THE NATIONAL PHILHARMONIC at the Music Center at Strathmore Piotr Gajewski, Music Director & Conductor

Home , Haochen Zhang, Piotr Gajewski, Thirteen Anniversaries

FALL & WINTER 2018-2019 PROGRAM

WHAT’S INSIDE

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NATIONAL PHILHARMONIC 1 WELCOME...

elcome to the Leonard Bernstein WCentennial Celebration season of the National Philharmonic at the Music Center at Strathmore. As a young conducting student, I had the honor of studying with Leonard Bernstein at Tanglewood, the summer home of the Boston Symphony Orchestra. And so this season, it gives me great pleasure to share some of my memories of that summer as National Philharmonic and I pay tribute to this great American icon.

The season opens with the screening of the Academy Award-winning film, On the Waterfront, with the Philharmonic performing Bernstein’s magnificent score–his unique contribution to the genre.

In October, the Philharmonic presents the Violin Concerto by Samuel Barber, one of many American composers championed by Bernstein, featuring violinist Bella Hristova; and Shostakovich’s Symphony No. 5, which Mallin credit Jay Photo Bernstein conducted in Moscow, on tour with the New York Philharmonic, with the composer in the audience!

The National Philharmonic Chorale, led by its Artistic Director Stan Engebretson, takes the stage, singing Bernstein’s greatest vocal works, including selections from the Mass, Candide, and, of course, West Side Story.

December includes a brand new Holiday Sing-Along, led by the Philharmonic’s Associate Conductor, Victoria Gau, and Handel’s Messiah, an annual tradition.

Finally, the New Year brings a stroll down memory lane with Bernstein’s all-time favorites, Tchaikovsky’s Symphony No. 5 and Brahms’ Piano Concerto No. 1, which Bernstein conducted with Glenn Gould at the keyboard in a rather infamous performance; our rendition will feature the 2009 Van Cliburn International Piano Competition Gold Medal winner, Haochen Zhang.

And speaking of pianists: Don’t miss the ninth Chopin recital of pianist Brian Ganz, who this year will be joined by mezzo-soprano Magdalena Wór for some rarely heard songs as he continues his quest to perform all of the composer’s works.

I look forward to seeing you at the concerts!

Piotr Gajewski Music Director & Conductor NATIONALNATIONAL PHILHARMONIC PHILHARMONIC 2018-2019 2018-2019 CALENDAR CALENDAR

ON THE WATERFRONT HOLIDAY SING-ALONG NEW! FILM WITH LIVE ORCHESTRA FRI DEC 7, 2018 7:30pm SAT SEPT 29, 2018 8pm Iyona Blake, soprano Piotr Gajewski, conductor Members of the National Philharmonic Orchestra Victoria Gau, conductor “One of the best film scores of all time.” –American Film Institute Sing along to holiday classics with your family and friends at “Academy Award®” and/or “Oscar®” is the registered Strathmore! Concert features award-winning soprano/actress trademark and service mark of the Academy of Motion Iyona Blake, recently seen in Signature Theater’s Titanic and Picture Arts and Sciences. Jelly’s Last Jam. Every ticket purchase supports military families of USO-Metro. LENNY’S PLAYLIST SAT OCT 13, 2018 8pm HANDEL’S MESSIAH SUN OCT 14, 2018 3pm SAT DEC 22, 2018 8pm SUN DEC 23, 2018 3pm SAT + SUN: Member Encore Q&A Suzanne Karpov, soprano SUN 2-2:30pm: Meet the Musicians National Philharmonic Chorale Bella Hristova, violin Stan Engebretson, conductor Piotr Gajewski, conductor Purchase tickets early to these popular performances! Mozart Overture to The Magic Flute Barber Concerto for Violin and Orchestra Shostakovich Symphony No. 5 in D minor INFAMOUS BRAHMS SAT JAN 26, 2019 8pm SUN JAN 27, 2019 3pm NATIONAL PHILHARMONIC CHAMBER PLAYERS Haochen Zhang, piano AT POTTER VIOLINS* Gold Medalist, 2009 Van Cliburn Competition SUN OCT 21, 2018 3-5pm Piotr Gajewski, conductor What is a Melody? Brahms Piano Concerto No. 1 in D minor Music of di Lasso, Schnittke, Shostakovich and Beethoven Tchaikovsky Symphony No. 5 in E minor

