, when he finally entered the hall, he realized too late that the ushers Contemporary depictions, like Peter Shaffer’s weren’t taking him to his seat, but rather to the front Amadeus, have perpetuated this mythology through of the stage where he received nearly 10 full minutes the modern day, but in fact such stories can be found in of standing ovation. He noted the sensation that his the Viennese press in the days and weeks immediately arrival had created in the city, saying: “I had to dine following Mozart’s death. Most historians now agree out 6 times up to now, and if I wanted, I could dine that the source of these stories seems to be none out every day; but first, I must consider my health, and other than the widowed Constanze Mozart herself. second, my work.” Requiem was actually commissioned by the eccentric Count Franz von Walsegg, an aristocrat and amateur

62 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS musician who routinely commissioned works by of his late wife. In subsequent years, Constanze gave composers with the motive of passing them off as his a number of interviews to journalists and biographers own compositions. Walsegg wanted a grand Requiem in which she retold and elaborated the story of the Mass to memorialize the first anniversary of his wife Requiem’s creation, thus creating and perpetuating the Anna’s death, and he hired Mozart to provide the mythology that surrounds it to this day. score. Mozart received half of his substantial fee as an advance on the work, but the score was left unfinished Despite the mythology, Requiem remains a upon Mozart’s death, so Constanze approached a tremendous musical achievement. Throughout the close family friend, composer Franz Xaver Süssmayr, nineteenth century, composers ranging from Chopin to covertly complete the score so that she could collect to Beethoven, Schubert to Rossini, and even Mozart’s the second half of her husband’s fee. This double mentor Franz Joseph Haydn—whose music you hear deception—with Constanze passing off Süssmayr’s on the first half of tonight’s program—requested that it work as Mozart’s to trick Walsegg who ultimately be performed as part of their own funeral proceedings. intended to pass off Mozart’s work as his own—would The Requiem mass itself is a sprawling text that have been relatively unremarkable, but for the actions provides a challenging and diverse set of opportunities Constanze took next. for the composer. Just the contrast between the haunting opening notes of the “Introitus” and the Despite his storied career and remarkable fame, blistering counterpoint of the subsequent “Kyrie” Mozart died with substantial debts, and a benefit demonstrates the tremendous range that Mozart will concert was held in Constanze’s honor to help ensure traverse over the course of the work. As you listen, you her financial security going forward. The Requiem was might pause with particular reverence at the opening the centerpiece of the benefit concert, performed of the “Lacrimosa,” with its graceful falling teardrops publicly with Mozart’s name nearly a full year before in the violins. Indeed, it was after writing these eight Count Walsegg could organize a performance in honor measures that Mozart’s pen fell silent for the last time.

LIBRETTO

Requiem, K. 626 Wolfgang Amadeus Mozart (1756-1791) Completed by Franz Xaver Süssmayr (1766-1803) I. Introitus-Requiem Requiem aeternam dona ets, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat ets. and may perpetual light shine on them. Te decet hymnus, Deus, in Sion, Thou, O God, art praised in Sion, et tibi reddetur votum in Jerusalem. and unto Thee shall the vow be performed in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. unto Thee shall all flesh come. Requiem aeternam dona ets, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat ets. and may perpetual light shine on them. II. Kyrie Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison. Lord have mercy. III. Sequenz Dies irae Dies irae, dies illa Day of wrath, that day Solvet saeclum in favilla, will dissolve the earth in ashes, Teste David cum Sibylla. as David and the Sibyl bear witness.

CharlestonSymphony.org 63 LIBRETTO

Quantus tremor est futurus How men will tremble and grow pale Quando judex est venturus When Justice comes with sword Cuncta stricte discussurus. and scale to weigh the faults and sort the fates of all.

Tuba mirum Tuba mirum spargens sonum The trumpet rings a wonderous sound Per sepulcra regionum ringing through earth’s sepulchres Coget omnes ante thronum. bringing all before the throne.

Mors slopebit et natora Death is struck down, nature quakes Cum resurget creatura and all creation awakes Judicanti responsura. to make an answer to its Judge.

Liber scriptus proferetur In the book exactly worded In quo totum continetur, all has been recorded Unde mundus judicetur. and thence shall judgement be awarded.

Judex ergo cum sedebit When the Judge has taken His seat Quidquid latet apparebit, and every hidden deed is revealed, Nil inultum remanebit. nothing will be left unpunished.

Quid sum miser tunc dicturus, What shall I, weak man, be pleading, Quem patronum togaturus, who shall intercede for me Cum vix justus sit securus? when the just themselves need mercy?

Rex tremendae Rex tremendae majestatis, King of tremendous majesty, Qui salvandos salvas gratis, Who send us free salvation, Salve me, fons pietatis. Save me, my fountain.

Recordare Recordare, Jesu pie, Recall, sweet Jesus, Quod sum causa tuae viae, ‘twas my salvation brought about Thy Incarnation, Ne me perdas ilia die. abandon me not to reprobation.

Quaerens me sedisti lassus, Faint and weary hast Thou sought me, Redemisti crucem passus, on Thy cross of pain hast brought me, Tamus labor non sit cassus. let Thy suffering be not in vain.

Juste judex ultionis Final Judge of Justice, Donum fac remissionis Lord grant Thy absolution Ante diem rationis. before the day of retribution.

lngemisco tamquam reus, Guilty, now I pour my moaning, Culpa rubet vultus meus, all my shame an anguish owning spare, O God, Supplicanti parce, Deus. Thy suppliant groaning.

