2018–2019 71 st Concert Season

TABLE OF CONTENTS 06. A Note from the President & 31. “Strauss Squared” Executive Director (Masterworks Series) 07. Important Information 35. “Strings Galore” 09. Board of Directors (Chamber Orchestra Series) 11. Past Presidents & Administrative Staff 41. “Virtuosity Unleashed” 12. Maestro Edvard Tchivzhel (Masterworks Series) 15. GSO Concert Schedule 47. “Vive La France!” 16. GSO Musicians (Masterworks Series) 18. About the GSO 53. “Shall We Dance?” 19. The Guild of the Greenville Symphony (Chamber Orchestra Series) 21. About Our Program Note Writers 58. Annual Fund 23. “Arabian Nights & Winter Dreams” 62. The Endowment (Masterworks Series) 70. Education Programs

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GREENVILLE SYMPHONY ORCHESTRA | 5 A Note From the PRESIDENT AND EXECUTIVE DIRECTOR

“Without music, life would be a mistake.” The German philosopher and cultural critic, Friedrich Nietzsche proclaimed those words over 100 years ago, yet his timeless words could not ring more true today. Music has the power to excite, impress, comfort and transform – something you will experience every time you attend a Greenville Symphony Orchestra performance.

We present the second half of our 71st concert season, with an extraordinary variety of music in each of our concert series: Masterworks, Chamber Orchestra, Spotlight and Pops. Our Masterworks Series features fan favorites, including Ravel’s Bolero, Berlioz’s Symphonie Fantastique and Rimsky-Korsakov’s Scheherazade, among others. Later this spring, the GSO welcomes internationally renowned tuba player, Velvet Brown, to the Peace Center stage as she makes her Greenville debut with her jaw-dropping performance of John Williams’ Concerto for Tuba and Orchestra – trust us when we say, you’ll never think of the tuba the same way again after this amazing concert.

Experience our talented musicians in Gunter Theatre with our Chamber Orchestra Series that includes the return of pianist David Gross, as well as an exciting solo performance by GSO Co-Principal trumpet player, Kevin Lyons. If you enjoy our Chamber Orchestra Series, then we strongly encourage you to attend our Spotlight Series, which performs in the Fellowship Hall of First Baptist Greenville. This unique series allows you to get up close and enjoy our principal musicians as they perform both classical and contemporary chamber ensemble pieces in a laid-back, cabaret-style setting.

Last, but certainly not least, we’re thrilled to finish our 2018-2019 Pops Series with a musical tribute to Motown! Dancing in the Street: The Music of Motown features four dynamic singers with the full orchestra accompaniment of the GSO as they perform your favorite Motown hits. Songs include Ain’t No Mountain High Enough, Reach Out I’ll Be There, Dancing in the Street, I Heard It Through the Grapevine, My Girl, and many, many more. If you haven’t gotten your tickets yet, get them soon, as this greatly anticipated concert will surely sell out.

We would like to take this opportunity to thank you for your patronage, for when it comes to attending the performing arts in Greenville, we know there is no shortage of outstanding options to choose from. Your attendance at the GSO supports our profound belief that music is best experienced live. We invite you to sit back, relax and enjoy the superb music from your Greenville Symphony Orchestra.

Sincerely,

Richard W. Bradshaw Julianne M. Fish President Executive Director

GREENVILLE SYMPHONY ORCHESTRA | 6 IMPORTANT INFORMATION

ADMINISTRATIVE OFFICE E-MAIL CLUB, FACEBOOK & TWITTER Greenville Symphony Orchestra Become a fan of the GSO and join our E-mail 200 South Main Street Club to receive updates, concert insights and Greenville, SC 29601 special offers! To sign up, visit our website Phone: (864) 232-0344 at www.greenvillesymphony.org. Fax: (864) 467-3113 www.greenvillesymphony.org STUDENTS, MILITARY & GROUPS Students with a valid ID and U.S. Servicemen BOX OFFICE and Veterans with a valid military or Veteran The Peace Center ID may purchase tickets for $10, based on 300 South Main Street availability. Groups of 10 or more may receive Greenville, SC 29601 a discount of 20% off regular single ticket Phone: (864) 467-3000 or (800) 888-7768 prices to GSO concerts. For information, call Fax: (864) 467-3025 (864) 232-0344, extension 118. Email: [email protected] www.peacecenter.org ADMITTANCE OF CHILDREN The GSO welcomes children age five and older TICKET EXCHANGE POLICY to concerts at the Peace Center. The GSO All sales are final and tickets are non-refundable. performs “Lollipops” and “Once Upon An If you cannot attend a GSO performance, you Orchestra” concerts in the community for may return your tickets to the Peace Center children of all ages. For information about Box Office at least 24 hours before the concert Lollipops, Once Upon An Orchestra, or begins, in exchange for tickets to a future GSO other opportunities for children, please call performance. The box office charges a fee to the Education Director at (864) 232-0344, non-subscribers for this service. You may also extension 119. donate your unused tickets prior to a concert for a tax letter. Refunds cannot be issued for SUNDAY FUNDAY inclement weather. The GSO encourages parents to bring their younger children, ages 5 through 12, to any LATE SEATING POLICY Sunday afternoon Masterworks Series concert To ensure an enjoyable experience for everyone, on us! For each adult ticket purchased in the late-arriving audience members may be held “Sunday Funday” seating section in the Upper in the lobby until an appropriate performance Balcony, you will receive two complimentary break. To minimize inconvenience, a live child tickets. Visit greenvillesymphony.org broadcast of the concert will be presented on for more information. a lobby monitor. RADIO BROADCASTS ELECTRONIC DEVICE POLICY The Greenville Symphony Orchestra’s concerts The use of cameras, audio recorders, and video are broadcast on S.C. public radio’s “Carolina recorders are not permitted in the hall, as they Live” on 90.1 FM in Greenville/Spartanburg; may interfere with the musicians’ performance. 89.3 FM in Charleston; and 91.3 FM in Please turn off all cell phones, beepers, and Columbia. “Carolina Live” is also broadcast watch alarms before entering the hall. in the Charlotte, NC region by WDAV, Classical Public Radio 89.9 FM. SPECIAL SERVICES Seating and special assistance are available LEAGUE OF AMERICAN ORCHESTRAS in both theaters for people with disabilities. To learn more about orchestras across the Please notify the box office when ordering country, visit the League of American Orchestras tickets if you need special assistance. website at www.americanorchestras.org.

GREENVILLE SYMPHONY ORCHESTRA | 7

BOARD OF DIRECTORS

OFFICERS Richard W. Bradshaw, President C. Dan Adams, 1st Vice President Terry R. Weaver, 2nd Vice President Brittany Timmons, Secretary Thad S. Dulin, Treasurer

MEMBERS David L. Beard Peggy Hill XiaoLi Saliny Dr. Natasja Bevans Mark B. Johnston Thomas Self Claire K. Blake Mary Burnet Johnston Susan Simmons John Young Shik Concklin John Lawing Nancy B. Stanton Dr. Charles E. Davis Rosalind Lewis-Smith Thomas F. Strange Jerry E. Dempsey Pat McDonald Tara E. Trantham Werner E. Eikenbusch Kathleen C. McKinney Philip C. Van Hale Fernando A. Fleites Joanna Mulfinger Ashley W. Weeks Eva-Marie Fox Robert B. O’Brien Joy E. Wiggins Paul B. Glaser Henry L. Parr, Jr. Thomas L. Willcox Flavia B. Harton Richard H. Pennell, Jr.

ADVISORY COUNCIL Mary Burnet Johnston, Chair John Gilbert James E. Reynolds, Jr. John Allen Jerry Howard Stan Smith Donald W. Beckie Robert E. Howard Betty Stall Chuck Blankenship Margaret Jenkins Edward Stall Steven Brandt William T. Johnson Kris Strasser Bruce Braun Sharon Kelley Emilie Theodore William W. Brown Jerry Larson The Honorable Nick A. Noel A. Brownlee Genevieve Sakas Manly Theodore Jean Alderman Clarke Ellie Mioduski Don Van Riper Jerry E. Dempsey John Mioduski Andy White Vernon Dunbar Kathleen Oxner Beverley K. Whitten Howard Einstein Lillian Parr Ray Williams Michael W.L. Gauderer Sue Priester

ENDOWMENT BOARD Robert E. Howard, Chair Mary Louise Mims, Treasurer Charles R. Warne, Secretary L. Leon Patterson, Vice Chair Sue Priester

GREENVILLE SYMPHONY ORCHESTRA | 9 GREENVILLE SYMPHONY ORCHESTRA | 10 PAST PRESIDENTS

Clifford B. Denision 49-50 William J. Rothfuss 76-77 William L. Carpenter 95-97 Jack Lee Dibble 50-51 Wilson C. Wearn 77-78 Robert W. Hassold 97-99 James B. Little 51-52 Robert W. Hassold 78-79 Mary Louise Mims 99-01 Frank A. Marynell III 52-53 J. Philip Southerland 79-80 Douglas J. Stevens 01-02 J. Milton Williams 53-55 T.C. Cleveland, Jr. 80-81 Uwe Diestel 02-02 Kenneth Beachboard 55-56 W. deBerniere Mebane 81-82 John A. Redmond 02-04 William P. Barton 56-58 Joseph T. Allmon 82-83 Mary Burnet Johnston 04-06 Alfred E. Burgess 58-59 Robert J. Alexander 83-84 Lillian W. Parr 06-07 J. Cranston Gray 59-60 Carol S. Toth 84-85 Susan C. Priester 07-08 Sterling L. Smith 60-62 Rhea T. Eskew 85-86 Andrew J. White, Jr. 08-09 Arthur Magill 62-63 Henry L. Parr, Jr. 86-87 Jerry E. Dempsey 09-10 Thomas F. Hudgens, Jr. 63-65 George E. Tate 87-88 William W. Kehl 10-11 Alester G. Furman III 65-66 Karen M. Lawton 88-89 Kathleen G. Oxner, MD 11-12 Frank Wrenn 66-68 Bradford W. Wyche 89-90 Donald H. Nickell, Jr. 12-13 Ernest Blakely, Jr. 68-70 Joseph J. Blake, Jr. 90-91 Flavia B. Harton 13-14 Junius H. Garrison, Jr. 70-71 John J. Warner 91-92 A. Robert Nachman II 14-15 James C. Parham, Jr. 71-72 Edward H. Stall, Jr. 92-93 Lee S. Dixon 15-16 Ben D. Weinstein 72-74 Elizabeth S. Mills 93-94 William P. Crawford 16-17 Phillips Hungerford 74-75 Wallace K. Lightsey 94-95 Thomas F. Strange 17-18 David L. Freeman 75-76

ADMINISTRATIVE STAFF

Executive Director Marketing Director Music Librarian & Julianne M. Fish Todd Weir Orchestra Personnel Manager Office Manager Marketing Assistant Angie Jones Pam Hunter Erica Gaines Controller Development Director Education Director Pam Menges Linda Grandy Braxton Ballew Accounting Assistant Development Associate Director of Operations & Jennifer Mullins Kristy Way Buchanan Orchestra Personnel Phil Elkins The Greenville Symphony Association would like to recognize the Mary Ann Claud and Olin Sansbury Staff Development Fund which supports continuing education and development for GSO staff members.

GREENVILLE SYMPHONY ORCHESTRA | 11 MAESTRO EDVARD TCHIVZHEL Music Director and Conductor

Internationally acclaimed conductor, Maestro Edvard Tchivzhel (pronounced CHIV-gel), serves as Music Director and Conductor of the Greenville Symphony Orchestra. “Maestro Tchivzhel is, simply put, a master… his music- making is indisputably commanding and communicative,” wrote Yo-Yo Ma after performing with Tchivzhel and the GSO in 2004. Now in his 20th season with the GSO, Maestro Tchivzhel has become an icon in the Greenville community and a motivational force behind our orchestra.

The Early Years in the U.S.S.R. Philharmonic, the Moscow Radio Symphony Son of the Violinist of the Mariinsky Theater of Opera Orchestra, Leningrad’s Kirov Theatre of Opera and and Ballet and concert organist, Edvard Tchivzhel Ballet, as well as many other orchestras throughout was born in Leningrad (now St. Petersburg, Russia). the former U.S.S.R. In 1973, Tchivzhel became He graduated from the Leningrad Conservatoire Music Director and Principal Conductor of the with the highest distinction in the areas of piano Karelian Symphony Orchestra of National Television and conducting, and completed three more years and Radio, a position he held until 1991. Maestro of postgraduate study at the Conservatoire’s Higher has been awarded by ranks of “The Honored Academy of Music in the prestigious conducting Artist of the Republic of Karelia” and “Honored classes of Arvid Jansons. While still a student, Artist of the Russian Federation.” Tchivzhel scored a remarkable success by winning the Third Soviet Conductor’s Competition in Moscow. In the 1980s, Tchivzhel’s career achieved international He worked as Assistant Conductor to the legendary status with appearances in England, Germany, the conductor Yevgeni Mravinsky with the St. Petersburg Czech Republic, Poland, Romania, Scandinavia, Philharmonic Orchestra from 1974 until 1977. By Australia and New Zealand, where he served as the late 1970s, Maestro Tchivzhel appeared as Artistic Advisor for the Auckland Philharmonic. permanent guest conductor with the Leningrad In 1986, he was appointed the Music Director and Philharmonic and conducted the Moscow Chief Conductor of the Umeå Sinfonietta and the