BERNSTEIN CHORAL CELEBRATION CHOPIN: RECOLLECTIONS OF HOME SAT NOV 17, 2018 8pm SAT FEB 2, 2019 8pm For Young People: Participate in the Color the Music Project Note: No pre-concert lecture Danielle Talamantes, soprano Brian Ganz, piano Strathmore Children’s Chorus Magdalena Wór, mezzo-soprano National Philharmonic Chorale Stan Engebretson, conductor NATIONAL PHILHARMONIC CHAMBER PLAYERS Selections from West Side Story, Candide and the Mass AT POTTER VIOLINS* SUN FEB 3, 2019 3-5pm The Road to Paris Music of Mozart, Boulanger, de Falla, Piazzolla and Enescu

NATIONAL PHILHARMONIC 3 NATIONAL PHILHARMONIC 2018-2019 CALENDAR

THE DEBUT NATIONAL PHILHARMONIC CHAMBER PLAYERS SAT FEB 23, 2019 8pm AT POTTER VIOLINS* SUN APRIL 28, 2019 3-5pm Member Encore Q&A Zuill Bailey, cello Musical Atoms-A study of Intervals Three-time Grammy Award winner Music of Britten and Brahms Roberto Díaz, viola Piotr Gajewski, conductor ANXIETY Schumann Manfred Overture BERNSTEIN & BEETHOVEN, PART I Miklós Rózsa Theme, Variations and Finale, op. 13 SAT MAY 11, 2019 8pm Richard Strauss Don Quixote Wagner Prelude to Die Meistersinger Member Encore Q&A Meet the Musicians: 7-7:30pm SOUNDS OF NEW ORLEANS: A TRIBUTE TO Michael Brown, piano LOUIS ARMSTRONG Piotr Gajewski, conductor SAT MARCH 30, 2019 8pm NEW! Bernstein Symphony No. 2 (“The Age of Anxiety”) Beethoven Symphony No. 5 in C minor Byron Stripling, trumpet Piotr Gajewski, conductor Stripling’s electrifying and heartfelt tribute to Louis Armstrong FREEDOM BERNSTEIN & BEETHOVEN, PART II has become America’s most popular orchestral pops program. SAT JUNE 1, 2019 8pm Esther Heideman, soprano VERDI REQUIEM Shirin Eskandani, mezzo-soprano SAT APRIL 13, 2019 8pm Colin Eaton, tenor Danielle Talamantes, soprano Kevin Short, baritone Kevin Deas, bass National Philharmonic Chorale National Philharmonic Chorale Piotr Gajewski, conductor Piotr Gajewski, conductor Bernstein Chichester Psalms Beethoven Symphony No. 9 in D minor (“Choral”)

Fantastic student chamber Free pre-concert lectures ensembles are featured by National Philharmonic throughout the season Associate Conductor in the concert lobby 45 Victoria Gau are offered minutes before concerts. 75 minutes before Student performances concerts throughout the are sponsored by the season. Please check

Misbin Family. Moscatiello credit Christopher Photo nationalphilharmonic.org for up-to-date information. The Pre-Concert *Potter Violins Lecture Series is sponsored by John Kendall Recital Hall Jean & Paul Dudek. 7711 Eastern Ave | Takoma Park, MD

4 NATIONAL PHILHARMONIC ON THE WATERFRONT

SATURDAY, SEPTEMBER 29, 2018, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

ON THE WATERFRONT FILM WITH LIVE ORCHESTRA

Piotr Gajewski, conductor Star-Spangled Banner Francis Scott Key (1779-1843) Conducted by Eliot Pfanstiehl, CEO Emeritus and Founder of Strathmore Hall Foundation Inc.