Qui Mariam absolvisti Thou the sinful woman savedst; Et latronem exaudisti, Thou the dying their forgavest; Mihi quoque spem dedisti. and to me a hope vouch-safest.

Preces meae non sum dignae, Worthless are my prayers and sighing; Sed tu bonus fac benigne, yet, good Lord, in grace complying, Ne perenni cremet igne. rescue me from fires undying.

Inter oves locurn praesta, With Thy favoured sheep, O place me, Et ab haedis me sequestra, nor among the goats abase me, Statuens in parle dextra. but to Thy right hand upraise me.

Confutatis Confutatis maledictis While the wicked are confounded, Flammis acribus addictis, assigned to flames of woe unending, Voca me cum benedictis. Call me with Thy saints surrounded.

Oro supplex et acclinis, Low I kneel, with heart submission; Cor contritum quasi cinis, see, like ashes, my contrition; Gere curam mei finis. help me in my last condition.

64 CharlestonSymphony.org LIBRETTO

Lacrimosa Lacrimosa dies ilia Oh, that day of tears and weeping Qua resurget ex favilla when, from dust of earth returning Judicandus homo reus. man must prepare for judgement. Huic ergo parce, Deus, Spare, O God, in mercy spare him Pie Jesu Domine, Lord all pitying, Jesu blest, Dona els requiem. grant them Thine eternal rest. IV. Offertorium Domine Jesu Domine, Jesu Christe, Rex gloriae, Lord Jesus Christ, King of Glory, libera animas omniurn fidelium defunctorum deliver the souls of the faithful dead de poenis inferni, et de prof undo lacu: from punishment of Hell and from the bottomless pit; libera cas de ore leonis, deliver them from the mouth of the lion; ne absorbeat eas tartarus, ne cadant in obscurum, nor suffer the fiery lake to swallow them up, nor endless darkness to enshroud them sed signifer sanctus Michael repraesentet eas in lucem sanctam, But let Thy holy standardbearer Michael quam olim Abrahae promisisti lead them to the sacred light, et semini ejus. as once Thou promised to Abraham and his children. Hostias Hostias et preces, tibi, Domine, We offer Thee, O Lord, laudis offerimus: our prayers and sacrifices of praise: tu suscipe pro animabus illis, accept them for those souls whom this day we commemorate: quarum hodie memoriam facimus: let them pass, Lord, from death into life, fac eas, Domine, de morte Iransire ad vitam, as once Thou promised to Abraham quam olim Abrahae promisisti and his children. et semini ejus.

V. Sanctus Holy, Holy, Holy Sanctus. Sanctus, Sanctus, Lord God of Hosts. Dominus Deus Sabaoth! Heaven and earth are full of Thy glory. Pleni suni coeli et terra gloria tua. Hosanna in the highest. Osanna in excelsis.

VI. Benedictus Blessed is He who cometh in the name of the Lord. Benedictus qui venit in nomine Domini. Hosanna in the highest! Osanna in excelsis.

VII. Agnus Dei Lamb of God, that taketh away the sins of the world, Agnus Dei, qui tollis peccata mundi, grant them rest everlasting. dona eis requiem. May eternal light shine upon them, O Lord; Agnus Dei, qui tollis peccata mundi, with thy Saints forever, for Thou art merciful. dona eis requiem sempiternam. Eternal rest grant unto them. O Lord, and let perpectual light shine upon them.

VIII. Communio Eternal light shine upon them, Lux aeterna luceat eis, Domine, with your saints for ever, cum sanctis mis in aeternum, because you are good. quia pius es. Eternal rest grant unto them, O Lord, Requiem aeternam dona eis, Domine, and let perpetual light shine upon them, et lux perpetua luceat eis, with Thy saints for ever, cum sanetis tuis in aeternum, because Thou are merciful. quia plus es.

CharlestonSymphony.org 65 SPECIAL EVENT April 5, 2019 Charleston Music Hall

CHARLTON WITH STRINGS

Charlton Singleton is joining forces with the Charleston Symphony! Together with a jazz trio, Singleton and the Symphony will play a diverse program featuring Clifford Brown’s jazz classics arranged for strings and much more.

Program to be announced from the stage.

66 CharlestonSymphony.org ABOUT THE ARTIST

Charlton Singleton Trumpet

harlton Singleton was born on January 7, 1971, the youngest of the three children of the Rev. Charles and Jeanette Singleton, both in education, of CAwendaw, South Carolina. He is a true child of the Lowcountry in that he grew up in a close-knit village and was heavily influenced by the forces he was exposed to in his community’s church, Greater Zion AME Church where his late grandfather, Edward Singleton, also known to everyone there as Big Daddy, was a stalwart member and spiritual leader.

Charlton has emerged in the last several years as the face of jazz performance in the Lowcountry. After long stints in various small ensembles playing many styles of popular music, he became conductor and artistic director of the Charleston Jazz Orchestra, a 20-piece aggregation at the vanguard of jazz in South Carolina today that arose from the prototypical Charlton Singleton Orchestra in March of 2008.

He enjoys tremendous stature and fame as a result. His likeness is emblazoned on promotional materials everywhere all the time and he is among the most widely covered performers by media outlets. His high energy, music-in-motion image graced the cover of Charleston Magazine’s November issue, its first-ever edition devoted to music.

Charlton’s presence, on and off the stage, is luminescent. It shines brightly everywhere, all the time.

He lives in North Charleston with his wife, Mary Jo, and two children Shalamar Boyd and D’Marcus Boyd.

He is a board member of Jazz Artists of Charleston where he serves as vice president. No other individual has done more in the Lowcountry recently than Charlton to further the history and legacy of jazz music in South Carolina.