GREENVILLE SYMPHONY ORCHESTRA | 12 Norlands Opera, Sweden, and frequently performed the Petrobras Symphony Orchestra of Brazil. In with the symphony orchestras of Helsinborg, 2006, Maestro Tchivzhel conducted a Russian- Malmö and Norrköpping. In 1998, he debuted Hungarian program in Spain with the Extremadura with the Stockholm Philharmonic. In 1992, 1996 Symphony Orchestra to high acclaim. He was and 2000, Tchivzhel served with the Sydney invited to perform again in Spain and in Romania International Piano Competition as the Conductor in 2008. In May of 2009 Maestro Tchivzhel made and the member of the Jury. a triumphal debut with L’Orchestra Sinfonica di Roma, Italy. In April and May of 2010, he scored Defection from the U.S.S.R. another great success conducting the Macau As associate conductor of the U.S.S.R. State Symphony Orchestra in China and the Queensland Symphony Orchestra, Maestro Tchivzhel toured Symphony in Australia, where the Maestro became widely, scoring great success during a tour in Japan a permanent conductor continuing his successful in 1990. In February 1991, Tchivzhel was performances in Brisbane every year since. enthusiastically received in the United States during In summer of 2016, Maestro made his highly a tour of the State Russian Symphony Orchestra. successful debut with the Shenzhen Symphony Following this tour, he defected to the U.S. with the Orchestra, China, the Silicon Valley Symphony, help of friends in Greenville, the city he considers California, and the Augusta Symphony, Georgia. his “American cradle.” After defecting, his son Arvid and his wife Luba became U.S. citizens in Performances with World-Acclaimed Artists 1999. As an American citizen, it is now a tradition Tchivzhel has performed with many great artists for the Maestro to lead the orchestra in the playing including Yo-Yo Ma, Gidon Kremer, Vladimir of “The Star Spangled Banner” at the beginning Spivakov, Nadja Salerno Sonnenberg, Emmanuel of each concert. Tchivzhel returned to Russia in Ax, Andre Watts, Janos Starker, Olga Kern, April 2003 (for the first time since his defection) to Nicolai Demidenko, Gil Shaham, Joshua Bell, once again conduct the St. Petersburg Philharmonic Bella Davidovich, Yuri Bashmet, Evelyn Glennie, in a performance of Mahler’s Fifth Symphony. Sharon Isbin, Doc Severinsen, and Pete Fountain. He has made numerous recordings with the St. Extensive United States and International Petersburg Philharmonic, the Moscow Philharmonic, Conducting Experience the Moscow Radio Orchestra, the State Russian Tchivzhel has conducted several American orchestras, Orchestra, the Atlantic Sinfonietta, with several including the Baltimore Symphony, and the Atlantic orchestras in Sweden, the Fort Wayne Philharmonic, Sinfonietta, a chamber orchestra based in New York, and the Greenville Symphony Orchestra. where he served as the music director from 1992 until 1994. He made acclaimed debuts with the Twenty Years Conducting the Indianapolis Symphony in 1995 and the Grand Greenville Symphony Orchestra Rapids Symphony in 1998. Maestro’s debut with Tchivzhel was selected as Music Director and the Dayton Opera in 2008 in the production of Conductor for the Greenville Symphony Orchestra Verdi’s Macbeth was hailed by critics as “the in 1999. He served as Music Director for the triumph of the Dayton Opera.” Fort Wayne (Indiana) Philharmonic from 1993 until 2008. Tchivzhel teaches master classes in In 2002, Tchivzhel conducted in Venezuela, and conducting as Distinguished Visiting Professor in 2005, he performed Shostakovich’s Symphony at Furman University. As recognition of his No. 7 with the Orquestra Sinfonica del Estado in extraordinary contribution to the musical arts, Mexico in commemoration of the victory in World Maestro Tchivzhel was awarded The Congressional War II. After a spectacular premiere of Scriabin’s Johnny Appleseed Award in 2004 and The Order Divine Poem with the Orquestra Sinfónica Brasileira of the Palmetto, the highest award of the State in Rio de Janeiro in 2004, Maestro was invited of South Carolina, in 2016. back in Brazil to conduct in 2007 and 2011, with

GREENVILLE SYMPHONY ORCHESTRA | 13 GREENVILLE SYMPHONY ORCHESTRA | 14 Photograph by stephen houseworth photography 71st

2018-2019 Edvard Tchivzhel, Music Director & Conductor For tickets, call the Peace Center Box Office at (864) 467-3000 or visit www.greenvillesymphony.org

MASTERWORKS CHAMBER SPOTLIGHT Series ORCHESTRA Series Peace Concert Hall Series Fellowship Hall at Saturdays at 8:00 p.m. Gunter Theatre First Baptist Greenville Sundays at 3:00 p.m. Fridays at 8:00 p.m. Saturday at 2:00 p.m. & 7:00 p.m. Saturdays at 8:00 p.m. September 22 & 23, 2018 Sundays at 3:00 p.m. October 13, 2018 HAPPY BIRTHDAY, SHERWOOD’S PICKS BERNSTEIN! October 5, 6 & 7, 2018 FEATURING: FALL FOR THE GSO & January 12, 2019 Yun-Chin Zhou, Piano GERMANY A WINTRY MIX

November 3 & 4, 2018 November 16, 17 & 18, 2018 February 23, 2019 BEILMAN RETURNS MOZART: A FAMILY AFFAIR BOOKENDS FEATURING: Benjamin Beilman, Violin March 22, 23 & 24, 2019 STRINGS GALORE POPS January 26 & 27, 2019 FEATURING: Series ARABIAN NIGHTS & David Gross, Piano WINTER DREAMS and Kevin Lyons, Trumpet Peace Concert Hall

March 2 & 3, 2019 May 3, 4 & 5, 2019 GHOSTBUSTERS WITH LIVE STRAUSS SQUARED SHALL WE DANCE? ORCHESTRA FEATURING: October 30, 2018 at 7:30 p.m. April 6 & 7, 2019 Sara Lane, Dancer VIRTUOSITY UNLEASHED HOLIDAY AT PEACE FEATURING: presented by United Community Bank Velvet Brown, Tuba FEATURING: James Tormé, Vocalist April 27 & 28, 2019 November 30 & December 1, 2018 VIVE LA FRANCE! at 7:30 p.m. December 2, 2018 at 3:00 p.m.

DANCING IN THE STREET: THE MUSIC OF MOTOWN March 29, 2019 at 7:30 p.m.

GREENVILLE SYMPHONY ORCHESTRA | 15 GREENVILLE SYMPHONY Orchestra Musicians

EDVARD TCHIVZHEL, CONDUCTOR | Thomas A. and Shirley W. Roe Podium Fund

VIOLIN CELLO ENGLISH HORN BASS TROMBONE Laura Colgate, Leslie Nash Kilstofte, Lisa Hauser Prodan Richard deBondt Concertmaster Principal Leila Cunningham Roe Guild of the CLARINET TUBA Endowed Chair Greenville Symphony Anthony Marotta, Don Strand, Mary Lee Taylor Endowed Chair Principal Principal Kinosian, Robert B. O’Brien, Harriet and Jerry Assistant Assistant Principal Dempsey Endowed TIMPANI Concertmaster Ismail A. Akbar Chair Daniel Kirkpatrick, Uwe Diestel Ryan Knott John Sadak Principal Endowed Chair Yuriy Leonovich Sherwood A. Mobley Joanna Mulfinger, (leave of absence) BASSOON Endowed Chair Principal Second David Saliny Amy Yang Hazlett, Nancy B. Stanton Violin Principal Kirsten Browning DOUBLE BASS Anonymous PERCUSSION Catherine Hinnant Crowe Timothy Easter, Endowed Chair Courtney McDonald David Edwards Principal Lauren Piccirillo Bottoms, Robin Hague Els Anonymous Principal Elizabeth Fee Endowed Chair SAXOPHONE Edward Nagel, Catherine Culp Hazan Ian Bracchitta, Clifford Leaman, Assistant Principal James Johnston Assistant Principal Principal John S. Beckford Kenneth Lambert Braxton Ballew Rick Blackwell (leave of absence) Todd Louis Beal HORN Gary A. Robinson Sarah Land Maurice Belle Anneka Zuehlke-King, Kathleen S. Robinson Levi Gable Principal HARP Carol Roosevelt Jonathan McWilliams Charles W. Wofford John Wickey, Patrick Ryan and Nancy B. Thomas Principal XiaoLi Saliny FLUTE Endowed Chair Alexander Shlifer Caroline J. Ulrich, Elizabeth Regas KEYBOARD Shr-Han Wu Principal Bill Tyler Lisa Kiser, Alice and Jerry Lenz Christina Cornell Principal VIOLA Endowed Chair Charles A. Lee Beth Marr Lee Kathryn Dey, Wendy Cohen Endowed Chair Endowed Chair Principal Jeana Melilli Erika and Chuck TRUMPET PRODUCTION Riddiford Endowed PICCOLO Phil Elkins, MANAGER Chair Jeana Melilli Co-Principal Laura Auvil Arthur Ross III, Beverly & Jim Whitten Assistant Principal OBOE Endowed Chair Alvoy Bryan Jr. Virginia Metzger, Kevin Lyons, String sections use a revolving John Young Shik Principal Co-Principal method of seating. String Concklin Guild of the Gary J. Malvern, players except for principals, Scott Garrett Greenville Symphony Assistant Principal are listed alphabetically. The GSO frequently employs S. Angeline Jones Endowed Chair additional musicians to meet Emily Schaad Andrew W. Parker TROMBONE the musical demands of the Stephen K. Wilson, works performed. Principal Michael Hosford

GREENVILLE SYMPHONY ORCHESTRA | 16 SUBSTITUTE & EXTRA Musicians

VIOLIN VIOLA OBOE TROMBONE Tim Baker Carolyn Alford Amelia Merriman Eric Henson Joanne Cohen Matthew Darsey Nick Voorhees Teresa Curran Lucie Fink CLARINET Felix Farrar Rachel Hall Joseph Eller TENOR TUBA Mila Gilbody Michael Holub Cecilia Kang David Strand Michelle Guthrie Anna Joiner Justin Stanley Deirdre N. Hutton Joshua Muzzi John Warren TUBA Brandon Ironside Kara Poorbaugh Kyra Zhang David Zerkel Mary Irwin Thomas Joiner CELLO BASSOON TIMPANI Emily Blankenship Jean Beaudoin Reed Hanna Todd Mueller Kirkpatrick Derek Eilert Stephanie Lipka Rachel Kistler-Igo Miro Gomez PERCUSSION John Malloy Katie Hamilton SAXOPHONE Omar Carmenates Kristen Miller Christopher Hutton Reese Manceaux Todd Mueller Tania Moldovan Brenda Leonard Jack Murray Scott Pollard Andrea Pettigrew Matthew Pierce Matt Olson Wesley Strasser Mariya Potapova Cynthia Sulko Inez Hullinger Redman Dusan Vukajlovic HORN HARP Essena Setaro Mary Ann Watson Travis Bennett Susan Brady David Strassberg Michael Daly Vonda Darr Jonathan Urizar DOUBLE BASS Mark Frederick Ellen Foster Austin Gaboriau Christopher Griffin Emily Waggoner Brian Gencarelli Andrew Merideth Eliot Wadopian Debra Sherrill-Ward KEYBOARD Matthew Waid Darian Washington Keith Davis FLUTE TRUMPET GUITAR Lauren Watkins Vaughn Chris Imhoff Steve Watson Esther Waite Craig King Regina Helcher Yost Subject to change. Musicians are listed as of December 21, 2018, the date this publication went to press.

Elected by GSO musicians to represent their concerns to the 2018-2019 Board of Directors of the Greenville Symphony Association: ORCHESTRA COMMITTEE: Ian Bracchitta, Timothy Easter, James Johnston, Joanna Mulfinger, Robert B. O’Brien, and Caroline J. Ulrich.

GREENVILLE SYMPHONY ORCHESTRA | 17 About The GREENVILLE SYMPHONY ORCHESTRA

The Greenville Symphony Association is Fellowship Hall of First Baptist Greenville, dedicated to providing educational and cultural features chamber ensembles of GSO opportunities for the citizens of Greenville musicians with three chamber performances and surrounding communities through the in a casual and relaxed setting. Finally, the presentation of live orchestral music. Pops Series, presented by the Greenville Pops™ returns for the 2018-2019 season that For seventy years, the Greenville Symphony includes the annual “Holiday at Peace” Orchestra (GSO) has performed classical concert sponsored by United Community music in the Upstate. From its first season Bank, as well as “Ghostbusters with Live in 1948, featuring only two concerts, to the Orchestra” and “Dancing in the Street: 71st, which offers thirty-five concerts, the The Music of Motown.” GSO has become one of the finest symphonic orchestras in the Southeast. Education and outreach have been an important part of the GSO’s mission since The GSO offers a variety of classical and the first children’s concert was presented in pops performances at the Peace Center and 1951. Every year, GSO musicians present in the Fellowship Hall of First Baptist free educational concerts and programs for Greenville. Programming includes six nearly 30,000 children in the Upstate. In Masterworks concerts performed on addition, GSO musicians are often hired to Saturday nights and Sunday afternoons in perform with touring Broadway shows during Peace Concert Hall with selections from the their performances at the Peace Center. classical repertoire, often featuring renowned guest artists. The Chamber Orchestra Series, Russian-born, internationally acclaimed featuring four concerts held on Friday and Maestro Edvard Tchivzhel was appointed Saturday evenings and Sunday afternoon, to his current post in 1999 and is the fifth focuses on portions of the repertoire that Music Director and Conductor of the GSO. typically call for smaller ensembles with Tchivzhel has conducted with many renowned each selection introduced by the Maestro, guest artists and has won international status and is presented in Gunter Theatre. The with appearances on five continents. popular Spotlight Series, held in the

For more information about the Greenville Symphony Orchestra, visit www.greenvillesymphony.org. Photograph by Ernest Rawlins Photography

GREENVILLE SYMPHONY ORCHESTRA | 18 THE GUILD of the Greenville Symphony

Dear Friends of the Symphony, The Guild is a volunteer group of men and The Guild prepares dinner for the orchestra women who believe that classical music is during the long Masterwork and Chamber extremely important to our community. We double rehearsals. These are greatly appreciated strive to continue being the second largest by the orchestra members. donor to the Greenville Symphony. Through our volunteer projects and our fundraising Concert Previews are always a favorite event events, we have raised over $3 million for where the Maestro presents his insights the GSO since the Guild began in 1958. about the weekend’s program and often guest artists perform. Our 40th Tour of Homes, “A Harvest of Homes,” will be October 5-7, 2018, featuring homes in Guild membership not only helps support Parkins Mill East and Hollingsworth Park. great music within our community but also provides an opportunity to meet interesting On March 9, 2019, we will present a new winter people and make lasting friendships. We all fundraiser. Watch for further information on believe in the value and cultural importance this exciting new event. of the Greenville Symphony Orchestra. We invite you to join us and volunteer your time The Guild strongly supports the GSO’s and talents to our treasure, the Greenville educational outreach programs which include Symphony Orchestra. the Lollipops Concerts presented by BMW, Once Upon an Orchestra, a collaboration Sincerely, between the South Carolina Children’s Theatre and the GSO, the Children’s Concerts presented by Michelin, and the Middle Presidents School Concerts. These free programs present The Guild of the Greenville Symphony live orchestral music to 4,000 children.