On the Waterfront Musical score by Leonard Bernstein Directed by Elia Kazan Screenplay by Budd Schulberg Featuring Marlon Brando, Karl Malden, Lee J. Cobb and Eva Marie Saint ON THE WATERFRONT COLUMBIA PICTURES Presents An ELIA KAZAN Production MARLON BRANDO “ON THE WATERFRONT” Co-Starring KARL MALDEN LEE J. COBB with ROD STEIGER PAT HENNING And Introducing EVA MARIE SAINT Music by LEONARD BERNSTEIN Screnplay by BUDD SCHULBERG Produced by SAM SPIEGEL Directed by ELIA KAZAN

Executive Producer: PAUL H. EPSTEIN for THE LEONARD BERNSTEIN OFFICE, INC. Producer: ELEONOR M. SANDRESKY for THE LEONARD BERNSTEIN OFFICE, INC. Production Supervisor: ELEONOR M. SANDRESKY Technical Director: MIKE RUNICE Sound Engineer: MARTIN BIERMAN Music Supervision: GARTH EDWIN SUNDERLAND Original Orchestrations by LEONARD BERNSTEIN with MARLIN SKILES, GIL GRAU Film Score Restored and Adapted by: GARTH EDWIN SUNDERLAND Music Consultant: DAVID NEWMAN Streamers created by: KRISTOPHER CARTER and MAKO SUJISHI With special thanks to: TOM HOOPER, KEN HAHN and SYNC SOUND, CHRISTOPHER LANE, RICHARD ASHTON, DAVID JENNINGS, SAM BALTIMORE and MARK HOROWITZ at the LIBRARY OF CONGRESS, and THE LIBRARY OF CONGRESS.

Sponsored by The Kahn & Miller Foundation All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson The Music Center at Strathmore Marriott Concert Stage 5 ARTIST BIOGRAPHIES

Piotr Gajewski, conductor for young string players and singers, master classes with esteemed visiting “Immensely talented artists, and a concerto competition for and insightful conductor, high-school students. Working with whose standards, taste the local school system, Gajewski also and sensitivity are established and conducts annual concerts impeccable,” raves for all Montgomery County second grade

Photo credit Jay Mallin credit Jay Photo The Washington Post. students, some 12,000 each year! Piotr Gajewski, a student and disciple of the late Leonard Bernstein, In his native Poland, Gajewski has appeared continues to thrill audiences all over the with the Warsaw Philharmonic, the Krakow world with inspiring performances of Philharmonic and with most other major great music. “His courtly, conservative orchestras. Since 2007, he also regularly movements matched the music’s mood. serves as the only American on the jury A flick of the finger, and a fanfare sounded. of the prestigious Grzegorz Fitelberg He held up his palm, and the musicians International Competition for Conductors. quieted. It was like watching a race car in the hands of a good driver,” reports Gajewski began studying piano at age four. The Buffalo News. After immigrating to the United States, he continued his studies at the Preparatory With one foot in the United States, as the Division of the New England Conservatory, Music Director & Conductor of the National at Carleton College in Minnesota, and Philharmonic at the Music Center at at the University of Cincinnati, College- Strathmore, and the other in Europe, as the Conservatory of Music, where he earned Principal Guest Conductor of the Silesian B.M. and M.M. degrees in orchestral Philharmonic (Katowice, Poland) and conducting. His conducting mentors, in frequent guest at other orchestras, the jet- addition to Bernstein, with whom he studied set maestro’s seemingly limitless repertoire, at the Tanglewood Music Center on a most conducted without a score, amazes Leonard Bernstein Conducting Fellowship, critics and audiences alike. include such luminaries as Seiji Ozawa, André Previn, Gunther Schuller and Maestro Gajewski is one of a select group Maurice Abravanel. of American conductors equally at home in nearly all musical genres. A sought after Maestro Gajewski’s many honors include guest conductor, a recent season saw Poland’s Knight’s Cross of the Order of him conduct Bach at the Northwest Bach Merit bestowed on him by the President of Festival, Prokofiev with the South Florida Poland, and a prize at New York’s Leopold Symphony and Copland in Jelenia Gora, Stokowski Conducting Competition. Poland. While Gajewski freely admits that Mozart is perhaps his favorite composer, A true Renaissance man, when away he ventures as far as Barry Manilow and from music Gajewski continues to play beyond at Pops Concerts, and has led competitive soccer, holds a law degree and several dozen world premieres, including a a license to practice law in two states, and recent one of the opera Lost Childhood by from 2007-2011 served on his hometown the American composer Janis Hamer. (Rockville, Maryland) City Council.