His work, the light of his life, burnishes the lives of all who encounter him and it appears to be poised to go on forever.

CharlestonSymphony.org 67 MASTERWORKS April 19 and 20, 2019 • 7:30pm Gaillard Center

RUSSIAN ROMANTICS

Joyce Yang, Piano Ken Lam, Conductor

Sergei Prokofiev (1891-1953) Piano Concerto No. 3 in C Major, Op. 26 I. Andante - Allegro II. Andantino III. Allegro ma non troppo Sponsored by Dr. Miriam DeAntonio

INTERMISSION

Sergei Rachmaninoff (1873-1943) Symphony No. 2 in E minor, Op. 27 I. Largo - Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

68 CharlestonSymphony.org ABOUT THE ARTIST

Joyce Yang Piano

lessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), Grammy- Bnominated pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity.

She first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music (with the Takàcs Quartet), and Best Performance of a New Work. In 2006 Yang made her celebrated New York Philharmonic debut alongside Lorin Maazel at Avery Fisher Hall along with the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea. Yang’s subsequent appearances with the New York Philharmonic have included opening night of the 2008 Leonard Bernstein Festival– an appearance made at the request of Maazel in his final season as music director. The New York Times pronounced her performance in Bernstein’s The Age of Anxiety a “knockout.”

In the last decade, Yang has blossomed into an “astonishing artist” (Neue Zürcher Zeitung), showcasing her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians through more than 1,000 debuts and re-engagements. She received the 2010 Avery Fisher Career Grant and earned her first Grammy nomination (Best Chamber Music/Small Ensemble Performance) for her recording of Franck, Kurtág, Previn & Schumann with violinist Augustin Hadelich (“One can only sit in misty- eyed amazement at their insightful flair and spontaneity.”–The Strad). She has become a staple of the summer festival circuit with frequent appearances on the programs of the Aspen Summer Music Festival, La Jolla SummerFest and the Seattle Chamber Music Society.

CharlestonSymphony.org 69 PROGRAM NOTES MASTERWORKS

Sergei Prokofiev (1891-1953) was in his early 20s. Prokofiev traveled to Chicago Piano Concerto No. 3 in C Major, in the fall of 1921 to supervise rehearsals for his opera, The Love for Three Oranges, which was to Op. 26 be premiered by the Chicago Opera Association just fourteen days after the premiere of Prokofiev’s By all accounts, Sergei Prokofiev was a formidable Piano Concerto No. 3. In many ways, the opera and presence at the piano keyboard. Of course, he is the concerto made for an interesting pair: both began merely one link in a long chain of virtuoso pianists to cast off the Romantic harmonic language that produced by Russian and eventually Soviet dominated Prokofiev’s earlier works, and both were conservatories during the end of the nineteenth animated by a persistent, sarcastic energy that is the and beginning of the twentieth centuries. But unlike trademark of Prokofiev’s mature style: angular, biting, his most famous compatriot and contemporary and playful at the same time. Rachmaninoff—whose music fills the second half of tonight’s program—Prokofiev often bypassed The first movement begins with an incredibly simple restrained virtuosic elegance in favor of a more duet for two clarinets that seamlessly gives way tenacious and athletic style. So, it is not surprising to lush string harmonies and a soaring melody in that it was Prokofiev himself at the keyboard when his the flutes and first violins. However, the tranquility Third Piano Concerto was premiered by the Chicago of this opening Andante only lasts for about thirty Symphony Orchestra in December 1921. We are seconds before the low strings kick into gear and also lucky enough to have a recording of the piece the piano roars onto the scene. And once Prokofiev from the summer of 1932 with the composer himself puts his foot on the gas pedal in measure eleven, at the keyboard alongside the London Symphony he infrequently lets up for the remainder of the Orchestra. When listening to this recording (or piece. Though slower and more introspective, the to any subsequent performance of the piece, for sardonic opening theme and its far-flung variations that matter), it is actually somewhat surprising that serve as a kind of nervous tic that pushes the listener Prokofiev’s remarkable speed, agility, and dexterity relentlessly forward. By the time we reach the third as a performer is not used to drown out or domineer movement—which Prokofiev himself described as an the orchestra. Rather than always placing the piano “argument” between the pianist and orchestra—the soloist out front of the orchestra, as would be engine picks up steam again as we head towards typical of the nineteenth-century virtuoso concerto, the blistering finale. The last movement is another Prokofiev’s piano part seems to run exuberant, playful series of increasingly technical variations for the circles around the orchestral material, elevating both pianist that build to a fever pitch. Regarding the climax in the process. This is a true conversation between of the third movement, pianist Jean-Efflam Bavouzet soloist and ensemble rather than a monologue once told Gramophone magazine: with accompaniment. “When the melody occurs for the third and The premiere of Piano Concerto No. 3 came in the fourth time, there’s this configuration for which middle of a five-year period in which Prokofiev was the pianist should have three hands, because constantly bouncing back-and-forth between the the melody is played in the middle, but you also United States and France after fleeing his native have arpeggios… When the fifth occurrence of Russia following the Revolutions of 1917. Prokofiev the melody has passed, we have one of those spent the summer of 1921 in the small coastal village moments of pure excitement, building up to a kind of Etretât in Brittany, France, and he seems to have of complete madness—to the point where the assembled this concerto by raiding old sketchbooks firefighter has to be called to calm everyone down. for ideas that hadn’t borne fruit in other contexts. It includes the only example I know of in piano Some of the musical ideas, including the buoyant literature where the pianist must play two keys gavotte melody that structures the second movement, with one finger. I must confess, I cannot do that. seem to date all the way back to 1913, when Prokofiev My fingers are not trained to play that way.”