E–mail: [email protected] | Website: www.guildGSO.org | Telephone: (864) 370-0965

2018-2019 OFFICERS Presidents: Peggy Hill, Pat McDonald, Nancy Stanton VP Administration: Margaret Wasson VP Education: Margo Gerus VP Membership: Jane Clarke VP Fundraising: Phyllis Schrage Recording Secretary: Lexi Harrison Treasurer: Janna Kelley Immediate Past President: Betsy Cates

GREENVILLE SYMPHONY ORCHESTRA | 19

About Our PROGRAM NOTES WRITERS

Paul Dr. Joella Hyde Utley

Paul Hyde has written the Masterworks Dr. Joella Utley is the writer of the program program notes and led the pre-concert talks notes for the Chamber Orchestra Series for The Greenville Symphony for the past 18 concerts. She was born in Eric, Oklahoma years. Paul, a veteran journalist, is the public and received her undergraduate degree information coordinator for the College of from Oklahoma City University in piano Architecture, Arts and Humanities at Clemson performance. She later received her medical University. Before joining the Clemson team degree from Washington University School in 2018, Paul served 18 years as a columnist, of Medicine in St. Louis. Both she and her education writer and arts writer for the late husband, Dr. Joe R. Utley, worked at Greenville News. He is also a founding editor several university hospital medical centers of the website Classical Voice North America. (the University of California, San Diego, the Paul is a graduate student in English at University Medical Center in Lexington, KY Clemson University. His commentaries have and the University of California, San Diego) appeared in a wide variety of newspapers, before moving to Spartanburg, SC in 1983. including USA Today, the Houston Chronicle, They retired from medicine in 1995. Houston Post and Dallas Morning News. A native of Houston, Paul has had a lively Joella is on the Board of Trustees for Brevard second career as a singer, actor, stage director Music Center, the National Museum and the and conductor, having served as the music boards of the Spartanburg Music Foundation director of The Centurion Theatre in Los and Tryon Concert Association. Aside from Angeles and performed with Houston’s writing program notes, she enjoys being a Theatre Under the Stars, Houston Grand grandmother to three grandsons, needlepoint, Opera and the Atlanta Opera. In the Upstate, gardening and playing the piano. Paul has performed leading roles in dozens of plays and musicals, and he currently sings with the Greenville Chorale. Paul also writes regularly for the Greenville Journal, Anderson Observer and Classical Voice North America. Paul and his wife, Ashley Polasek, enjoy spending time with their rambunctious 4-year-old wheaten terrier named Jekyll.

GREENVILLE SYMPHONY ORCHESTRA | 21 GREENVILLE SYMPHONY ORCHESTRA | 22 MASTERWORKS Series

ARABIAN NIGHTS & WINTER DREAMS Saturday, January 26, 2019 at 8:00 p.m. Sunday, January 27, 2019 at 3:00 p.m. Peace Concert Hall Edvard Tchivzhel, conductor Solo in Orchestra: Laura Colgate, violin NIKOLAI RIMSKY-KORSAKOV Scheherazade, op. 35 (1844-1908) I. The Sea and Sinbad’s Ship II. The Tale of Prince Kalendar III. The Young Prince and Princess IV. The Festival at Bagdad; The Ship Goes to Pieces on a Rock

INTERMISSION

PIOTR I. TCHAIKOVSKY Symphony No. 1, op. 13, TH24, (1840-1893) G minor (“Winter Daydreams”) I. Daydreams on a Winter Journey: Allegro tranquillo II. Land of Gloom, Land of Mist: Adagio cantabile ma non tanto III. Scherzo: Allegro scherzando giocoso IV. Finale: Andante lugubre; Allegro moderato; Allegro maestoso

This program is funded in part by a grant from the Metropolitan Arts Council, which receives funding from the City of Greenville, SEW Eurodrive, BMW Manufacturing Company, LLC, Michelin North America, Inc, and the South Carolina Arts Commission with support from the National Endowment for the Arts. This organization is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts.

GREENVILLE SYMPHONY ORCHESTRA | 23 GREENVILLE SYMPHONY ORCHESTRA | 24 ARABIAN NIGHTS & WINTER DREAMS Program Notes by Paul Hyde

Scheherazade, op. 35 “Driven by curiosity, the Sultan put off his Nikolai Rimsky-Korsakov (1844-1908) wife’s execution from day to day and at last gave up his bloody plan altogether. Rimsky-Korsakov drew inspiration for Scheherazade told many marvelous tales “Scheherazade” from “One Thousand and to the Sultan. For her stories, she borrowed One Nights,” the magnificent collection of from poets their verses, from folksongs ancient Middle Eastern folk tales. The book their words, and she strung together many has captivated readers for centuries with its fairytales and adventures.” fanciful stories of princes, princesses, Sinbad (or Sindbad) the Sailor and other heroes. The work is composed in four movements, (The book makes perfect reading – preferably each with descriptive titles. near a roaring fire – for a cold January night I. “The Sea and Sinbad’s Ship.” A blunt in the Upstate.) theme proclaimed by trombones, tuba and double basses suggests the fierce Now for the music: Rimsky-Korsakov’s Sultan. He’s immediately answered by “Scheherazade,” with its appealing tunes and Scheherazade, represented by a sinuous brilliant orchestration, has become an often- melody played by solo violin. This first performed orchestral showpiece. The work movement becomes an extended riff on is notable also for its extensive violin solos, these first two themes. The episode that played by the concertmaster. follows is of Sinbad, the merchant-sailor whose luck and resourcefulness turn The composer stressed that the 1888 work disasters into adventures – and prosperous didn’t seek to retell any stories; it merely opportunities. The Sultan’s theme becomes reflects brief episodes and visions from the the rocking music of the sea. As a former “One Thousand and One Nights.” naval officer, Rimsky-Korsakov had a knack for conjuring pictures of the ocean, which, “I meant these hints to direct but slightly in this work, surges mightily one moment the hearer’s fancy on the path which my and becomes suddenly placid the next. own fancy had traveled,” Rimsky-Korsakov wrote in his autobiography. “All I desired II. “The Tale of the Kalendar Prince.” was that the hearer, if he liked my piece Scheherazade, speaking once again in as symphonic music, should carry away the disarming voice of the solo violin, the impression that it is beyond doubt an introduces the tale of a prince who, oriental narrative of some numerous and searching for adventure and wisdom, varied fairytale wonders, and not merely disguises himself as a Kalendar, a religious four pieces played one after the other and beggar. (Notice the addition of a few composed on the basis of themes common to virtuosic twists to Scheherazade’s theme, all four movements.” suggesting the brilliance of the storyteller.) The solo bassoon offers an antique- Rimsky-Korsakov added an introductory sounding tune, taken up by oboe and, note to the score: “The Sultan Schahriar, at double-time, by violins. A sudden persuaded of the falseness and faithlessness interruption brings a powerful of all women, had sworn to put to death declamation by the trombone: a fight each of his wives after the first night. But the or military battle has erupted, Rimsky- Sultana Scheherazade saved her life by Korsakov suggested. The music, driven arousing his interest in a tale which she told by the trombone theme, grows increasingly him during a thousand and one nights.” frenzied. But the first theme of the movement returns, concluding the movement on a grand note.

GREENVILLE SYMPHONY ORCHESTRA | 25 ARABIAN NIGHTS & WINTER DREAMS Program Notes by Paul Hyde

III. “The Young Prince and the Young The melodies have an appealing folk flavor, Princess.” A sensuous melody played and Tchaikovsky did use a few existing folk by violins suggests a romantic interlude. tunes in creating the symphony. The light, The narrative is embellished by rippling scampering figures of the third movement, scales of flutes and clarinets. The sound meanwhile, evoke Mendelssohn. of a snare drum introduces a procession. It is the “princess carried in a palanquin,” Tchaikovsky wrote to his patron that “although Rimsky-Korsakov said. The lyrical melody the First Symphony is in many ways very from the beginning returns, with immature, yet fundamentally it has more Scheherazade commenting elaborately on substance and is better than any of my other the couple’s happiness. The processional works.” The composer’s brother Modest said theme is heard briefly at the end. the symphony involved more labor and suffering on Tchaikovsky’s part than any of IV. “The Festival at Baghdad – The Sea – his other compositions. Shipwreck on a Rock Surmounted by a Bronze Warrior – Conclusion.” Several Tchaikovsky added descriptive titles to the episodes are related in the final first two movements but – curiously enough – movement. The Sultan’s theme shouts not the last two. but is subdued by Scheherazade’s melody. “The Festival at Baghdad” begins I. “Dreams of a Winter Journey.” The image with the fluttering dance of the solo of a sleigh ride across a snowy expanse flute. Other instruments join the party may come to mind. Over shimmering as the music becomes increasingly strings, flutes and bassoons introduce exuberant. Themes from earlier in the the first subject and hand it off to the piece return in jubilant form. The strings. The solo clarinet offers a more music grows more frenzied, with violins wistful second theme; strings take this and woodwinds articulating figures at a one up as well. These two primary subjects breathtaking pace. Suddenly, the scene are developed in spirited and dramatic shifts: We’re now in Sinbad’s ship, weaving fashion, but the movement concludes perilously as the crew battles a tremendous in quietude. storm. The waves swell into mountains, and woodwinds scream as the ship is II. “Land of Desolation, Land of Mists.” If shattered on the rocks. But the storm the first movement was a “Winter Journey,” subsides, and Scheherazade’s solo violin have we arrived at our destination? This theme is heard again: It has all been a slow movement is bookended with a tale after all. Scheherazade gets the last poignant string chorale. Solo oboe word, her voice ascending to the top of introduces a lonely melody, soon taken up a serene chord, fading like a dream. by the strings. The picture is one suffused with nostalgia and gentle melancholy. The assertive horns introduce a more Symphony No. 1, op. 13, TH24, G ominous mood. But the movement minor (“Winter Daydreams”) ends with the return of the dreamlike Piotr Ilyich Tchaikovsky (1840-1893) string chorale.

In later life, Tchaikovsky, with typical humility, III. The third movement scherzo, with its referred to his First Symphony as a “sin of gossamer figures, brings to mind my youth.” Yet the 1866 work, colorfully Mendelssohn’s incidental music from subtitled “Winter Daydreams,” bears the “A Midsummer Night’s Dream.” A middle familiar marks of the mature Tchaikovsky: section introduces a lilting, expansive waltz. a fiery spirit and engaging tunefulness.

GREENVILLE SYMPHONY ORCHESTRA | 26 ARABIAN NIGHTS & WINTER DREAMS Program Notes by Paul Hyde

IV. Woodwinds and strings offer a slow, the movement’s opening theme – forcefully somber introduction to the finale. The in the full brass. The symphony ends in a music seems to die away only to return blaze of affirmation. with renewed vigor. The pace quickens. The brass is unleashed. The melancholy Paul Hyde, a veteran Upstate journalist, is theme from the beginning of the the public information coordinator for the movement is transformed into a College of Architecture, Arts and Humanities celebratory exclamation. The syncopated at Clemson University. He writes regularly energy suggests the sort of exuberant folk for the Greenville Journal, Anderson Observer festival Tchaikovsky loved to evoke and Classical Voice North America. Follow in his music. One dark episode intrudes him on Facebook and Twitter: @PaulHyde7. before Tchaikovsky once more proclaims

GREENVILLE SYMPHONY ORCHESTRA | 27

Cheers to 50 Years, Richard deBondt! Raise a glass, as we celebrate bass trombone player Richard deBondt’s Golden Anniversary with the GSO!

Richard deBondt was born in The Hague, a city he regards as the true capital of The Netherlands. His parents, Johannes and Anna deBondt, immigrated to the USA bringing him to Kingsport, Tennessee at the age of one. The family obtained U.S. citizenship and expanded with two children, Richard’s brother Johannes and sister Marianne. When he was twelve, Richard took up trombone as part of a private group lesson arranged by a local music store. He chose trombone because a friend had done so. Richard simply copied his friend’s form; thus, he became a career trombonist.

The instrument became more important at Kingsport’s Dobyns- Bennett High School, which had a very strong band program with instructors who resisted Richard’s efforts to quit. The switch to bass trombone came at the state of Tennessee All-State Orchestra, when four trombonists were needed, three tenors and one bass. In the spirit of “The Volunteer State,” he offered to play bass. He has played bass more than tenor ever since.

Richard arrived at Furman University as a freshman in the fall of 1968 (he has resided in Greenville since then). In early 1969 Peter Rickett (35-year conductor of the GSO) phoned Poteat dorm at Furman, reached Richard with some difficulty, and asked him to fill in on an upcoming concert. The offer was: $2 per rehearsal and $4 per performance, and most importantly, a chance to perform with a real orchestra. Richard took the gig and he never left! Photo credit: David Poleski Design Photography Design Poleski David credit: Photo Dan Ellis, director of bands at Furman, soon had Richard performing with Ringling Brothers, Holiday on Ice, and every sort of traveling show. Instead of studying, Richard performed with Furman’s marching and concert bands, orchestra, brass ensembles, and choral and opera productions. Later, with other members of the Greenville Symphony, Richard was a founding member of what became “The Foothills Brass Quintet.” Along with Richard, the quintet’s tuba player, John Sizemore, contributed ideas and performance material for the Symphony’s first regular grade school and preschool concerts. Eventually this same group became the Spoleto Festival Brass Quintet for four consecutive years.

In 1970, Richard sought to replace scholarship money (lost by having a decidedly mediocre GPA) with earned income. He took a job with Sonny Odom, who had opened Greenville’s finest restaurant, complete with an incredible wine list. The waiters at “Sonny’s” (mostly Furman music students) adopted a vigorous study of wine combined with the practice of selling it nightly. This would later lead to Bob Warth and Richard, supported in large part by their working wives, Gayle Warth and Tina deBondt, opening Northampton Wines as a retail store in 1975. They continued to work full-time at the restaurant until 1977 when they opened a second, downtown location on Cleveland Street. A few years later, Bob departed the company, and the stores were consolidated.

Photo credit: David Poleski Design Photography Design Poleski David credit: Photo In 2000, David Williams joined Northampton Wines as an owner and helped with the move to Broad Street. In 2003 “The Wine Café,” a fine dining restaurant and full-service wine bar, was added to the 1891 “Trolly Barn” offering fine food classically prepared on-premise with a choice of 1,500 different wines.

When he’s not busy playing with the GSO or taking care of business at Northampton Wines, Richard enjoys spending time with his lovely wife Karen, as well as reading and exercising. Karen and Richard are looking forward to celebrating their 25th anniversary next summer.

MASTERWORKS Series

STRAUSS SQUARED

Saturday, March 2, 2019 at 8:00 p.m. Sunday, March 3, 2019 at 3:00 p.m. Peace Concert Hall

Edvard Tchivzhel, conductor Solo in Orchestra: Laura Colgate, violin

RICHARD STRAUSS Ein Heldenleben, TrV 190, op. 40 (1864-1949) (A Hero’s Life) I. The Hero II. The Hero’s Adversaries III. The Hero’s Wife IV. The Hero at Battle V. The Hero’s Works of Peace VI. The Hero’s Retirement and Fulfillment

INTERMISSION

JOHANN STRAUSS, JR. Die Fledermaus Overture (1825-1899) Emperor Waltz, op. 437 Pizzicato Polka Voices of Spring, Waltz, op. 410 Tritsch-Tratsch Polka, op. 214 Blue Danube Waltz, op. 314 Thunder and Lightning Polka, op. 324 The untH Polka, op. 373

This program is funded in part by a grant from the Metropolitan Arts Council, which receives funding from the City of Greenville, SEW Eurodrive, BMW Manufacturing Company, LLC, Michelin North America, Inc, and the South Carolina Arts Commission with support from the National Endowment for the Arts. This organization is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts.