A committed arts educator, Maestro Piotr Gajewski is represented worldwide by Gajewski is the muscle behind National Sciolino Artist Management. Philharmonic’s groundbreaking “All Kids, All Free, All The Time” initiative, as well as the creation of summer institutes

6 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Leonard Bernstein Bernstein became Music Director of the (1918-1990) New York Philharmonic in 1958, a position he held until 1969. Thereafter as permanent Composer, conductor, Laureate Conductor he made frequent pianist, teacher, thinker, guest appearances with the orchestra. and adventurous spirit, Among the world’s great orchestras, Leonard Bernstein (1918- Bernstein also enjoyed special relationships 1990) transformed the way Photo credit Steiner Christian Photo with the Israel Philharmonic and Vienna Americans and people Philharmonic, both of which he conducted everywhere hear and appreciate music. extensively in live performances and Bernstein’s successes as a composer recordings. He won 11 Emmy Awards for ranged from the Broadway stage—West his celebrated television work, including Side Story, On the Town, Wonderful Town, the Emmy award-winning Young and Candide—to concert halls all over the People’s Concerts series with the world, where his orchestral and choral New York Philharmonic. music continues to thrive. His major concert works include three symphonies- As teacher and performer, he played an subtitled Jeremiah (1944), The Age of Anxiety active role with the Tanglewood Festival (1949), and Kaddish (1963)—as well as from its founding in 1940 till his death, as Prelude, Fugue and Riffs (1949); Serenade well as with the Los Angeles Philharmonic for violin, strings and percussion (1954); Institute and Pacific Music Festival (both of Symphonic Dances from West Side Story which he helped found) and the Schleswig (1960); Chichester Psalms (1965); Mass: Holstein Music Festival. Bernstein received A Theater Piece for Singers, Players and many honors, including the Kennedy Center Dancers (1971); Songfest (1977); Divertimento Honors (1980); the American Academy of for orchestra (1980); Halil for solo flute and Arts and Letters’ Gold Medal (1981); the small orchestra (1981); Touches (1981) MacDowell Colony’s Gold Medal; medals and Thirteen Anniversaries (1988) for from the Beethoven Society and the Mahler solo piano; Missa Brevis for singers and Gesellschaft; New York City’s Handel percussion (1988); Concerto for Orchestra: Medallion; a special Tony Award (1969); Jubilee Games (1989); and Arias and dozens of honorary degrees and awards Barcarolles (1988). from colleges and universities; and national honors from Austria, Italy, Israel, Mexico, Bernstein also wrote the one-act opera Denmark, Germany, and France. In 1985 Trouble in Tahiti in 1952, and its sequel, the the National Academy of Recording Arts three-act opera A Quiet Place, in 1983. He and Sciences honored Bernstein with the collaborated with choreographer Jerome Lifetime Achievement GRAMMY Award. Robbins on three major ballets—Fancy Free (1944), Facsimile (1946), and His writings were published in The Joy of Dybbuk (1975). He received an Academy Music (1959), Leonard Bernstein’s Young Award nomination for his score for People’s Concerts (1961), The Infinite Variety On the Waterfront (1954). As a conductor, of Music (1966), and Findings (1982). As the Bernstein was a dynamic presence on the Charles Eliot Norton Professor of Poetry, podiums of the world’s greatest orchestras Bernstein also delivered six lectures at for almost half a century, building a legacy Harvard University in 1972-1973 that were that endures and continues to grow through subsequently published and televised as a catalogue of over 500 recordings and The Unanswered Question. In 1990, he filmed performances. received the Praemium Imperiale from the Japan Arts Association awarded for lifetime achievement in the arts. Bernstein died on October 14, 1990.