70 CharlestonSymphony.org Thankfully, you can simply let your ears do the work Symphony almost immediately upon his arrival in and trust the difficult bits into the capably-trained Dresden, though he kept the work largely secret fingers of our soloist, Joyce Yang. because of his continued anxiety surrounding the genre. When word of the new symphony finally leaked Sergei Rachmaninoff (1873-1943) out to the German press, Rachmaninoff confirmed the Symphony No. 2 in E minor, Op. 27 existence of the score, saying, “I have composed a symphony. It’s true! I finished it a month ago and immediately put it aside. It was a severe worry to When we last left our hero (that is, in the program me and I am not going to think about it anymore.” In notes for September’s performance of Rach 3), January 1908, Rachmaninoff returned to St. Petersburg Rachmaninoff was off to conquer the world. With an for the first time since he relocating to Dresden and imposingly virtuosic piano part written for the composer conducted the premiere of his new symphony to himself to play and a slate of high-profile concert absolutely universal acclaim. dates booked across the United States, Rachmaninoff was well on his way to the international superstardom Contemporary performances of Rachmaninoff’s that would characterize his final decades. Though Symphony No. 2 can range widely—with the shortest Symphony No. 2 was composed just three years performances only 35 minutes and the longest earlier, Rachmaninoff was in a very different creative clocking in at nearly an hour— due to a large number place. The premiere of his First Symphony in 1897 of cuts made over years of performance in a variety was an unqualified disaster, receiving a ragged, of different contexts. The New York Philharmonic has under-rehearsed performance under the baton of a catalog of 29 different cuts or alterations that were the composer Alexander Glazunov. Glazunov was a all supposedly authorized by Rachmaninoff himself at less than competent conductor to begin with, and it one point or another. In the years since the composer’s appears that he didn’t fully understand Rachmaninoff’s death, more and more orchestras have begun playing more modern style (in addition to the fact that he may the “uncut” version of the symphony, which reveals have been drunk during the concert). Critics were the true scope of Rachmaninoff’s compositional brutal, with fellow composer César Cui going so far vision. Despite the potentially unfair conditions in as to say that the piece sounded like the work of which it was presented, Rachmaninoff seems to have a star pupil at a “conservatory in Hell” and that the internalized the critiques of his First Symphony and Glazunov-conducted performance would undoubtedly worked hard to overcome these shortcomings in the “delight the inhabitants of Hell” with its parade of Second. From the first strivings of the opening Largo, horrible sounds. Symphony No. 2 is a carefully-plotted work reflecting a rapidly-maturing compositional mind. Here, the The negative reception of the piece absolutely effervescent, if occasionally unfocused, ideas of the crushed Rachmaninoff, who subsequently fell into First Symphony are replaced by the deliberate and a multi-year depression. Even when he returned to organic unfolding of long, beautiful paragraphs of composing in 1901, Rachmaninoff didn’t have any musical prose that are worthy of Rachmaninoff’s confidence in his abilities as a symphonist, relying hero and Russian compatriot, Leo Tolstoy. Symphony instead on his skills as a pianist and conductor to keep No. 2 won him a prestigious Glinka Award for Russian him afloat. Finally, in the spring of 1906, Rachmaninoff Music and cemented his international reputation as resigned his position as conductor of the prestigious a composer, but more importantly, it represented a Bolshoi Theatre in St. Petersburg and stepped down personal triumph for Rachmaninoff. It returned him from his multiple teaching posts throughout the city. to the site of his greatest professional failure, and Just a few months later, he moved his family to the redeemed his reputation and self-confidence in front city of Dresden and rededicated himself to of his harshest critics. composition full-time. He began work on his Second

CharlestonSymphony.org 71 BRING THE CSO INTO YOUR HOME— LITERALLY Join the many members of the Charleston Symphony family who already provide housing for visiting guest musicians. Get to know some of the wonderful musicians who travel to Charleston to bring you great music, and at the same time have a direct impact on the quality of the music-making on-stage! Host only when it is convenient for you, and all you need to provide is a private room. We are looking for hosts (or unused vacation rental property, we will pay any fees) in all areas of greater Charleston. See page 80 for a listing of the 100+ families already participating in the musician hosting program. For more information on this program, contact: Tom Joyce, Personnel Manager [email protected] 843-469-4274 cell

72 CharlestonSymphony.org MEMBERSHIP All donations received between July 1, 2018, and June 30, 2019, will BENEFITS 2018-2019 qualify for the following benefits.

MAESTRO’S CIRCLE ($25,000+) Benefits below plus: Dinner with concertmaster/music director CSO quartet in-home performance (8 weeks’ notice)

MUSICIAN’S CIRCLE Gold ($15,000-$24,999) Benefits below plus: Lunch with musician of choice Box seating during CSO rehearsal

Silver ($10,000-$14,999) Benefits below plus: Reserved seating at Custom House Concert

Bronze ($5,000-$9,999) Benefits below plus: Sponsor guest musician chair Invitation to “Meet the Musician” events Invitation to Musician/Sponsor luncheon VIP access to special events

PARTNER’S CIRCLE Gold ($2,000-$4,999) Benefits below plus: Invitation to season opening and closing receptions Complimentary parking in Gaillard garage Invitation to neighborhood Chamber event

Silver ($500-$1,999) Benefits below plus: Listing in Bravo Invitation to CSO rehearsal