GREENVILLE SYMPHONY ORCHESTRA | 31 STRAUSS SQUARED Program Notes by Paul Hyde

Ein Heldenleben, TrV 190, op. 40 II. “The Hero’s Adversaries.” Shrill, yapping (A Hero’s Life) woodwinds represent the hero’s critics. Richard Strauss (1864-1949) The hero’s theme returns in a sad, meditative guise but his courage reasserts The hero of Richard Strauss’ 1898 tone poem itself. The critics are overthrown. is none other than Strauss himself. The piece spotlights the composer’s courage and III. “The Hero’s Wife.” The hero’s struggles, and brutally lampoons his critics. companion appears in the voice of the solo violin – a fitting choice, since Conceited, you say? Certainly, critics were in real life Strauss was married to the outraged by the composer’s arrogance at soprano Pauline de Ahna. The hero’s making himself the hero of his own work. own theme is frequently interrupted by The 20th century historian Barbara Tuchman the violin. The directions printed above devotes an entire chapter to the German the violin part in the score – “flippant,” composer in her gracefully written book “playfully,” “soothingly,” “scoldingly” – “The Proud Tower,” seeing Strauss as a symbol suggest the changing aspects of the of the outsized egotism that would lead emotional scene. Love triumphs eventually Germany and other nations unthinkingly and the music grows increasingly passionate. into World War I. She calls Strauss “the bold bad man of music at the turn of the century.” IV. “The Hero at Battle.” The romantic episode is interrupted by the sound of Kinder critics have suggested Strauss was off-stage trumpets, a distant call to merely trying to present the inspiring victories arms. This is an extraordinary movement, of an ordinary man. with a battle scene of monumental proportions. The hero and his adversaries Musically, this powerful and epic piece is clash mightily – the struggle is titanic – simply splendid. Strauss was only 34 years but the hero is triumphant. old when he completed “Ein Heldenleben,” yet he had become adept at characterizing V. “The Hero’s Works of Peace.” The hero the heroic temperament in such previous revels in his past achievements. If there pieces as “Don Juan” and “Don Quixote.” were any doubt about the hero of the piece, Strauss quotes from at least eight The score, generally played without pause, of his own works here. is divided into six distinct movements with descriptive titles. VI. “The Hero’s Retirement and Fulfillment.” Despite his achievements, the hero is I. “The Hero.” The opening movement still challenged by some critics and presents the hero’s theme – full of vitality, misunderstood by others. The orchestra glowing with self-confidence. The rages on his behalf. But his anger muscular subject is proclaimed by strings subsides. Life’s battles have been fought and first horn, with punctuation from and won, freeing the hero to seek inner the rest of the horns, bassoons and the peace and tranquility at home. The solo heavy brass. The entire movement riffs violin reminds him of the consoling on the hero’s theme. presence of his companion. He and his companion find contentment in their lives, a harmony that transcends the final, brief memory of heroism.

GREENVILLE SYMPHONY ORCHESTRA | 32 STRAUSS SQUARED Program Notes by Paul Hyde

Assorted Overtures Waltzes, The witty “Pizzicato Polka,” which Johann Polkas and Galops Strauss II wrote with his brother Josef, has Johann Strauss, Jr. (1825-1899) the strings plucking their instruments. Next up are the swirling waltz “Voices of Spring” These irresistibly delightful pieces hardly and the scampering “Tritsch-Tratsch Polka.” need any introduction. Johann Strauss, II carried on his father’s business of writing light The “Blue Danube Waltz” is splendidly graceful. classical works – particularly waltzes – and Rolling kettledrums give the “Thunder and would later be known as “The Waltz King.” Lighting Polka” its thunderous appeal. “The Hunt Polka” ends the set on an exuberant The Strauss family – Johann Strauss I and his note – and, if available, guns blazing. three sons – dominated the Viennese social scene for most of a century, 1830 to 1900. Paul Hyde, a veteran Upstate journalist, is the They were all remarkably productive. Johann public information coordinator for the College Strauss II wrote almost 500 works, including of Architecture, Arts and Humanities at 12 operettas and nearly 200 each of waltzes Clemson University. He writes regularly for the and polkas. Greenville Journal, Anderson Observer and Classical Voice North America. Follow him on This program features some of Johann Strauss Facebook and Twitter: @PaulHyde7. II’s greatest hits, beginning with the bubbly “Die Fledermaus Overture.” That’s followed by the grand “Emperor Waltz.”

GREENVILLE SYMPHONY ORCHESTRA | 33 GREENVILLE SYMPHONY ORCHESTRA | 34 CHAMBER ORCHESTRA Series

STRINGS GALORE

Friday, March 22, 2019 at 8:00 p.m. Saturday, March 23, 2019 at 8:00 p.m. Sunday, March 24, 2019 at 3:00 p.m. Gunter Theatre

Edvard Tchivzhel, conductor David Gross, piano Kevin Lyons, trumpet

GIOACHINO ROSSINI Sonata No. 3, C major (1792-1868) I. Allegro II. Andante III. Moderato

DMITRI SHOSTAKOVICH Concerto for Piano and solo Trumpet, (1906-1975) No. 1, op. 35, C minor I. Allegro moderato II. Lento III. Moderato IV. Allegro brio

INTERMISSION

SAMUEL BARBER Adagio for Strings (1910-1981)

PIOTR I. TCHAIKOVSKY Serenade, op. 48, C major, TH 48 (1840-1893) I. Pezzo in forma di Sonatina II. Waltz III. Elegie IV. Finale (Tema Russo)

This program is funded in part by a grant from the Metropolitan Arts Council, which receives funding from the City of Greenville, SEW Eurodrive, BMW Manufacturing Company, LLC, Michelin North America, Inc, and the South Carolina Arts Commission with support from the National Endowment for the Arts. This organization is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts.

GREENVILLE SYMPHONY ORCHESTRA | 35 DAVID GROSS, PIANO

David Gross is a regular guest performer in Memorial Concert concert halls throughout the United States Series broadcast live and Germany. The wide expressive spectrum on WFMT in of his playing is brightly reflected in the Chicago. His CD critical acclaim he has garnered. Reviewers of Edouard Lalo’s praise his “warm touch and sensitive, sparkling Piano Concerto with transparency” (Potsdamer Neueste Nachrichten) the Staatsorchester and “perfect control of sound” (Nordsee- Frankfurt/Oder Zeitung), as well as his virtuosic ability: was met with “He is a pianist of strong, brisk fingers critical acclaim and selected for the in-flight and penetrating mind whose technique is audio program on Lufthansa. In 2010, Centaur formidable enough to make light of whatever Records released his recording of piano works difficulties Chopin’s music throws in his by little-known Czech composer Jan Hugo way…his sparkling treatment of the Waltz in Voříšek. Besides his strong commitment to A-flat, Opus 42 was the real thing” (Chicago the solo repertoire, David Gross is passionate Tribune). “Gross dispatched the technically about chamber music, appearing frequently formidable piano part with incisive clarity with members of the Greenville Symphony on and effortless brilliance,” the Greenville News their Spotlight Series. As a founding member wrote about his interpretation of the Burleske of the Poinsett Piano Trio he has performed by Richard Strauss. “He also brought a extensively on the East Coast, in Germany heartfelt sensitivity to the work’s intermittent (2012), and New Zealand (2010, and 2013). poetic passages.” The performance of Mozart’s Piano Concerto No. 21 with the GSO drew Born and raised in Berlin, David lives in particular attention to Gross’ own cadenzas: Greenville where he is Professor at Furman “They proved, at once, tasteful and dazzling, University. Prior to Furman, he served on merging effortlessly into the texture of the the faculty at the Hochschule Hanns Eisler in concerto” (Greenville News). Berlin, Western Michigan University, Goshen College, and as Visiting Professor at the David Gross has been featured as a soloist University of Cape Town (South Africa). He of the great piano concerto repertoire with holds degrees from the Hochschule München, the Berliner Symphoniker, Staatsorchester the Yale School of Music, the Hochschule Frankfurt/Oder, Ensemble Oriol, Rockford Hannover, and a Doctoral Degree from the Symphony (IL), Champaign-Urbana Symphony, University of Illinois, where his teachers Macon Symphony (GA), Idaho Civic Symphony, included Ludwig Hoffmann, Arie Vardi, Daniel Anderson Symphony, Merrimack Valley Pollack, Claude Frank, and John Wustman. Philharmonic (MA), Hendersonville Symphony He is a prizewinner of the international piano (NC), Western Piedmont Symphony, and Brevard competitions in Marsala (Italy) and Bremen Philharmonic. After celebrated performances of (Germany). Dr. Gross has given lecture- solo works by Beethoven, Schumann, Strauss, recitals, including at the Goethe Institute in Mozart and Brahms, he is delighted to once Boston, at national conferences of the College again be collaborating with Maestro Tchivzhel Music Society and the Music Teachers National and the Greenville Symphony. Association, and for local MTNA chapters throughout the Southeast. Eager to pass An active recording artist, Mr. Gross has along his musical knowledge, experience, and been featured on numerous solo broadcasts insights, he teaches master classes to aspiring for German NPR, in the film Singing Hands young pianists and gives lectures on pedagogical produced by German National Public Television, topics to music teacher groups. and on several recitals for the Dame Myra Hess

GREENVILLE SYMPHONY ORCHESTRA | 36 Ernest Rawlins Photography KEVIN LYONS, TRUMPET

Trumpeter Kevin with the Georgia Symphony, the Atlanta Lyons hails from Pops Orchestra, the Gwinnett Philharmonic Clinton, Mississippi and the Atlanta Community Orchestra. Mr. and has long had Lyons’ playing can be heard on a number a dual passion of major label recordings with the Atlanta for both classical Symphony Orchestra and with artists such and jazz music. as Sinead O’Connor, Matchbox Twenty, and Kevin received his John Driscoll Hopkins of the Zac Brown early training in Band. Mr. Lyons is a founding member of Mississippi from the great Sonny Hill, the funk band Bumpin the Mango and is a (THANK YOU SONNY!!!) and at Louisiana member of the Joe Gransden Big Band. He State University with James West, and at The can be regularly seen throughout Atlanta and University of Southern Mississippi with Allan the Southeast’s jazz and live music venues, Cox. Mr. Lyons continued his education having been a side man for artists such as at the Cleveland Institute of Music where Diana Ross, Ray Charles, Frankie Valli and he studied with Michael Sachs and James Peter Frampton. Mr. Lyons can often be Darling and earned his Bachelor’s degree in found playing both at Carnegie Hall and the Music Performance. During that time, he Blue Note Jazz Club in the same season. His was awarded the Bernard Aldestein Award in chamber ensemble credits include founding Trumpet and was a participant at the Aspen memberships of Il Brasso Magnifico and Music Festival. After conservatory life, he Atlanta Brassworks. He has performed in went on the road for two years playing with featured ensembles at the conferences of the the Glenn Miller Orchestra, touring the U.S., International Trumpet Guild, International Canada, Japan, the Dominican Republic and Trombone Association and International the Caribbean. Upon returning to the U.S., Tuba Euphonium Association. Mr. Lyons Mr. Lyons landed in his current home of also enjoys playing with other classical Atlanta, Georgia, where he won positions ensembles and has joined the Cleveland of Associate Principal Trumpet with the Orchestra for a European tour and been Atlanta Symphony Orchestra as well as Guest Principal Trumpet for the Malaysia Principal Trumpet of the Atlanta Ballet Philharmonic, Nu Deco Ensemble and the Orchestra, the Greenville (SC) Symphony, the Miami City Ballet Orchestra. In his downtime, Georgia Symphony and the Columbus (GA) Kevin enjoys playing a great round of golf, Symphony. He has been featured as a soloist going fishing or racing his BMWs.

GREENVILLE SYMPHONY ORCHESTRA | 37 STRINGS GALORE Program Notes by Dr. Joella Utley

Sonata No. 3, C major Concerto for Piano and solo Gioachino Rossini (1792-1868) Trumpet, No. 1, op. 35, C minor Dmitri Shostakovich (1906-1975) Gioachino Rossini entered the music world like a rocket. The son of musical parents this As a student at the Leningrad Conservatory, young boy started his formal musical education Shostakovich excelled in piano performance in Bologna at age eight. He composed six as well as composition. He composed two string sonatas, the third of which is on this piano concertos, the first for himself to program, at age twelve – not yet a teenager. perform and the second for his nineteen- It was the summer of 1804 while Rossini was year-old son, Maxim, who later became a spending the summer at the home of amateur conductor. Twenty-four years separate the double bass enthusiast, Agostini Triossi. These writing of these two concertos. works were scored for two violins, violoncello and double bass only. Today, ensemble groups Shostakovich wrote Concerto for Piano, and perform the works. solo Trumpet, Op. 35 in 1933. It premiered on October 15 of that year with the Leningrad Each of the sonatas is in a major key with Philharmonic Orchestra conducted by a three-movement pattern: ‘quick-slow-quick’. Yevgeny Mravinsky and with Shostakovich He cleverly broke from tradition and allowed at the piano. It was an instant success. The the cello and bass to share the limelight. Also, twenty-seven-year-old composer was quite neither of the two violins were held back – popular with Russian audiences at that time. each had its own voice. He had not suffered through the many hardships that would make up most of his As Rossini later said of these works: “… adult life. His first piano concerto demonstrates six dreadful sonatas composed by me at the the happy, carefree period of his young life. country place (near Ravenna) of my Maecenas friend Triossi, when I was at the most This witty concerto was written in a light infantile age, not even having taken a lesson classical style. In it, Shostakovich turns away in accompaniment, the whole [was] composed from the dissonance he so frequently used. and copied out in three days …” Although the work features the piano, the trumpet plays a significant role, becoming Sonata No. 3 in C Major opens with the Allegro the second soloist, while the strings movement displaying light dance strings. The play demanding roles far beyond mere slower Andante movement brings a darker accompaniment. This four-movement work pensive sense, partly in a minor key. Movement contains rapidly shifting themes, sudden three of Sonata No. 3 is marked Moderato, changes of key, and snatches of melodies, differing from the other five sonatas, which are which resemble works of Beethoven, Haydn, marked Allegro. This entire work is charming, Chopin and Rachmaninoff. spirited and imaginative throughout. Opening with a fanfare the Allegro Moderato presents a kaleidoscope of themes. The two middle movements, Lento and Moderato, are lyrical, dreamy and even trance-like, while the Allegro brio is rambunctious, brisk and bright. This final movement brings to mind a circus-like atmosphere as the trumpet blasts forth.