NATIONAL PHILHARMONIC 7 PROGRAM NOTES

On the Waterfront, film score by On the Waterfront producer Sam Spiegel Leonard Bernstein wanted a marketable name on the (born August 25, 1918 in Lawrence, movie poster to help him promote this Massachusetts; died October 14, 1990 in independently produced film about New York City, NY) a potentially incendiary topic. So he approached Leonard Bernstein, who was By any measure, On the Waterfront is already famous as the conductor of the among the all-time great motion pictures. New York Philharmonic and composer of It won eight 1954 Academy Awards Broadway’s On the Town (and who would including Best Picture, Best Actor, Best soon add Candide and TV’s Omnibus to Director and Best Original Screenplay. It is his credits as innovative composer and number 8 on the American Film Institute’s charismatic lecturer on music). top-100 list. And it contains the only original film score composed by Leonard But he had never before scored a film. Bernstein, who ranks among the best- Bernstein later said that he felt “a surge known figures in the history of American of excitement” after seeing an early cut classical music. and that he was “swept by my enthusiasm into accepting.” He began composing in Novelist Budd Schulberg (What Makes New York in February 1954 and flew to Sammy Run?) had been researching and Los Angeles for the April 1954 recording writing about corruption in the New York sessions at Columbia Pictures, where longshoremen’s unions in the early 1950s. studio music director Morris Stoloff Director Elia Kazan, who had enjoyed conducted the approximately success both in the theatre (Death of a 50-minute score. Salesman, A Streetcar Named Desire) and in socially conscious films (Gentleman’s Bernstein opens the film with a solo Agreement, Pinky), found in Schulberg’s French horn. This was rare in the script a story he wanted to tell: “Shame Hollywood of the 1950s; nearly every and guilt are replaced by self-reliance and movie started with a full orchestra playing dignity,” as he wrote in his notes during a kind of overture. Here, the composer the production. employed one lonely horn, eventually joined by a flute, then a trumpet, then a In the film, Terry Malloy (Marlon Brando)– few more instruments. Bernstein called it a former boxer and now part-time enforcer “a quiet representation of the element of for Johnny Friendly (Lee J. Cobb), the tragic nobility that underlies the surface of powerful mob boss who controls the the main character.” longshoremen’s union local–meets Father Barry, a waterfront priest (Karl Malden), The main title segues into a second major and Edie Doyle (Eva Marie Saint), the theme and a powerful way to begin the grieving sister of a dock worker who has story. It’s Bernstein’s motif for the violence been murdered for daring to testify against on and around the New Jersey docks, in the corrupt union officials. Terry eventually two parts: the wild percussion that greets decides to testify, too, pitting him us when we first meet Johnny Friendly and against not only Friendly but his own Terry Malloy, and an alto saxophone that, brother Charley Malloy (Rod Steiger), in Bernstein’s words, “bleats out a tugging, Friendly’s lieutenant. almost spastic, motive of pain,” and which was to be played “with a dirty sound,” according to the written directions on the composer’s original score.