Bronze ($1-$499) Listing in on-line Annual Report Bi-annual E-Newsletter

CharlestonSymphony.org 73 DONORS

Maestro’s Circle Gold Musician’s Circle Silver Jerry H. Evans and $50,000+ $10,000-$14,999 Stephen T. Bajjaly Henry and Ann Hurd Fralix BlueCross BlueShield of Anonymous Rajan and Suman Govindan South Carolina Ilse Calcagno Michael Griffith and Donna Reyburn City of Charleston Barbara Chapman Dr. William D. Gudger Charleston Symphony Orchestra County of Charleston Bob and Marcia Hider League, Inc. Charleston Regional Alliance Robert and Catherine Hill Gaylord and Dorothy Donnelley for the Arts Mr. and Mrs. Raymond D. Houlihan Foundation The Cumbaa Family Fund of Coastal Ms. Katherine M. Huger Herzman-Fishman Charitable Fund Community Foundation of SC Ilderton Contractors and Carol H. Fishman Dr. Miriam DeAntonio Sue and Ken Ingram Kite Foundation Fund / Dr. Jeffery and Mrs. Tammy Dorociak Dr. Eddie Irions Nancye B. Starnes Mr. Ronald H. Fielding and William and Corinne Khouri Speedwell Foundation Ms. Susan Lobell Richard and Lasca Lilly Gray Charitable Trust Dr. and Mrs. Fritz Lorscheider Maestro’s Circle Silver Cindy and George Hartley Mrs. John F. Maybank $35,000-$49,999 Lee and Ann Higdon Ellen and Mayo Read Paul and Becky Hilstad Paul and Mary Jane Roberts Mr. and Mrs. G. Richard Query Dr. and Mrs. Mariano F. La Via Mr. David Savard Mr. and Mrs. Edward E. Legasey SCE&G Maestro’s Circle Bronze Elizabeth Rivers Lewine Joseph and Claire Schady $25,000-$34,999 Endowment of Coastal Thomas and Alison Schneider Community Foundation of SC Mr. M. Edward Sellers and John T. and Elizabeth K. Cahill Macdonald Carew Family Fund Dr. Suzan D. Boyd Fund of Coastal Community Mrs. Phyllis Miller Ike and Betsy Smith Foundation of SC Barbara and Michael Moody Mrs. Merinda Smith Ted and Joan Halkyard Larry and Eilene Nunnery South State Bank Clyde and Jill Hiers Anne P. Olsen Susan W. and James V. Sullivan Martha Rivers Ingram Advised Fund Helen and Robert Siedell Albert and Caroline Thibault of The Community Foundation Roger and Vivian Steel Dr. S. Dwane Thomas of Middle Tennessee Gerald and Gretchen Tanenbaum Henry & Sylvia Yaschik Peter R. and Cynthia K. Kellogg Foundation, Inc. Foundation Musician’s Circle Bronze Valerie and John Luther $5,000-$9,999 Partner’s Circle Gold Robert Bosch Corporation $2,000-$4,999 SC Arts Commission Mrs. Sharon Balderson Storey Foundation Mr. and Mrs. Fernando E. Casasco Dr. and Mrs. Baker Allen Mrs. Andrea Volpe Frank and Kathy Cassidy Mr. and Mrs. David Allen Mr. and Mrs. Wayland H. Cato, Jr. Mr. and Mrs. Brady and Musician’s Circle Gold Lucia Childs Betty Anderson $15,000-$24,999 Dr. James L. and Judy E. Chitwood - Mr. Ivan V. Anderson and Chitwood Family Fund Dr. Renee Dobbins Anderson Claire and James Allen Eliza Chrystie Dr. Charles A. Andrus Family Foundation Coastal Community Foundation Anonymous Mary Jo and Fred Armbrust Open Grants Atlantic Services of Charleston Dr. Cynthia Cleland Austin Colbert Family Fund of Coastal Charitable Trust Stuart and Sheila Christie Community Foundation of SC Dr. Bobby and Julie Baker Dr. and Mrs. William T. Creasman Nicholas and Eileen D’Agostino, Jr. Lees and John Baldwin Estate of Elizabeth B. O’Connor Ellen and Tommy Davis Mrs. Nella G. Barkley John and Mary Degnan Charles and Sharon Barnett

74 CharlestonSymphony.org The Charleston Symphony gratefully acknowledges supporters from the following individual, corporate, foundation, and government entities for their commitment to moving the mission of the CSO forward. Listed below are gifts received between July 1, 2017 and June 30, 2018.