GREENVILLE SYMPHONY ORCHESTRA | 38 STRINGS GALORE Program Notes by Dr. Joella Utley

Adagio for Strings Serenade, op. 48, C major, TH 48 Samuel Barber (1910-1981) Piotr I. Tchaikovsky (1840-1893)

American composer Samuel Barber was a In the fall of 1880, Tchaikovsky was in a child prodigy who began composing at age creative stage composing two back-to-back seven. By age twelve he was a church organist works. He was writing the ever-popular 1812 and ultimately entered the Curtis Institute Overture along with his Serenade for Strings of Music in Philadelphia at age fourteen. His in C Major. He wrote to his patron, awards include the Prix de Rome (1935), Nadezhda von Meck: “The overture will be Pulitzer Fellowships (1935, 36), a Guggenheim very showy and noisy, but will have no Fellowship (1945) and a Pulitzer Prize (1958) artistic merit because I wrote it without among others. warmth and without love. But the Serenade, on the contrary, I wrote from inner Although Barber’s chamber music occupies compulsion. This is a piece from the heart a small chapter in his works, it contains one and so I venture to say it does not lack of the most beloved compositions in all of artistic worth.” American music. Barber composed a string quartet in the summer of 1936 and expanded Tchaikovsky’s love of the serenade form may it for string orchestra in 1938. At the request have stemmed from his great admiration of of conductor Toscanini, Barber arranged the Mozart, who wrote more than a dozen such middle movement from this quartet, Molto works. Tchaikovsky even transcribed several Adagio, as Adagio for Strings, which premiered of Mozart’s keyboard and choral pieces into in a concert by the newly formed NBC an orchestral suite, Mozartiana. Again, Symphony led by Toscanini. writing to von Meck, he described… “The first movement is my homage to Mozart: It Barber described his interpretation of the is intended to be an imitation of his style, emotional effect of this work as representing and I should be delighted if I thought I had the redemptive powers of inward reflection – in any way approached my mode.” an intimate meditation rather than a lament. However, over the years others have associated In this opening movement, after a slow the work with the concept of mourning. Adagio introduction, we hear a chorale-like theme, for Strings has been heard at the funerals of which will return at the end of the movement John F. Kennedy and Princess Grace of and at the end of the Finale. The graceful, Monaco, at the memorial services for the lilting melody in Movement II has become victims of the Oklahoma Federal Building one of the most popular of Tchaikovsky’s bombing and the tragedy of 9/11. It was works. One can imagine elegant dancers heard at regular performances in the Soviet twirling to the music. It is a distinctive waltz Union during the cold war. Worldwide that is performed frequently on its own. audiences respond to this work because it The mood shifts to a slow, wistful reverie expresses a personal emotion, presented in in Movement III, which is as elegant as the dignified simplicity. movement name, Larghetto elegiac, suggests. The middle section of this movement picks This slow, passion-filled music progressively up in tempo but remains in a state of pleasant builds in intensity from the beginning with contemplation. In the Finale Tchaikovsky increase in volume. As it climbs through the incorporates two Russian folk melodies: the register of the strings it comes to a gripping first, a draymen’s song from the Volga region climax before giving way into a throbbing and the second, an animated dance tune. silence and then a gentle return to the The coda of this final section returns to the original motif. slow, grand opening theme and then ends in a flourish. GREENVILLE SYMPHONY ORCHESTRA | 39 GREENVILLE SYMPHONY ORCHESTRA | 40 MASTERWORKS Series

VIRTUOSITY UNLEASHED

Saturday, April 6, 2019 at 8:00 p.m. Sunday, April 7, 2019 at 3:00 p.m. Peace Concert Hall

Edvard Tchivzhel, conductor Velvet Brown, tuba

WILLIAM WALTON Crown Imperial (Coronation March) (1902-1983)

JOHN WILLIAMS Concerto for Tuba and Orchestra (B. 1932)

INTERMISSION

SERGEI PROKOFIEV Symphony No. 5, op. 100, B flat major (1891-1953) I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso

Ms. Brown’s appearance is made possible by The Peace Center.

This program is funded in part by a grant from the Metropolitan Arts Council, which receives funding from the City of Greenville, SEW Eurodrive, BMW Manufacturing Company, LLC, Michelin North America, Inc, and the South Carolina Arts Commission with support from the National Endowment for the Arts. This organization is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts.

GREENVILLE SYMPHONY ORCHESTRA | 41 Maundy Mitchell Photography VELVET BROWN, TUBA

Velvet Brown is professor of tuba and principal tubist of the euphonium at Pennsylvania State University. Altoona Symphony Prior to joining the faculty at Penn State in Orchestra and the 2003, she taught at Bowling Green State New Hampshire University (Ohio), Ball State University Music Festival (Indiana), and served as an associate director Orchestra. She has of University Bands at Boston University. served as principal Ms. Brown is currently a member of the tuba with the ITEA Board of Directors and has served as River City Brass the secretary of the Executive Committee Band, and as substitute or additional tubist for the International Tuba and Euphonium with the Detroit Symphony, Saint Louis Association (2001–2007). She is also a Symphony, San Francisco Women’s Philharmonic, founding board member of the International and the Fort Wayne Philharmonic. In 2004, Women’s Brass Conference. Ms. Brown is Brown joined Howard Johnson’s “Gravity” noted for receiving the 1999-2000 William Tuba Jazz Ensemble as lead tuba. She has Fulbright Fellowship Vinciguerra Award. She also garnered high praise as a founding has had many successful students who have and current member of the Monarch Brass won prestigious playing and teaching positions Quintet and Brass Ensemble, the Junction as well as prizewinners at various regional, Tuba Quartet, and the Pennsylvania national and international competitions. Brassworks (Faculty Brass at Penn State). She has released three solo CDs on the Velvet Brown also enjoys a professional career Crystal Records label, a CD for the Nicolai as an international soloist and chamber Music label, and her latest CD, Simply Velvet ensemble performer, recording artist, conductor can be found on the Potenza Record label. and orchestral player. She has made regular Velvet Brown can also be heard on Albany appearances throughout Italy, Switzerland, Records in her interpretation of John Williams’ Austria, Germany, Finland, France, England, Tuba Concerto. Velvet Brown is a Meinl Weston Hungary, Slovenia, Russia, Japan, Canada and Performing Artist, performing on the MW 2250 the United States. Ms. Brown is currently the and 2182 F tubas, and the MW 2000 C tuba.

GREENVILLE SYMPHONY ORCHESTRA | 42 VIRTUOSITY UNLEASHED Program Notes by Paul Hyde

Crown Imperial (Coronation March) “Jurassic Park,” “ Raiders of the Lost Ark,” William Walton (1902-1983) “E.T. The Extra-Terrestrial,” “ Schindler’s List,” “Saving Private Ryan,” “ Lincoln,” “ Jaws” – Walton’s grand march was first performed and the list goes on. Among his many other at the coronation of George VI on May 12, accomplishments, Williams served as music 1937. Walton had composed the piece director of the Boston Pops from 1980 to 1993. originally for the coronation of Edward VIII, who abdicated in 1936. Williams has also composed dozens of concert works unconnected with film. The march has been heard in other British Williams wrote his Tuba Concerto as a royal occasions as well, including for the centennial commission from the Boston coronation of Queen Elizabeth in 1953 and Pops. It premiered in 1985. as a recessional piece for the wedding of Prince William and Catherine Middleton in 2011. “I really don’t know why I wrote it — just an urge and an instinct,” Williams has said. The work has been rightfully compared to “I’ve always liked the tuba and even used to the “Pomp and Circumstance” marches of play it a little. I wrote a big tuba solo for a Edward Elgar. The short march’s swagger and Dick Van Dyke movie called ‘Fitzwilly’ and grandeur evoke past glory: the proud and ever since I’ve kept composing for it — it’s confident Victorian era. It’s sobering to note such an agile instrument, like a huge cornet. that in 1937, England was still suffering under I’ve also put passages in for some of my the deprivations of the Great Depression and pets in the orchestra: solos for the flute and anxiety between the world wars. English horn, for the horn quartet and a trio of trumpets. It’s light and tuneful and I hope Two primary themes dominate the piece: an it has enough events in it to make it fun.” uptempo march alternating with a majestic lyrical melody. A stately coda concludes the The concerto is cast in the traditional three march in triumph. movements, which are played without pause. I. The highly syncopated first movement Concerto for Tuba and Orchestra has barely begun before the tuba is off John Williams (b. 1932) to the races. For the soloist, scampering phrases alternate with short lyrical The tuba rarely gets the spotlight. It most motifs. There’s considerable breezy often plays a supporting role in the depths dialogue between soloist and orchestra. of the orchestra – musically and literally. In Bursts of exuberance from the orchestra this concerto, however, the popular film call to mind some of Williams’ film composer John Williams places the tuba front scores. The energy is irresistible, and the and center. piece makes huge demands on the soloist’s technique. The tempo slows for Its lyricism, agility and wit make one wonder a meditative passage, leading to a cadenza why composers have not more often given and then directly into the second movement. the tuba a chance to shine. II. The introspective second movement Williams, of course, is the pre-eminent evokes an atmosphere of mystery, with composer of Hollywood film music and has an English horn solo followed by an been for more than four decades. Williams exchange between the tuba soloist and has scored more than 80 films. Some of his flute. Williams explores the tuba’s capacity best work includes scores for “Star Wars,” for mellow lyricism.

GREENVILLE SYMPHONY ORCHESTRA | 43 VIRTUOSITY UNLEASHED Program Notes by Paul Hyde

III. The short, propulsive finale features Prokofiev perhaps did not feel free to talk breathlessly paced passages for the tuba about the work’s ambiguity, which seems soloist against the boisterously syncopated obvious to the modern concert-goer. The orchestra. Jazzy outbursts bring the Soviet authorities demanded nationalist, concerto to a rousing conclusion. triumphant and easily understandable music from Soviet composers. Prokofiev, like Shostakovich, was subjected to brutal bullying Symphony No. 5, op. 100, B flat by the authorities when he failed to meet major those requirements. Prokofiev died, a defeated Sergei Prokofiev (1891-1953) man, less than an hour before Stalin on March 5, 1953. Prokofiev composed his Fifth Symphony in 1944 against the backdrop of the devastation The Fifth Symphony was hugely successful of World War II, but as the tide was turning in the United States – until the Soviet Union in favor of the Allies. It is a work that toggles turned from ally to Cold War nemesis, and between tragedy and triumph. McCarthyism took hold of the U.S. One prominent conductor in Utah, Maurice Prokofiev began work on the symphony in Abravanel, received a death threat on the Ivanovo, 150 miles northeast of Moscow. phone for planning a performance of the Prokofiev sought some quiet at the House of work in Salt Lake City in the 1950s. Creative Work, set up by the Composers Union away from wartime Moscow and Leningrad. I. The symphony begins softly with a broad theme played by flute and bassoons. A mood of optimism was in the air. The Violins echo the melody. The mood Allies had invaded Normandy shortly before is expansive but uneasy. A flowing Prokofiev arrived in Ivanovo. Only a few second theme is given out by flute and weeks later, the Soviet armies launched oboe over delicate string accompaniment. massive and successful offenses in Byelorussia Thesetwo themes are developed with and Poland. tremendous intensity. The powerful climax near the end of the first movement “I conceived it as a symphony of the has suggested to some commentators grandeur of the human spirit, praising the the thunder of heavy weaponry. To free and happy man – his strength, his others, including Israel Nestyev, generosity, and the purity of his soul,” Prokofiev’sofficial biographer, the Prokofiev said. concluding pages of the movement embody “with the greatest clarity the work’s highest purpose – glorification of the strength and beauty of the human spirit.”

GREENVILLE SYMPHONY ORCHESTRA | 44 VIRTUOSITY UNLEASHED Program Notes by Paul Hyde

II. The gravity of the first movement is IV. The soft opening measures of the finale followed by the sardonic humor of the recall the initial theme of the first brisk second. Against the staccato movement, here played by cellos in four accompaniment of the violins, the solo parts. Abruptly, that mood is swept away clarinet articulates a scampering theme, by the fast-paced main portion of the to which the oboe and violas make movement. A solo clarinet offers a brisk, equally impertinent response. The capering tune, soon taken up by the energy seems relentless, though a brief strings. Except for a brief solemn passage, pause provides space for a slower melody the rest of the finale is witty and joyful, high in the woodwinds. Then it’s off to ending in a whirlwind of boisterous the races again. The movement gathers energy. Can one detect the sort of energy for a dynamic conclusion. forced and mocking exuberance one finds in Shostakovich – a response to III. The slow third movement returns to living under oppressive Soviet rule? Or the lyricism and ambivalence of the first. is the music of this finale merely The funereal mood of the opening triumphant? The listener may decide. measures gives way to a gentle theme in the clarinets. Violins soar with it in the Paul Hyde, a veteran Upstate journalist, is the fashion of a haunted waltz. The elegiac public information coordinator for the College quality of the writing suggests a dreamlike of Architecture, Arts and Humanities at melancholy. But a subsidiary theme in Clemson University. He writes regularly for the violas and horns introduces a darker Greenville Journal, Anderson Observer and sentiment, and the waltz undergoes a Classical Voice North America. Follow him on brutal transformation before the earlier Facebook and Twitter: @PaulHyde7. mood is recaptured.

GREENVILLE SYMPHONY ORCHESTRA | 45 GREENVILLE SYMPHONY ORCHESTRA | 46 MASTERWORKS Series

VIVE LA FRANCE!

Saturday, April 27, 2019 at 8:00 p.m. Sunday, April 28, 2019 at 3:00 p.m. Peace Concert Hall

Edvard Tchivzhel, conductor

MAURICE RAVEL Bolero (1875-1937)

PAUL DUKAS L’apprenti sorcier (The Sorcerer’s Apprentice) (1865-1935)

INTERMISSION

HECTOR BERLIOZ Symphonie fantastique, op. 14 (1803-1869) (Fantastic Symphony) I. Reveries, Passions II. Un bal (A Ball) III. Scene aux champs (Scene in the Country) IV. Marche au supplice (March to the Scaffold) V. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath)

This program is funded in part by a grant from the Metropolitan Arts Council, which receives funding from the City of Greenville, SEW Eurodrive, BMW Manufacturing Company, LLC, Michelin North America, Inc, and the South Carolina Arts Commission with support from the National Endowment for the Arts. This organization is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts.

GREENVILLE SYMPHONY ORCHESTRA | 47 VIVE LA FRANCE Program Notes by Paul Hyde

Bolero L’apprenti sorcier Maurice Ravel (1902-1983) (The Sorcerer’s Apprentice) Paul Dukas (1865-1935) From its opening whisper to its final climatic roar, Ravel’s “Bolero” is utterly hypnotic. Many listeners may associate “The Sorcerer’s Apprentice” with Mickey Mouse battling dozens The piece features just two tunes, repeated again of enchanted brooms in Disney’s “Fantasia.” and again. What gives “Bolero” its vitality and Nothing wrong with that: It’s a charming color is the shifting of the orchestration, with animated interpretation and it follows Dukas’ one instrument or instrumental combination music faithfully. taking up the themes after another. Among the orchestral soloists are tenor and soprano The tale has been a part of folk lore for 2,000 saxophones – a rarity. years: A young sorcerer’s apprentice casts a spell on a broom to get it to fetch water. But the The piece is one long, gradual crescendo, lasting apprentice can’t make the broom stop bringing about 14 minutes. The snare drum is heard water and soon the premises are overflowing. oh-so-softly at the beginning, establishing the In desperation, he takes an ax and splits the steady rhythm that will drive the piece forward. broom in two. Now, however, the apprentice Solo flute introduces the sinuous first theme. finds himself battling two water-carrying It’s repeated by clarinet. A second closely brooms. (The Disney version multiplies the related melody is introduced by bassoon and horror into an army of goon-brooms.) Finally, taken up by E-flat clarinet. the sorcerer returns to save the day.