8 NATIONAL PHILHARMONIC PROGRAM NOTES

We are introduced to Bernstein’s “fight to vote for an East Coast interloper. More music” during the mad scramble on the than six decades later, however, none of docks among the longshoremen, fighting the other four nominees is nearly as well- over the tabs that will enable them to remembered as On the Waterfront. work that day. It’s a staccato brass and percussion variation on the alto sax tune A year later, the composer debuted a heard earlier as part of the violence theme. 20-minute, single-movement symphonic This will recur in subsequent fight scenes, suite of the score in Tanglewood, such as when Johnny Friendly’s men Massachusetts. Although it is now interrupt the secret meeting in church a commonplace for film composers to few hours later. design concert suites to enable their music to live on in a pure-music context, Bernstein introduces his third major it was unusual at the time. (Notably, motif, the love theme, when Terry walks Bernstein’s mentor Aaron Copland had Edie home after the incident in church. done it a few years earlier with his music Bernstein called this the “glove scene,” a for The Red Pony.) reference to Brando’s playing around with the glove that she’s dropped. First voiced Bernstein would never again compose by a flute, it eventually broadens to include a film score. His 1954 essay for The New strings. Quiet, sweet and touching, this York Times on the experience suggests theme plays a major role in the film from that he enjoyed the process, but he was that point on. irritated that two of his cues were dropped and others were “dialed out” during the Other key musical moments include process of mixing music, sound effects the dirge-like music after Father Barry’s and dialogue. So he turned down all future sermon in the cargo hold; a reprise of that offers to compose for the big screen. He music during the famous “I coulda been even kept his distance from the ultimately a contender” dialogue between Terry Oscar-winning screen adaptation of his and Charley; and the composer’s brilliant Broadway smash West Side Story. intertwining of the main and love themes in his finale, among the most powerful of Producer Spiegel may have hired him any score of the 1950s. for the marquee value of his name. But Leonard Bernstein’s music for On the Life magazine referred to the film’s Waterfront was integral to the film’s “somber mood, created at the outset creative and commercial success, by a chilling musical score by Leonard capturing the energy of the locale, the Bernstein.” And Time magazine summed passion of young lovers, the danger of the it up this way: “In his score for On the moment, and the ultimate victory of one Waterfront, some critics heard a new note man over a corrupt system. It was more in Bernstein’s music, a curiously piercing than many film scores ever accomplish, purity that seemed to burst from a hot written by one of the 20th century’s most core of originality.” original musical voices.

Bernstein’s score was nominated for Program notes written by Jon Burlingame, an Academy Award, but lost to Dimitri a Los Angeles-based film music historian. TIomkin’s music for The High and the He wrote the essay on Bernstein’s score in Mighty, which had generated a popular On the Waterfront (Cambridge University song that year. Moreover, Bernstein was Press) and created the video essay about not a Hollywood insider, so the West Coast it in the Criterion Collection’s DVD/Blu-Ray composers might have been less prone of the film.

NATIONAL PHILHARMONIC 9 10 NATIONAL PHILHARMONIC LENNY’S PLAYLIST

SATURDAY, OCTOBER 13, 2018, 8PM SUNDAY, OCTOBER 14, 2018, 3PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

LENNY’S PLAYLIST

Bella Hristova, violin Piotr Gajewski, conductor

Overture to The Magic Flute, K. 620 Wolfgang Amadeus Mozart (1756-1791) Adagio—Allegro

Violin Concerto, Op. 14 Samuel Barber (1910-1981) Allegro Andante Presto in moto perpetuo

INTERMISSION

Symphony No. 5 in D minor, Op. 47 Dmitri Shostakovich (1906-1975) Moderato—Allegro non troppo Allegretto Largo Allegro non troppo

Weekend Sponsor: Ameriprise Financial

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson

The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 11 ARTIST BIOGRAPHIES

Piotr Gajewski, St. Luke’s at Lincoln Center, the New York conductor String Orchestra at Carnegie Hall, and the Milwaukee Symphony. She has performed (For Piotr Gajewski’s recitals at New York’s Merkin Concert Hall, biography, please see the Kennedy Center in Washington, DC page 6.) and Boston’s Isabella Gardner Museum, and regularly appears with The Chamber

Photo credit Jay Mallin credit Jay Photo Music Society of Lincoln Center.