Jodi Rush and Jon Baumgarten Mr. and Mrs. P. Frederick Kahn Partner’s Circle Silver Anne and Philip Bergan Katherine Kelsey $500-$1,999 The Bihun Family Foundation Bettie and Jim Keyes Henry M. Blackmer Foundation, Inc. Town of Kiawah Island Jill and Richard Almeida Tricia and Tom Bliss Kiawah Seabrook Exchange Club Mr. David Anderson BoomTown Dr. Michael S. Kogan Mr. and Mrs. James P. Anderson Mr. and Mrs. Thomas W. Boswell Susan and Bob Leggett Anonymous William and Mary Buckley Mr. and Mrs. Fulton D. Lewis Lou and Karen Attanasi Foundation Dr. and Mrs. Michael Maginnis Susan Parsons and Angus Baker Mr. and Mrs. T. G. Burke Capt. and Mrs. Nat Malcolm Gloria Adelson and Dr. Sy Baron Dr. and Mrs. H. Fred Butehorn, Jr. Profs. Bill and Carolyn Matalene Mr. and Mrs. John T. Benton Jean F. Carlton Mr. and Mrs. David H. Maybank, Jr. Mr. and Mrs. R. Jeffrey Bixler Dr. Malcolm C. Clark Jack and Cathy McWhorter Mr. and Mrs. Robert B. Black Bill and Sherry Cook Mrs. Patricia Mesel The Boatwright Family Gail and David Corvette The Mark Elliott Motley Foundation Charitable Fund of National Sally and Colin Cuskley Town of Mount Pleasant Christian Foundation Mrs. Clementina Edwards Bill and Sheila Prezzano Mr. and Mrs. Gordon E. Bondurant Nancy and Ralph Edwards Dr. and Mrs. A. Bert Pruitt Sid and Barbara Boone Keith and Susanne Emge Publix Super Markets Charities Dr. D. Oliver Bowman and Joanne and Christopher Eustis Mr. and Mrs. William J. Raver Mr. Robert Sauers Mrs. Vernelle Evans Mr. and Mrs. Donald S. Reid Dr. and Mrs. G. Stephen Buck Julie and John Fenimore Robert S. and Sylvia K. Reitman Barbara Burbello William and Prudence Finn Family Foundation Carolina Eyecare Physicians, LLC Charitable Trust Royall Ace Hardware, Inc. Mr. and Mrs. James A. Cathcart, III Friedlander Family Fund Nancy N. Rudy Chase Family Giving Fund Richard J. Friedman, M.D. and Gretchen and Fritz Saenger Dr. Deborah Cintron Sandra Brett Mr. Robert M. Schlau Dr. Harry and Mrs. Jennifer Clarke Richard and Neva Gadsden Ginger and David Scott Mike and Kerri Collins Joe and Sylvia Gamboa Mindelle K. Seltzer and Michael and Sally Connelly Dr. Robert Gant Robert J. Lovinger Ethel A. Corcoran Drs. Deborah Williamson and Enoch and Annette Sherman Dr. and Mrs. C. Richard Crosby David Garr Mr. and Mrs. Michael Sommer Jill Davidge Kevin and Jody Garvey Kate and David Stanton Richard and Jean Day Kathy and Pete Gaynor Elizabeth and Charles Sullivan Mr. and Mrs. Paul J. De Palma Bob and Ornella Gebhardt Marilyn and George Taylor Dr. and Mrs. Victor E. Del Bene Joyce and Gerry Gherlein Foster and Betty Thalheimer Gary and Susan DiCamillo Dr. and Mrs. Frederick J. Goulding The Reverend and Sarah Lund Donnem Mrs. Judith Green Mrs. Alastair Votaw Dr. Carol Drowota Richard and Ann Gridley Ms. Patience D. Walker Dr. and Mrs. Haskell S. Ellison Rachel Grogan Hypnotherapy Anonymous Mrs. Virginia Ennis Tracy and Billy Grooms Mr. and Mrs. D. Sykes Wilford Mr. and Mrs. Fair David and Patricia Hannemann Terese T. and Joseph H. Williams Hal and Jo Fallon Charles and Celia Hansult Christine and Richard Yriart The Fink Family Mr. and Mrs. James C. Hare, Jr. Mr. and Mrs. Stephen Ziff The Francis Marion Hotel Frank and Kathleen Hayn Sharon Fratepietro and Nelson Hicks Herb Silverman Marilyn Hoffman Paula and Eugene Freed Arthur Jenkins James and Margie Freston

CharlestonSymphony.org 75 DONORS

Sallie and Stephen Fuerth Oxford Fund Inc. Harriet Ripinsky Mr. and Mrs. John Gelston Mr. and Mrs. Emory Main Bené and Charles Rittenberg Mr. and Mrs. Mark Gernand Dr. and Mrs. John C. Maize Mr. John M. Rivers, Jr. John and Pamela Gerstmayr Mr. and Mrs. Alfred L. Malabre, Jr. Ms. Kathleen H. Rivers Neil and Marsha Gewirtzman Clarence and Judy Manning Mr. and Mrs. Claron A. Robertson Mr. and Mrs. Lawrence Gillespie Cathy Marino Patty Scarafile Kerry and Rick Goldmeyer Mr. and Mrs. James J. Marino Mr. and Mrs. Robert K. Schafer Veronica D. and Peter B. Goodrich Mr. Jeffrey Martello Mr. and Mrs. Stephen Schwartz Janet and Ray Gorski The Jack and Joanne Martin Bill and Gloria Seaborn Mrs. Faye F. Griffin Charitable Foundation Mr. and Mrs. Kenneth Seeger Mr. and Mrs. Benjamin A. Hagood Gene and Susan Massamillo Judy Selby and Reid Spencer Kathy and Wayne Hall Gary and Donna Mastrandrea Mr. and Mrs. David Shaw Lynn S. Hanlin David W. Maves Elaine and Bill Simpson Joseph and Elaine Heckelman Mr. Tony Mazurkiewicz Herk and Sherry Sims Richard and Nancy Heiss Gwen and Layton McCurdy Mr. and Mrs. George W. Smyth, Jr. Foundation Mr. and Mrs. Thomas McDermott Byron Stahl Kandace and William Higley Susan and Larry Middaugh Nancye B. Starnes Bill and Ruth Hindman Mr. Ralph Mills Thomas and Jane Steele Mr. and Mrs. Ken Hirsch Dr. and Mrs. Terence N. Moore Harriett Steinert Peter and Judy Hubbard Ellen Moryl Tim and Mary Strand Gail and Tim Hughes Paul and Jane Ann Mougey Anonymous Mr. and Mrs. Addison Ingle Helen and Gerd D. Mueller Nancy and Stephen Sundheim Dr. and Mrs. Julius R. Ivester, Jr. Dr. Martina Mueller Gerald and Gretchen Tanenbaum Herb Jarvis Helen and Donald Muglia Drs. Terri Thomas and Alex Kent Dr. and Mrs. Joseph M. Jenrette, III Patrick and Agnes Murphy Mrs. Maurice Thompson Dr. and Mrs. George Khoury Loretta Doll Nethercot Anne and Ken Tidwell Mr. and Mrs. Michael Kirk Dr. and Mrs. Robert E. Notari Dr. and Mrs. Charles Tremann Mr. Michael and Dr. Dianne Anthony R. Oglietti Dr. and Mrs. Richard Ulmer Kochamba Mr. and Mrs. Bob Omahne Ms. Normandie Updyke Mr. and Mrs. Karl Kuester Owen/McClinton Family Fund Gregory Van Schaack John and Shea Kuhn Tony and Joanne Panek Mr. and Mrs. Martin J. Vincentsen Mrs. Joan S. Ladd Dr. and Mrs. Leonard L. Peters Gero and Linda vonGrotthuss Julia Lamson-Scribner Mr. and Mrs. Howard Phipps, Jr. John and Cecily Ward Charles and Brenda Larsen Ms. Eloise Pingry Ms. Jane Waring Mr. and Mrs. Michael Laughlin Ms. Pamela Pollitt Mr. and Mrs. John H. Warren, III Karyn Lee and William Hewitt Mr. George J. Pothering and Mary Ellen and Charles S. Way Dr. Edmund LeRoy Ms. Maria Villafane-Lundell Betty and Leo Weber Anne and Cisco Lindsey Mr. and Mrs. Robert Rainear The Reverend H. Gregory West Richard and Barbara Lione James and Kathleen Ramich Ms. Mary Bradford-White and Charles and Joan Lipuma Family Fund Mr. Lynn White Ms. Susan Lowther Elizabeth and James Ravenel Robert and Rosalind Williams Mr. James D. Lubs Mark Reinhardt Mr. and Mrs. Bonum S. Wilson, Jr. Ms. Lane Howell MacAvoy Mr. and Mrs. Clark L. Remsburg Mr. Joseph L. Wright, Jr. Mr. and Mrs. William R. Richardson, Jr.