The inexorable rhythmic pulse remains Dukas based his 1897 tone poem on a version constant, but the music grows in volume of the story by Goethe. Shimmering strings with each repeat of the themes. The and rising woodwinds evoke an atmosphere of long, slow buildup paves the way for an mystery. The hapless sorcerer casts his spell. The explosive conclusion. music pauses abruptly with a sharp thwack of the timpani. Some listeners may remember “Bolero” playing a prominent and lusty role in the A grunt from the depths of the orchestra movie “10.” Ravel wrote the piece for a ballet, suggests the first lumbering steps of the which premiered at the Paris Opera in 1928. enchanted broom. The comically sinister That ballet had erotic overtones as well, with march that follows reflects the gawky hobble a woman’s dancing sparking a tavern brawl. of the broom fetching water. The music grows increasingly boisterous and frantic, suggesting “Bolero” has long been performed as a the out-of-control broom and the growing standalone concert work. The American panic of the apprentice. premiere in 1929 by the New York Philharmonic, led by Arturo Toscanini, was A sudden pause indicates the hatchet has described as “a bombshell.” fallen, splitting the broom in two. But the march returns with renewed vigor as the two French composers are known for the colorful bewitched brooms create havoc. A roar of orchestrations and this program offers three trumpets, however, announces the return of the outstanding examples of that characteristic. sorcerer who restores order. The mystical music from the beginning returns, and a sudden outburst ends the piece.

GREENVILLE SYMPHONY ORCHESTRA | 48 VIVE LA FRANCE Program Notes by Paul Hyde

Symphonie fantastique, op. 14 Leonard Bernstein told a young audience: (Fantastic Symphony) “Berlioz tells it like it is. … You take a trip, you Hector Berlioz (1803-1869) wind up screaming at your own funeral.”

It was love – crazy love – that inspired Hector “Symphonie fantastique,” subtitled “Episode Berlioz’s “Symphonie fantastique.” This is surely in the Life of an Artist,” was the first fully the greatest first symphony ever composed – an programmatic symphony – an instrumental audacious experiment in musical storytelling work that relates a story or at least suggests the that still has the capacity to astonish. outlines of a tale. One recurring figure in this narrative is that of the young man’s beloved; The work was inspired by Berlioz’s desperate she is represented by a theme that appears in infatuation with an Irish actress, Harriet all five movements. Berlioz called this theme an Smithson. In 1827, the 23-year-old French “idee fixe” – or fixation. composer attended an English touring company’s performance of “Hamlet,” in which The five-movement symphony is an the beautiful and charismatic Smithson played extraordinarily powerful work, with a brilliant the role of Ophelia. Berlioz, who spoke not orchestration that featured new elements such a word of English, fell wildly in love with as multiple timpani and orchestral bells. There the actress. were new special effects as well: A passage in the fifth movement’s “Witches’ Sabbath” Berlioz was choked by emotion during the requires violinist to play with the wood of the performance, as he related in his characteristic bow, producing an eerie percussive sound – of emotional style: “A feeling of intense, skeletons dancing perhaps. The orchestration overpowering sadness overwhelmed me and I exhibits Berlioz’s keen sense of drama: There’s fell into a nervous condition, like a sickness plenty of tension throughout the symphony, of which only a great writer on physiology but it’s only in the fourth and fifth movements could give any adequate idea.” that the composer unleashes the full fire and ferocity of the orchestra. The hapless composer was unable to work or sleep. Believing the best antidote would be to A footnote to Berlioz’s infatuation with see Smithson again, he rushed to the box office Smithson: The two would meet and later to get tickets for “Romeo and Juliet.” Once marry, though the union was not successful. again in the theater, Berlioz was overcome: Incidentally, Berlioz’s autobiography – he was a “It was too much,” he said. “By the third act, gifted writer – makes splendid reading. hardly able to breathe – as though an iron hand gripped me by the heart – I knew that I Following is Berlioz’s own introduction and was lost.” description of the symphony’s storyline. His somewhat melodramatic narration offers Berlioz channeled his anguish into a “fantastic insight into the heightened emotional character symphony.” (“Fantastic” is meant to be of the work — and of the man. understood in the sense of “featuring elements of fantasy.”) The instrumental work included “A young musician of morbidly sensitive a dramatic storyline: A highly sensitive temperament and fiery imagination poisons young man takes opium to kill himself over himself with opium in a fit of lovesick unrequited love, but it only puts him into a despair. The dose of the narcotic, too weak deep sleep in which he suffers bizarre dreams. to kill him, plunges him into a deep slumber In his nightmares, he believes that, having accompanied by the strangest visions, murdered his beloved, he is condemned to during which sensations, his emotions, his death and witnesses his own execution. As memories are transformed in his sick mind

GREENVILLE SYMPHONY ORCHESTRA | 49 VIVE LA FRANCE Program Notes by Paul Hyde into musical thoughts and images. The loved IV. “March to the Scaffold.” “He dreams one herself has become a melody to him, an that he has killed his beloved, that he idee fixe as it were, that he encounters and is condemned to death and is being led hears everywhere.” to execution. The procession moves forward to the sounds of a march that I. “Reveries, Passions.” “He recalls first that is now somber and wild, now brilliant soul sickness, those intimations of passion, and solemn, in which the muffled sound those seemingly groundless depressions of heavy steps gives way without transition and elations that he experienced before to the noisiest clamor. At the end, the he first saw the woman he loves; then idee fixe returns for moment, like one the volcanic love that she suddenly last thought of love interrupted by the inspired in him, his frenzied anguish, death blow.” his jealous furies, his return to tenderness, his religious consolations.” V. “Dream of a Witches’ Sabbath.” “He sees himself at the Sabbath, in the midst II. “A Ball.” “He meets his beloved again of a frightful troop of ghosts, sorcerers, during the tumult of a brilliant fete.” monsters of every kind, come together for his funeral. Strange noises, groans, III. “Scene in the Country.” “On a summer bursts of laughter, distant cries which evening in the country, he hears two other cries seem to answer. The beloved shepherds piping back and forth to each melody appears again, but it has lost its other a ‘ranze des vaches’ (traditional character of nobility and shyness; it is tune played by Swiss cattle herders). no more than a dance tune, base, trivial, This pastoral duet, the scenery, the quiet and grotesque; it is she, coming to join rustling of the trees gently stirred by the Sabbath. A roar of joy at her arrival. the wind, some prospects of hope he has She takes part in the devilish orgy. Funeral recently found – all combine to soothe knell, burlesque parody of the Dies Irae his heart with unaccustomed calm and and Sabbath round-dance. The Sabbath lend a more smiling color to his thoughts. round and the Dies Irae combine.” But she appears again; he feels a tightening in his heart, painful presentiments Paul Hyde, a veteran Upstate journalist, is the disturb him – what if she were to deceive public information coordinator for the College him? One of the shepherds takes up his of Architecture, Arts and Humanities at simple tune again; the other no longer Clemson University. He writes regularly for the answers. The sun sets – distant roll of Greenville Journal, Anderson Observer and thunder – solitude – silence.” Classical Voice North America. Follow him on Facebook and Twitter: @PaulHyde7.

GREENVILLE SYMPHONY ORCHESTRA | 50 GREENVILLE SYMPHONY ORCHESTRA | 51 GREENVILLE SYMPHONY ORCHESTRA | 52 CHAMBER ORCHESTRA Series

SHALL WE DANCE?

Friday, May 3, 2019 at 8:00 p.m. Saturday, May 4, 2019 at 8:00 p.m. Sunday, May 5, 2019 at 3:00 p.m. Gunter Theatre

Edvard Tchivzhel, conductor Sara Lane, tap dance

CARL MARIA VON WEBER Invitation to the Dance, J. 260, op. 65 (1780-1826)

MIKHAIL GLINKA Three Polish Dances from the Opera, (1804-1857) A Life for the Tsar I. Mazurka II. Waltz III. Krakoviak

MANUEL DE FALLA The Three Cornered Hat, Suite No. 1 (1876-1946) I. Introduction-Afternoon II. Dance of the Miller’s Wife (Fandango) III. The Corregidor IV. The Grapes

INTERMISSION

MORTON GOULD Tap Dance Concerto (1913-1996) I. Toccata II. Pantomime III. Minuet IV. Rondo

ANTONIN DVOR ˇ ÁK Slavonic Dances: op. 48, No. 8 (1841-1904)

This program is funded in part by a grant from the Metropolitan Arts Council, which receives funding from the City of Greenville, SEW Eurodrive, BMW Manufacturing Company, LLC, Michelin North America, Inc, and the South Carolina Arts Commission with support from the National Endowment for the Arts. This organization is funded in part by the South Carolina Arts Commission which receives support from the National Endowment for the Arts. SARA ELIZABETH LANE, DANCER

Sara Lane graduated cum laude from Neosho County Oklahoma City University with a Bachelor’s Community College of Science in Dance Management. She has and as the head performed with Oklahoma City University’s dance and cheer American Spirit Dance Company in two coach at Newman performances of Home for the Holiday’s University in Christmas Spectacular and three Spring Wichita, Kansas. Show performances. Sara is experienced in She worked as the all dance styles with expertise in tap, jazz, Program Director and contemporary. In addition to performing for dance, cheer, and gymnastics for the and teaching, she has been involved in the Greater Wichita YMCA in El Dorado, KS production of the American Spirit Dance where she taught dance, cheer, and gymnastics Company’s performances. Sara has been to all ages. Sara currently teaches for teaching dance since 2007 for various dance various studios and dance programs in the studios such as the Community Dance Center Upstate area. She is passionate about sharing at Oklahoma City University. She has been her love of the performing arts with others awarded for her pedagogy accomplishments through teaching dance and producing as a student at OCU. Sara has also worked entertainment performances. as an assistant dance and cheer coach at

GREENVILLE SYMPHONY ORCHESTRA | 54 SHALL WE DANCE? Program Notes by Dr. Joella Utley

Invitation to the Dance, J. 260, op. 65 Three Polish Dances from the Carl Maria von Weber (1780-1826) Opera, A Life for the Tsar Mikhail Glinka (1804-1857) German composer, conductor and pianist Carl Maria Friedrich Ernst von Weber, was In the 18th and early 19th centuries countries one of the great figures of German Romanticism. across Europe were steeped in the classical His compositions include works for opera, traditions, not feeling it was necessary to orchestra, piano and vocal. For inspiration he express their individual cultural customs. turned to poetry, history, folklore and myths, However, those countries under the iron fist creating a synthesis of literature and music. of totalitarian rule were not capable of expressing individual or nationalistic ideals; Invitation to the Dance was written in 1819 they toed the political line. and dedicated to his young wife, Caroline. Composed initially for piano this popular Mikhail Glinka played a pivotal role in the waltz was first orchestrated by Hector Berlioz. history of Russian music; in fact, he has Other versions would follow. As von Weber been described as the “Father of Russian described the music to his wife: it tells classical music.” Born into a wealthy family the story of a couple at a ball in which the Glinka was able to travel to Europe in his young man politely asks the girl to dance. youth. He spent three years in Italy where She demurs and then accepts. They take their he heard the operas of Donizetti and Bellini, places and then proceed into the lovely waltz and he realized that his mission in life was music. At the conclusion of the dance he to do for Russia what these composers had thanks her, she replies, and they part ways. done for Italian opera. Several graceful themes are woven into the work. It ends with a vivacious Coda, a pause A Life for the Tsar was Glinka’s first opera. (hold your applause), and then the slow Originally entitled Ivan Sussanin it tells the movement of the opening is repeated. story of the Russian peasant and patriotic hero by that name, who in 1612 sacrificed Invitation to the Dance been used in ballet, his life for the Tsar by leading astray a movies and arranged for mixed voices group of marauding Poles who were hunting SATB, and arranged for two pianos and the Tsar. This was the first time Russian other instruments. opera was presented in a realistic manner, representing peasants instead of nobles and This revolutionizing romantic waltz was quoting Russian folk music. of great inspiration to many ranging from Frederic Chopin to Benny Goodman. It was In 1836, at a rehearsal of the opera Tsar the first concert waltz to be written; that is, Nicholas I was in attendance the Tsar asked the first work in waltz form meant for that Glinka rename the opera to A Life for listening rather than for dancing. It has been the Tsar. It became an obligatory annual called “the first and still perhaps the most season-opener at the opera house in St. brilliant and poetic example of the Romantic Petersburg. The Tsar rewarded Glinka for his concert waltz…” work with a ring valued at 4,000 rubles.

Act II of this opera opens at the scene of a ball with three lively Polish dances: the Mazurka, the Polonaise, and the Krakoviak. This is heard as a symphonic suite characterizing the Polish nobility – proud and arrogant. The triple meter Mazurka is a waltz representing

GREENVILLE SYMPHONY ORCHESTRA | 55 SHALL WE DANCE? Program Notes by Dr. Joella Utley couples as they progress around the dance This music, written during World War I and floor. The Polonaise, a slow dance in triple scored for small chamber orchestra, was first time, consists chiefly of an intricate march or performed in 1916. Serge Diaghilev, impresario procession. Finally, the Krakoviak is a fast, of the Ballet Russe, suggested changes to create syncopated Polish folk dance in duple time. a ballet and had Pablo Picasso design the costumes and the scenery. Ballet Russe gave the first performance in London, July 23, 1919. The Three Cornered Hat, Suite No. 1 Manuel de Falla (1876-1946) Tap Dance Concerto Manuel de Falla was recognized as a gifted Morton Gould (1913-1996) child in music. He received excellent training, first from his mother, and later from private American-born Morton Gould showed his teachers in Cadiz, Spain. At a concert in prodigious musical ability when he started Cadiz, de Falla heard his first orchestral playing piano at four and published his first concert, which included a Beethoven piano composition at six (entitled “Just Six”). symphony. He later said that his life as a By age eight he was a scholarship student at the musician began with the hearing of this Institute of Musical Art in New York City, later symphony. His studies moved him to the to become the well-known Juilliard School. Madrid Conservatory where his professor Felipe Pedrell, eminent Spanish musicologist, Over his lifetime Gould wore numerous composer, and proponent of ancient traditional musical hats. He earned his living in his Spanish music, cultivated his interest in Spanish teens playing piano for vaudeville and worked composers, and the use of Spanish folk song at the opening of Radio City Music Hall in and dance as a basis of his composing. 1931. He entered the world of radio in 1934, and by 1943 he was the music director of de Falla’s composition, The Three-Cornered the “Chrysler Hour” on CBS. He composed Hat, was first intended for a pantomime Broadway musicals, ballet, film and television entitled The Corregidor and the Miller’s Wife. scores in the styles of jazz, folk, spirituals, The story is about a Miller and his beautiful hymns and Latin American music. As well young wife dodging the ludicrous amorous as popular music Gould studied “serious advances of a pompous magistrate (the music” with Fritz Reiner where he wrote Corregidor) who wore a three-cornered hat symphonic music that was performed by as a symbol of status. such major conductors as Stokowsky, Rodzinski and Toscanini. The music, based on dances of Spain, is in two acts: Suite 1 and Suite 2. Following the Always open to new styles of writing, Gould’s Introduction of Suite 1, the scene is cast as music was rich in rhythmic ideas. Tap “Afternoon” in which we hear two dances in Dance Concerto, written in 1952, brings a the form of the Fandango. These are entitled mixture of modern American culture and “Dance of the Miller’s Wife” and “The Grapes.” the percussive elements of tap dance. The concerto – a composition for solo instrument (tap dancer) with orchestra – is one of a kind. The percussive sound of the dancer’s tapping toes is accompanied by the full orchestra.