We apologize if we inadvertently omitted your name or incorrectly listed your name in our list. Please call us at 843-723-7528 ext. 115 so we can make the correction for publication of our next program book.

76 CharlestonSymphony.org IN HONOR / IN MEMORY

IN HONOR IN MEMORY

Yuriy Bekker Norman Bell Judith Green Ledlie Bell Marilyn Hoffman Dr. and Mrs. Kenneth Kammer George Donely Mr. Michael and Dr. Dianne Kochamba Ann Taylor

Barbara Chapman Mr. and Mrs. Brian Finnegan Katherine Whittle Mary Finnegan Cabezas

Jonathan Kammer Fitz Hardin Dr. and Mrs. Kenneth Kammer Jean Carlton Timothy Martin The marriage of Ann Hurd and Henry Fralix Mike and Kerri Collins John F. Maybank Mitsuko Flynn and Daniel Mumm Mr. and Mrs. Benjamin A. Hagood Thomas and Joan Jones Mr. and Mrs. David H. Maybank Don and Kitty Reid Mrs. John F. Maybank John M. Rivers Ken Lam Charleston Symphony Orchestra League, Inc. John and Johne McTavish Mr. Michael and Dr. Dianne Kochamba Jim and Judy Chitwood

Bob and Sylvia Reitman Richard Moryl Susan Reis Laura Durmer Dr. and Mrs. Mariano La Via David Savard and Helen Savard Joyce Platz Dr. and Mrs. Sidney Seltzer Dorothy Irene Carson Rhett Charles and Gretchen Tremann Rev. Dr. William P. Rhett, Jr. Nikki Tremann Colonel Richards Roddey Dr. and Mrs. Fritz Lorscheider

M. Bert Storey Storey Foundation

Steven Stucky Kristen Stucky

CharlestonSymphony.org 77 OPERATING RESERVE FUND

The Charleston Symphony Orchestra is extremely grateful to the following donors who supported the initiative to create an Operating Reserve Fund from the Matching Grant opportunity from the Gaylord and Dorothy Donnelley Foundation.

Anonymous (2) Janet and Ray Gorski John and Shea Kuhn Barbara and Dr. James L. and Tracy and Billy Grooms Mr. and Mrs. Michael Moody Judy E. Chitwood of the Ted and Joan Halkyard Michael Laughlin Barbara Nuding Chitwood Family Fund Cindy and George Hartley Mrs. Elizabeth R. Lewine Dr. and Mrs. A. Bert Pruitt Dr. Malcolm C. Clark Robert and Catherine Hill Dr. and Mrs. Dr. Harold J. Quinn Gail and David Corvette Bruce and Diane Hoffman Fritz Lorscheider Mr. David Savard Marilyn W. Curry Mr. and Mrs. Mr. Spencer Lynch Helen and Robert Siedell Gaylord & Dorothy Raymond D. Houlihan Macdonald Carew Elaine and Bill Simpson Donnelley Foundation Dr. Eddie Irions Family Fund Susan W. and Dr. and Mrs. Dr. and Mrs. Mrs. John F. Maybank James V. Sullivan Haskell S. Ellison Julius R. Ivester, Jr. Dr. and Mrs. Mary Ellen and Mrs. Virginia Ennis Mr. and Mrs. Karl Kuester Francis G. Middleton Charles S. Way William and Prudence Dwight and Finn Charitable Trust Lindsey Williams

78 CharlestonSymphony.org HOW YOU CAN HELP THE CSO?

You have been fortunate enough “NOTHING CAN to contribute money into your Individual Retirement Account for BE SAID TO BE all those years at work, and it’s grown to a tidy sum. Now that you CERTAIN, EXCEPT are 70½, Uncle Sam would like DEATH AND TAXES.” his cut! Those people 70½ or older must begin making required –BENJAMIN FRANKLIN minimum distributions, or RMDs, from their qualified retirement accounts. The CSO can help alleviate the sting because a donation counts as a required minimum distribution, but doesn’t increase your adjusted gross income. Contact your IRA administrator today to give your money to the CSO instead of Uncle Sam!