GREENVILLE SYMPHONY ORCHESTRA | 56 SHALL WE DANCE? Program Notes by Dr. Joella Utley

The score for this work notates the dance for works. They were well received by the public, the soloist, but it allows the dancer great brought great acclaim to the composer and freedom to elaborate on the written rhythms much money to Simrock. as well as freedom to create individual body movements and choreography. Simrock asked Dvořák if he would write some folk-like dances, requesting that they The opening section Toccata is an energetic be written as a four-hand piano version. section in which solo instruments or groups Dvořák also wrote them for orchestra and of instruments accompany the dancer with both versions were published at the same varying rhythmic patterns. In Pantomime the time. Sixteen Slavonic Dances were published dancer proceeds in a slower mode appearing in two sets of eight (Opus 46 and Opus 72) to mime the music. Minuet brings a triple time in 1878 and 1886. Dvořák made use of the waltz meter and a swaying dance of moderate characteristic rhythms of Slavic folk music. tempo. Finally, Rondo is a fast, whirling However, the works were all original; he did finale, which may bring to mind the sounds not directly quote music from existing folk of Copland’s Rodeo. melodies as Brahms had done with his own Hungarian Dances.

Slavonic Dances: op. 46, No. 8 Not only did Dvořák’s Slavonic Dances fulfill Antonin Dvoˇrák (1841-1904) a commission, they also made a political statement. It gave him an opportunity to In his early years of composing, Dvořák was celebrate the music of the Slavic cultures of relatively unknown and making very little Central Europe, which was then under the money. He applied for the Austrian State repressive control of the Austrian Empire. Prize Fellowship (German “Stipendium”) to fund his work as a composer. One of the Slavonic Dances No. 8 is typical of a Czech judges on the awards committee was famed dance, the Furiant. The rhythms switch composer Johannes Brahms, who saw in between two- and three-beats. A more relaxed Dvořák great potential. Brahms went to his middle section has characteristics drawn from own publisher, Fritz Simrock, and requested the Polish Mazurka. that he publish some of the young composer’s

GREENVILLE SYMPHONY ORCHESTRA | 57 ANNUAL FUND

THE ENCORE SOCIETY CAMPAIGN Individuals who make a personal donation to the Greenville Symphony’s Annual Fund are members of the Encore Society. Encore Society Members receive a variety of benefits at each level. For information about the GSO’s Encore Society, contact the Development Director at (864) 232-0344 extension 122. THE MAESTRO’S SOCIETY The Maestro’s Society recognizes Encore Society members who donate $2,500 or more to the GSO’s Annual Fund each season. In addition to Encore Society benefits, members of the Maestro’s Society receive exclusive benefits such as VIP Backstage Passes, invitations to a luncheon with the Maestro and GSO Principal Musicians, and more!

PLATINUM PODIUM SILVER BATON Marion and William Crawford ($20,000+) ($7,500-$9,999) Lee S. and Margaret E. Dixon Frederick W. Bristol Claire and Joe Blake Dixie and Thad Dulin Sandy and Jack Halsey Beth Marr Lee Julie and Berry Garrett Mary Louise Mims and Nancy B. Thomas and Kathy and John Gilbertson James Tipton Charles W. Wofford Geneva and John Griz Dr. and Mrs. John T. Poole Mr. and Mrs. Edwin R. Gropp, Jr. Susan C. Priester BRONZE BATON Margaret and Lance Hafer Stan and Rosalind Smith ($5,000-$7,499) Emmy and Bill Holt Shirley W. Roe and Jerry Tuck M. Jill Cox Mr. and Mrs. Joseph L. Jennings, Jr. Judy and Vince Garrett Dr. and Mrs. Jerry K. Larson PLATINUM BATON Dr. and Mrs. John M. Humeniuk Alice and Jerry Lenz ($15,000-$19,999) Mary Burnet and Ellis Johnston Velvet and Fe Lokey Jerry E. Dempsey Bart and Stephanie Schmidt Kristin and March Maguire Libby and Bill Kehl Greta and Graham Somerville Don and Jean Nickell Nancy B. Stanton Mr. and Mrs. Louis E. Pardi GOLD BATON Mr. and Mrs. John J. Warner Lil and Henry Parr ($10,000-$14,999) Kay and Ray Williams Karen and Paul Schaefer Anne and Bill Carpenter Gale Sprow Mrs. Lewis Eisenstadt MAESTRO’S CIRCLE Mr. and Mrs. Thomas F. Strange Becky and Bobby Hartness ($2,500-$4,999) Bill Taber Genevieve Manly Mr. and Mrs. C. Daniel Adams Luba and Edvard Tchivzhel Chris and Sheryl Arthurs Brittany Timmons David and Marcia Barstow Tara Trantham Mr. and Mrs. David Beard Drs. Philip and Harriet Van Hale Chuck and Teresa Blankenship Susie and Andy White Stacey and Rich Bradshaw Mr. and Mrs. James S. Whitten Kenneth and Betsy Cates Anne M. Woods Rita and Arthur Zrimsek ENCORE SOCIETY MEMBERS DIRECTOR’S CIRCLE Mary Jane Gorman and Birgit and Clemens Schmitz-Justen ($1,200-$2,499) Duncan McArthur Mr. and Mrs. Thomas Preston Self Anonymous Richard and Jean Greer Reno and Susan Simmons Vance Bakeman Marcy and Dexter Hagy John Sowell Dr. Natasja Bevans-Bulifant and Flavia and Lynn Harton Elizabeth Peace Stall Mr. Bradley Bulifant Sandi Holmes Blair and Arlene Stanicek Rev. Stephen Bolle and Mr. and Mrs. Carey J. Horne Michael and Mary K. Wall Rev. Peggy Muncie Bev and Bob Howard Gillaine and Charles Warne Cecil F. Boyle, Jr. Donna and Mark Johnston Mr. and Mrs. Terry Weaver Jan and Ken Bruning Jean A. Kilgore Harry and Sandra Weber Fannie Iselin Cromwell Nancy and Erwin Maddrey Ashley and Gretchen Weeks Drs. Charles and Elizabeth Davis Kathy McKinney Robert Wells Steve and Peggy Davis Richard Mead and Ruth Pollow Joy Wiggins Laura Greyson and Karl and Linda Moore Mr. and Mrs. Thomas L. Willcox, Jr. Charles Edmondson Ruby Morgan Werner and Dianne Eikenbusch Bob and Christie Nachman CONCERTMASTER Julianne M. Fish Dr. Alan and Deb Peabody ($600-$1,199) Betty and Fernando Fleites Rick and Nancy Pennell Dr. Jerry L. Acosta Eva-Marie and Tom Fox Sally and Pete Potosky Juanita and George Acres Mickey and Bob Fray Mary Jane Quattlebaum Michael and Suzanne Albritton

GREENVILLE SYMPHONY ORCHESTRA | 58 Jacqueline Bechek Barbara and John Beckford Mr. and Mrs. Kip Sieber Sue and Will Benney Mr. and Mrs. Philip A. Betette Dr. and Mrs. Robert Siegel Thomas & Venetta Berenz Ann and Rick Blackwell Brian C. Smith DiAnne L. Arbour and Richard A. Bradshaw, Jr. Frank Hickson Smith, Jr. James M. Bergen Karen and Daniel Brennan Dr. Raymond and Barbara Sneider Lorraine V. Brown Drs. Noel and Caroline Brownlee Cindy and Stan Starnes Mr. and Mrs. William D. Donald Bryan James and Lee Stehlik Browning, Jr. Dr. and Mrs. Richard H. Mark M. Sweeney Mr. and Mrs. W. Bruce Byford Carpenter, Jr. Arvid Tchivzhel Ann and Mike Chengrian Lee Churchfield Mr. and Mrs. Ronald W. Thompson Dr. and Mrs. A. Ronald Cowley Jean Alderman Clarke Lucy and Tom Tiller Dixon and Dody Cunningham Charles and Libby Dalton Susan and Peter Trapp Jane R. Davenport Lee and Denby Davenport Dorothy Vedder Kathryn Dey and Robert O’Brien David De Graaf Whit and Connie Walker Dale and Judy Ellis Christine M. Demosthenes James and Susan Way Dr. and Mrs. Jerry J. Ferlauto Wayne and Gerri Diehl Patricia R. Webb Daryl and Sue Fisher Maggie and Allan Downen Ellen and Jack Wiesenthal Chester and Harriet Garrison Matt and Jill Edwards Bill and Marilyn Welbourn John E. Gilbert Elisabeth Egli Raymond and Bettz Whitehead Peggy and Ed Good Mr. and Mrs. Nathan A. Einstein Don and Barbara Willoughby Skip and Carrie Gordon Debbie and Phil Elkins Dr. and Mrs. Larry R. Winn Dr. David Gross Richard and Madeline Faner Dr. and Mrs. John W. Worthington Shirley Grubs George and Sarah Fletcher Dr. Falls L. Harris Joyce and Duane Ford FRIEND Mr. and Mrs. Carroll B. Hart, Sr. Isabel T. Forster ($150-$299) Gordon and Sarah Herring Dr. and Mrs. Michael Gauderer Michael and Robin Aleksinas Peggy and Billy Hill Mr. and Mrs. F.E. Gaulden Mr. and Mrs. Eric B. Amstutz Sharon and Robert Howell Jo and John Gerring Eric and Stephanie Bank Leslie and Greg Ingram Cheryl and Harry Gleich Mr. and Mrs. Henry E. Barton, Sr. Mr. and Mrs. Stephen Jax Allen and Nikki Grumbine Dr. and Mrs. Donald Beckie Ann Jaedicke and Robert Sihler Drs. Lawrence and Frances Hartley Jeff Bell Bill Kendig Jeanine and Tommy Hayes Leza and Mike Bickford Dr. Sandra Lamberson Leah and Mark Heavner Pamela Blakely Dr. and Mrs. Edward Lominack, Jr. Richard and Annetta Hewitt Merridee Harper and Allan W. and Susan M. Martin Dr. Geneva Hill and David Blumberg Dr. and Mrs. Jackson H. McCarter Mr. James Buschur Dr. and Mrs. Maxcy C. Boineau Pam and John Menges Anna Kate and Hayne Hipp Bill and Dee Bradshaw Ellie and John Mioduski Margaret K. Hudak Dr. and Mrs. Edward W. Bray III Kathleen and Glenn Oxner Jane and Les Hudson Jim and Julie Brice Mr. and Mrs. Leon Patterson Kevin J. and Robbie B. Hughes Norman Brooks Jo Lynne L. Pearce Lamar and Deborah Jordan Harriet Brown Diane Perlmutter Ettalee Kearns Kristy and Brian Buchanan Mary Ann Pires Linda Ketelaar Dorothy Buschmann John J. Polo Yoshi and Monika Kirsch Dr. and Mrs. Richard M. Carter Mr. and Mrs. Robert J. Powell Deb and Chris Klasing Anne and Tom Civilette Larry Rabinowitz Barbara and Ron Koprowski Patricia and James Daughtry Dick Riley Mr. and Mrs. John Kushner John and Margaret Day Donald and Marilyn Robertson Barbara and Jeffery Leimsieder Fran and Sykes DeHart Minor and Hal Shaw Russ Madray and Philip Way Mr. Meredith Derr Edward and Stella Stall Allison and Kevin Mertens Pat and Bill Dillard Carol Stephan Vernon and Edna Ruth Miller Mr. and Mrs. Walter Doering Thea and Ruud Veltman David and Hope Murtaugh David and Andrea Draisen Phyllis M. Wilkes Ben and Sunshine Norwood Dean W. Egly Fran and James Woodside Kathryn and Ben Norwood Mr. and Mrs. Peter E. Fallon Diane Smock and Brad Wyche Gale Pemberton Rebecca and Thomas Faulkner June R. Yanick Ellen Whitworth Powell Dr. Frank J. Ferraro Dr. and Mrs. James L. Young, Jr. Norbert J. and Carole Ann Reder Susan and John Fowler Christina Riddle Jeanie and Leo Gaddis PRINCIPAL PLAYER Samuel Ritter and Rebecca Snider William W. Gaffney, Jr. and ($300-$599) Dr. and Mrs. James A. Robbins Cathleen Blanchard Dr. Ben & Karen Allen Matthew and Pamela Roeser Nancy and Jim Gaines Nina and Clyde Allen Eleanor Lea Rohrbaugh Kay and Phil Gehman Mr. and Mrs. William Atkins Mr. and Mrs. Robert Schrage David and Alice Geisler Harriet Bagwell Sara and Louis Seaborn Christine Glaser Dr. Janis Bandelin and Pat Shufeldt Alice Gullick Mr. William Fitzpatrick GREENVILLE SYMPHONY ORCHESTRA | 59 ANNUAL FUND

Mireille and Viktor Hanuska Brenda McMillan Linda Kristen Brown and Edward and Leigh Heidtman The Rev. and Mrs. Thomas Nicoll Joann Steiger Jean and Peter Helwing Gloria Banks Ormsby Karen Stewart Edwin and Joan Hicks Phil and Gaile Patrick Stephen Tangney Eileen and Leo Hofmeister Richard H. Pennell, Sr. Richard and Heather Tapp Lisa C. Johnson Doug and Tracy Phillpott Carole Knudson Tinsley Ken and Shirley Keller Terri Pyle Mr. and Mrs. Harry B. Ussery W. Moffett Kendrick Ivy and Dean Rainey Stephanie van Rhyn Elaine Kent Ellen Rash and David Tahlmore Mr. and Mrs. Ron Vayo Dr. and Mrs. Robert M. Kimmel Catherine Redd Mr. and Mrs. Douglas N. Watson Edith and Daniel Lang Bruce and Alice Schlein Robert Whitley Dr. and Mrs. Ed Laughinghouse Thomas and Iris Scott Phil and Shelby Williams Dee and John Malone Roger and Patti Seymore Dr. and Mrs. Samuel M. Wilson Chris and Fran Marsh Mr. and Mrs. Richard Shick Amy and Roland Zimmer Mr. and Mrs. James G. Mattos Alice and Kyle Spitzer

THE VIVACE SOCIETY Launched in 2009, the Vivace Society consists of young professionals and community leaders who are invested in the long-term sustainability of the GSO. This next generation of Greenville Symphony Orchestra supporters receives a wide variety of benefits such as membership in The Gourmet Club, invitations to exclusive events and complimentary membership in the Downtown Symphony Club. Melanie and Brian Albers Amanda and Paul Glaser Shenice and Travis Smith Anne Marie and Taylor Ashworth Nina and Ben Hallissy Lauren Winkelman-Smith and Joan and Nicholas Burkhardt Jenna and Josh Howard Shane Smith Robert Carter and Carey and Jared Martin Kurt Wallenborn Amber AlarcÓn-Carter Constance and Gregory Mumford Sam Woods Jennifer and Frank Clark Amie Owens Sarah and Robert Farrar Paul Sewell THE CORPORATE CAMPAIGN The corporations and businesses that make a financial contribution to the Greenville Symphony’s Annual Fund receive recognition as Corporate Sponsors. Corporate Sponsors receive valuable benefits that align with key business objectives while making a direct impact on the quality of life in our community. Diamond Sponsor Level Metromont Corporation Business Partner Level The Guild of the Greenville The Spinx Company, Inc. Abbott Symphony World Acceptance Corporation Atkins Data & Telephone Services Marriott Greenville Platinum Sponsor Level Silver Sponsor Level Nelson Mullins Riley & Acumen IT Brown Brothers Harriman Scarborough, LLP AVX Corporation Design Strategies Scheetz Hogan Freeman & BMW Manufacturing Co., LLC Elliott Davis Phillips Insurance The Capital Corporation Gregory Pest Solutions Smith Dray Line Greenville Health System International Mortuary Shipping South State Bank Holiday Inn Express & The Peace Center Southern First Suites Downtown RealtyLink Home2 Suites Downtown Rosenfeld Einstein, A Marsh & Business Associate Level Michelin North America, Inc. McLennan Agency LLC Bradford Neal Martin & United Community Bank, Inc. Company Associates, P.A. T & S Brass and Bronze Courtyard by Marriott Greenville Gold Plus Sponsor Level Downtown Community Journals, LLC Bronze Sponsor Level LeGrand Law Firm, LLC 3M Merline & Meacham, P.A. Gold Sponsor Level Dixon Hughes Goodman LLP THE Orthodontist Westin Poinsett Hotel Ernst & Young LLP Wyche, P.A. GrandSouth Bank Business Friend Level McAlister Square McMillan Pazdan Smith LLC Silver Plus Sponsor Level Northwestern Mutual Tropical Smoothie BlueCross BlueShield of Pacolet Milliken Enterprises, Inc. South Carolina Pinnacle Bank Canal Insurance Company Raymond James The Harper Corporation Warehouse Services, Inc. COMMUNITY PARTNERS Community Partners are the businesses, individuals and organizations across the Upstate who support the Greenville Symphony by giving their time, goods or services. Traysie Amick Martin Printing Co., Inc. The Cascades at Verdae Artisphere Mark Massingill Thomas Creek Brewery B & C Cleaners Northampton Wines and United Community Bank Chef Janet Poleski Wine Café Uptown Catering Ed Snape and Encore Recordings Paul Hyde Dr. Joella Utley Genevieve’s David Poleski Photography Westin Poinsett Hotel Horizon Records South Carolina Children’s Theatre Larkin’s on the River Table 301

MATCHING GIFT COMPANIES Matching gift companies are the businesses and corporations who generously match donations made by their employees. ExxonMobil Illinois Tool Works Foundation Warehouse Services, Inc. GE Northern Trust IBM Pfizer Foundation

FOUNDATIONS, GRANTORS, GOVERNMENT AND NOT-FOR-PROFIT SUPPORTERS Bank of America Charitable The Graham Foundation The Roe Foundation Foundation Greenville County Elbert W. Rogers Foundation Dorothy Hooper Beattie Accommodations Tax Ronald McDonald House Charities Foundation Greenville Kiwanis Foundation John I. Smith Charities, Inc. Harriet and Jerry Dempsey Metropolitan Arts Council South Carolina Arts Commission Family Foundation National Endowment for the Arts TD Charitable Foundation Duke Energy The Priester Foundation David Watson Foundation Gannett Foundation Publix Super Markets Charities Wells Fargo

GREENVILLE SYMPHONY ORCHESTRA | 61 THE ENDOWMENT

From the orchestra’s beginning in 1948 until have donated to the operating budget over the 1977, the Greenville Symphony Orchestra years, the Guild has also donated more than had no endowment and operated entirely $400,000 to the Endowment. with revenues received from ticket sales and donations. It became clear as the orchestra In 2003, under the leadership of Co-Chairs progressed that an organization with an Mary Louise Mims and Tami McKnew, endowment would enjoy a more stable the GSO began a campaign to grow the environment, attract a higher level of musician, endowment in order to increase musician and increase Education and Community compensation, improve Education and Engagement programs. Community Engagement programs, and augment programming. This campaign raised In 1977, Mrs. Charles Daniel, Mr. and Mrs. $2,000,000 in cash and pledges, plus resulted George McDougall, and Mr. and Mrs. Alester in notification of our inclusion in estate plans Furman III donated Daniel Corporation shares with a value of more than $2,000,000. to the orchestra with the stipulation that the proceeds be used to establish an endowment. In 2015, the Endowment Fund received the Thanks to their extraordinary generosity and largest bequest in its history with a $1,000,000 vision, the Endowment began in May 1977 with planned gift from the estate of Millie and an initial balance of $114,507, a remarkable Wilson Wearn. Donors continue to contribute sum in the late 1970’s. to the Endowment Fund which helps ensure the orchestra will be a cultural and educational The generosity of many individuals has helped centerpiece for Greenville and the Upstate. the Endowment grow. In 1978 Mr. and Mrs. William J. Rothfuss made a substantial planned The Endowment Fund assets are professionally gift to the Endowment. The years between managed and overseen by the Greenville 1981 and 1989, Mr. and Mrs. Thomas Roe Symphony Endowment Board chaired by made gifts that endowed the Concertmaster Robert E. Howard. The other trustees are Mary Chair and established the Conductor’s Podium Louise Mims, L. Leon Patterson, Sue Priester Fund. Shortly after, Holly and Arthur Magill and Charles R. Warne. provided the lead gift for an endowment campaign and donated the land and building at For information about naming 200 South Main Street, where the present GSA opportunities or other thoughtful ways administrative office is located. Since the late to contribute to the Greenville Symphony 1980’s, numerous individuals have endowed Endowment Fund, such as remembering or various chairs in the orchestra. honoring a loved one, special occasions, etc., contact Linda Grandy at The Guild of the Greenville Symphony has [email protected] been extraordinarily generous. In addition to or call 864-232-0344, ext. 122. the hours they volunteer and the funds they

GREENVILLE SYMPHONY ORCHESTRA | 62 ENDOWMENT DONORS

We are grateful to everyone who has supported our efforts to grow the Greenville Symphony Endowment Fund. For every gift, small and large, we thank you. Space prevents us from listing all gifts but we have listed below those individuals, foundations and corporations who have supported the Endowment with gifts and/or pledges of $25,000 or more.

LEAD GIVERS F.W. Symmes Foundation Peggy and Ed Good ($100,000+) Mr. and Mrs. James S. Marcy and Dexter Hagy Anne and Bill Carpenter Whitten Becky and Bobby Hartness Mrs. Charles Daniel Nancy B. Thomas and Bev and Bob Howard Harriet and Jerry Dempsey Charles W. Wofford Mr. and Mrs. Joseph L. Family Foundation Jennings, Jr. Mr. and Mrs. Alester G. DIAMOND Mary Burnet and Furman III ($50,000-$99,999) Ellis Johnston The Graham Foundation Maryann and Forrest Abbott Ettalee Kearns The Guild of the Greenville Brenda and Dan Bruce Mr. and Mrs. Hurdle H. Lea, Jr. Symphony The Daniel-Mickel Liberty Corporation Alice and Jerry Lenz Foundation Wallace and Marsha Lightsey Arthur and Holly Magill Beth Marr Lee Mary Earle and Les McCraw Mr. and Mrs. George The Multimedia Foundation Natalma M. McKnew McDougall C. Thomas and Harriet Wyche Piedmont Natural Gas Mary Louise Mims and Dorothy Peace Ramsaur Fund James Tipton PLATINUM The Roe Foundation The Palmetto Bank ($25,000-$49,999) Elbert W. Rogers Foundation The Priester Foundation Alice Manufacturing Polly and Jim Shoemaker Charles A. Riddiford Company Pam and Ed Snape Mr. and Mrs. Thomas Roe AT&T TD Charitable Foundation Mr. and Mrs. William J. BlueCross BlueShield of Trademark Properties Rothfuss South Carolina Gillaine and Charles Warne Anna and Jim Ryan Frederick W. Bristol Harold (Hal) Weiss and John I. Smith Charities Marion and William Lorraine Goldstein Nancy B. Stanton Crawford Anne and Joe Woods Fluor Corporation

GREENVILLE SYMPHONY ORCHESTRA | 63 PLANNED GIVING

As you plan your estate, we hope you will keep the Greenville Symphony Orchestra in mind. We are fortunate to have loyal patrons who have included the orchestra in their estate plans. These gifts help us maintain our financial stability, grow artistically, and expand our Education and Community Engagement programs. These generous individuals become members of the Sustaining Notes Society which was established to recognize and thank those who have included the GSO in their estate plans. Whichever planned giving vehicle you choose or the size of your gift, we very much appreciate being remembered in this way.

We can help you take the first steps toward planning your estate with some general information. There are many planned giving vehicles, some that will help you fulfill your philanthropic and financial goals.

The benefits are: • Guaranteed security for you and your loved ones • Supporting a charitable organization of importance to you • Having peace of mind • The possibility of financial and tax benefits

We would be happy to provide general information but we strongly recommend that you consult your personal financial or legal advisor.

SUSTAINING NOTES SOCIETY Special thanks to the following individuals who have notified us of bequests to the Endowment of at least $25,000: Anonymous Dr. and Mrs. Jerry K. Larson W. Stanton Smith and Mr. and Mrs. William Atkins Alice and Jerry Lenz Rosalind Lewis-Smith Anne and Bill Carpenter Allan W. and Susan M. Martin Gale Sprow David V. Duncan Mary Louise Mims Nancy B. Stanton Mrs. Lewis Eisenstadt Ellie and John Mioduski Nick and Emilie Theodore Judy and Vince Garrett Arnold M. Nemirow Susie and Andy White Jean and Ken Johnson Mr. and Mrs. James S. Whitten

BEQUESTS RECEIVED Betty L. Fernandez Mr. and Mrs. Hurdle H. Lea, Jr. Mr. Carson Sprow Mrs. William B. Thorning Rannie S. Townsend Mrs. Richard F. Watson, Jr. Mr. and Mrs. Wilson C. Wearn

If you would like to learn more about the benefits of planned giving, please contact Linda Grandy at [email protected] or call 864-232-0344, ext. 122.

GREENVILLE SYMPHONY ORCHESTRA | 64 THE ANNUAL NUMBER OF HEART ATTACKS COULD TAKE YOUR BREATH AWAY. SO COULD JUST ONE HEART ATTACK.

Shortness of breath and difficulty breathing are just two warning signs of a heart attack. Call 911 if you experience any warning sign. Learn the other signs at americanheart.org or call us at 1-800-AHA-USA1.

© 2002, American Heart Association.

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EDUCATION PROGRAMS

FOR FAMILIES LOLLIPOPS CONCERTS Presented by BMW Manufacturing Lollipops concerts introduce children to classical music and orchestral instruments through free interactive concerts. During each concert, chamber ensembles perform while a storybook relating to the music is read aloud. Of course, audience members receive a lollipop at the end of each performance!

ONCE UPON AN ORCHESTRA A collaboration between South Carolina Children’s Theatre (SCCT) and the GSO, Once Upon An Orchestra are free programs presented at SCCT that feature a character performance of a children’s book while musicians accompany each story with select classical pieces. Photograph by David Poleski Design Photography

GREENVILLE SYMPHONY ORCHESTRA | 70 FOR TEACHERS AND STUDENTS EDREACH THE CHILDREN’S CONCERT Presented by Duke Energy Foundation Presented by Michelin North America EdReach is an in-school concert series program The Children’s Concert is an educational for Greenville County elementary school version of one of the GSO’s Masterworks students. The String Quintet, Wind Quintet Series concerts performed for Greenville and Solo Percussion perform for all public County elementary and home-school students elementary schools throughout Greenville free of charge, every year. Two lucky students County. EdReach concerts introduce students are selected from the “Tchivzhel Challenge” to the instruments and musicians of the GSO. and get to conduct the GSO during this concert. They provide students a chance to interact with the professional musicians from the GSO, including a question and answer session during each concert. FOR YOUNG MUSICIANS MIDDLE SCHOOL CONCERT MUSIC MENTORS The Middle School Concert is an educational Music Mentors, the GSO’s newest education version of a GSO Chamber Orchestra Series program, was developed with extensive concert, presented to area fine arts middle collaboration with music teachers from the school students, encouraging them to Greenville County School District (GCSD). persevere in the earliest stages of their artistic Ten GCSD Band and Orchestra programs journey. The GSO performs two concerts welcome GSO musicians on campus to at the Peace Center’s Gunter Theatre every demonstrate professional approaches to school year. tone, practicing, and career planning. Additionally, GSO musicians coach the SHOULDER-TO-SHOULDER & resident ensembles, giving professional SIDE-BY-SIDE CONCERTS feedback to young and upcoming musicians. The annual Shoulder-to-Shoulder and Side- by-Side concerts feature young orchestra GUEST ARTIST ENRICHMENT musicians performing alongside musicians PROGRAMS from the GSO. Shoulder-to-Shoulder partners The Guest Artist Enrichment Program offers GSO musicians with Greenville County Youth workshops, Master Classes, and short recitals Orchestra’s advanced Young Artist Orchestra for students each year featuring visiting (YAO). Side-by-Side partners GSO musicians GSO guest artists. The GSO presents these with Carolina Youth Symphony’s advanced programs at Upstate colleges, universities, Symphony Orchestra. Both programs offer the South Carolina Governor’s School for young musicians the opportunity to experience the Arts and Humanities, the Fine Arts a professional orchestra environment along Center and Greenville County schools. with mentors from the GSO.

GSO Education and Community Engagement Programming serves over 27,500 people through over 150 events. To learn more or to join us, visit us online at greenvillesymphony.org

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The Greenville Symphony Orchestra thanks Table 301 for their exclusive support of the 2018-2019 Gourmet Club! Membership in the Gourmet Club is a benefit offered to all Encore Society donors of $300 or more and Downtown Symphony Club members of $250 or more. Members and all guests on their check receive 20% off their total bill at Jianna Modern Italian, Nose Dive, Papi’s Travelin’ Tacos, Passerelle Bistro, Soby’s, Southern Pressed Juicery, Table 301 Catering & Kitchen, and The Lazy Goat. For information about the Gourmet Club, contact (864) 232-0344 extension 112.

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