The Charleston Symphony Orchestra relies on the community to help it achieve its mission of inspiring and engaging the community with exceptional musical performances and educational programs. There are many ways to help:

• Become a concert sponsor (from $15,000) • Become a guest musician chair sponsor (from $5,000) • Become a Young People’s Concert sponsor (from $2,500) • Sponsor a Guest Artist • Make a donation in someone’s honor • Make a contribution from your IRA for a tax benefit • Make a gift of stock • Make a bequest to the CSO in your estate plans

Call Development at (843) 723-7528 ext. 115 for more information.

CharlestonSymphony.org 79 GUEST MUSICIAN HOSTS & IN-KIND GIFTS

GUEST MUSICIAN HOSTS Jenny and Jack Gelston Barbara and Tom Pace Pam and John Gerstmayr Dr. and Mrs. Basil Papaharis Bill & Susan Anonie Kerry and Rick Goldmeyer Dr. Vincent and Rev. Nancy Pellegrini Josh Baker and Dan Urbanowicz Suman and Rajan Govindan Joyce and Paul Perocchi Mr. and Mrs. John Rhett Baldwin Maureen Graham Lorraine Perry and Ford Reese Jenny and Yuriy Bekker J. Kirkland Grant Claudia Porter and Stuart Hotchkiss Ledlie Bell Bob Habig David and Marsha Ray Anne and Andrew Benbow Edith Haman Donna Reyburn and Michael Griffith Linda Bergman Zac Hammond Faith and Herb Russell Mr. and Mrs. J. Sidney Boone, Jr. Celia and Chuck Hansult Bill and Amy Sage Mr. and Mrs. Thomas W. Boswell Ellen and Ed Harley Barbara Sanders Bowers Family Jo and Ray Hauck Enoch and Annette Sherman Sharon and Nigel Bowers Louise Heikes and Roy Liebman Beth and Mitchell Sherr Tom Bradford and Susan Bass Eric and Margaret Herzlich Helen Snow Doug and Verna Bunao-Weeks Ron and Linda Hicks Katherine and Michael St. John Dr. and Mrs. Phil Buscemi Becky and Paul Hilstad Carol Spitznas Mary Bridget Cabezas Abby and Fred Himmelein Nancy Eaton Stedman Jean Carlton Connie and Lowry Hughes Roger and Vivian Steel Judy and Bill Casey Rochelle and Andy Iserson Dianna Stern Frank and Linda Cassara Glenn and Judy Jackson Albert and Caroline Thibault Stuart and Susan Chagrin Marijayne Jensvold Jim and Carol Thiesing Joan and Richard Chardkoff Kurt and Vicki Johnson Laurie and Frank Thigpen Lydia Chernicoff and Jaan Rannik Christina Jones and Sam Lynah Ms. Kathleen Tresnak and L. John and Judy Clark Jan-Marie and Tom Joyce Mr. William Reehl Anne Cline Michael and Joy Ellen Kauffman Richard and Martha Ulmer Judy Collins Gloria Kelso Meta Van Sickle Ann and Paul Comer Sally and Tim Key Jenny and Ben Weiss Jeanne Anne Coplestone Kari Kistler Ann Wessel Ms. Carolyne Cox Marlene and Bruce Koedding Dr. and Mrs. Donald Wilbur Bill and Erble Creasman Asako and Damian Kremer Jim and Debby Willis April and Terry Cullen Peggy and Franklin LaBelle The Winther Family Nancy and Steven Cunningham June and Mariano La Via Regina and Dr. Jeffrey Yost Allen Curry Liz and Phil Leffel Jeannie Yzquierdo Jill Rabon Davidge Susan and Bob Leggett Ms. Mary Zimerle Giulio and Donatella Della Porta Penelope Leighton and Dr. Jeffery and Mrs. Tammy Dorociak John Hurshman IN-KIND GIFTS Ms. Karen Durand Courtenay and Norbert Lewandowski Tacy and Darrell Edwards Chris Licata and Jennifer Blevins Belva’s Flower Shop Mr. and Mrs. Roger Embry Rachel Ruth Lindsay Carnegie Hall Susan Fasola Dr. and Mrs. Michael Maginnis Cathedral of St. John the Baptist Gail and Evan Firestone Marjorie T. McManus Charleston County School of the Arts Mr. George Flynn Georgia H. Meagher Fox Music House Mitsuko Flynn and Daniel Mumm Janice and Jay Messeroff Gibbes Museum of Art Ann Hurd Fralix Susan and Charles Messersmith Greek Orthodox Church Joe and Sylvia Gamboa Ed and Clare Meyer of the Holy Trinity Rachel and Micah Gangwer Wayne and Anna Mickiewicz James Island Cleaners Jackie and Sam Gawthrop Elizabeth Murphy John Wesley Methodist Church Bob and Ornella Gebhardt Terri and Bob Musor St. Philip’s Church Anne Nietert

80 CharlestonSymphony.org