Bella Unaccompanied, Ms. Hristova’s Bella Hristova, recording on A.W. Tonegold Records, violinist features works by Corigliano, Kevin Puts, Acclaimed for her Piazzolla, Milstein, and Bach. A proponent passionate, powerful of new music and composers, she performances, beautiful commissioned iconic American composer sound, and compelling Joan Tower to compose “Second String command of her Force,” which she premiered and Photo credit Lisa-MariePhoto Mazzucco instrument, violinist performed in recitals throughout the U.S. Bella Hristova is a young musician with and abroad. Bella Hristova began violin a growing international career. Her studies at the age of six in her native numerous prizes include a 2013 Avery Bulgaria. She studied at the Curtis Institute Fisher Career Grant and First Prizes in of Music in Philadelphia, and received the Young Concert Artists International her Artist Diploma with Jaime Laredo at Auditions and Michael Hill International Indiana University. Ms. Hristova plays a Violin Competition in New Zealand. She 1655 Nicolò Amati violin, once owned by has performed extensively as soloist with the violinist Louis Krasner. orchestras including the Orchestra of

12 NATIONAL PHILHARMONIC PROGRAM NOTES

Overture to The Magic Flute, K. 620 a flawless handling of the musical form and pace. Remarkably, Mozart is able to Wolfgang Amadeus Mozart convey the entire mood of the opera by (born January 27, 1756 in Salzburg, Austria; using material that is not drawn directly died December 5, 1791 in Vienna, Austria) from the opera—except for the solemn chords in the slow opening section. During the last ten years of Mozart’s life The flute—the symbolic instrument in (1781-1791), when he lived and worked the entire opera—is entrusted with the in his beloved Vienna, he solidified his secondary theme of the sonata form, reputation as a composer of operas, and the entire musical structure comes chamber music, and piano concertos, to a close in an elegant demonstration of genres that he had been eager to explore formal balance and musical expression. after being released from his provincial position as resident composer for the Violin Concerto, Op. 14 Archbishop Colloredo in Salzburg. His life in the Austrian capital, however, was Samuel Barber not always ideal. In the last three years (born March 9, 1910 in West Chester, PA; of his life, he was beset by financial, died January 23, 1981 in New York City) familial, and health problems that seemed never to abate. It was at a moment of Barber’s Violin Concerto, Op. 14, is particularly acute crisis, in a state of universally acknowledged as one of the almost complete financial destitution, masterpieces of 20th-century American that Mozart received a commission from music. Barber’s talent for combining lush the impresario Emanuel Schikaneder to lyricism, unabashed virtuosity, and highly compose a Singspiel, a genre that mixed nuanced sonorities made the concerto for opera and popular entertainment. Mozart solo instrument an ideal genre for him. He eagerly accepted the commission and composed one for each of the instruments worked at breakneck speed to complete that made up the tradition of the Romantic the work. The work was Die Zauberflöte concerto: violin, cello, and piano. The (The Magic Flute), which proved to be Violin Concerto was commissioned by the greatest success of his life, playing to the Philadelphia industrialist Samuel sold-out audiences for at least two straight Simeon Fels for Iso Briselli, Fels’ ward months and still a major success at the and a graduate from the Curtis Institute of time of Mozart’s death. Mozart himself had Music. Barber accepted the commission, conducted the premiere on September and in the summer of 1939 completed the 30, 1791, only nine weeks before he died. first two movements, which were received A mixture of high comedy and romance, enthusiastically by Briselli. The completion Die Zauberflöte also embodies a profound of the third movement, and of the work as ethical view that derives from Mozart’s a whole, was beset by problems stemming affiliation with Freemasonry. Interestingly, from the intervention of Briselli’s coach, the symbolism of the redeeming power Albert Meiff, who was extremely critical of virtue is embodied in the flute, an of the first two movements and began instrument that Mozart was said to to suggest major changes to the violin despise. As with all his operas, Mozart part. From then on, the history of the composed the overture last. It is a composition of the concerto became textbook demonstration of Mozart’s ability an entangled tale of back-and-forth to balance disparate material, anticipating misunderstandings, the nature of which the deft comedy and emotional depths is difficult to clarify. When it was finally of the opera, with an enormous variety of completed and given its official premiere thematic material held together through in February 1941 in Philadelphia, it quickly

NATIONAL PHILHARMONIC 13 PROGRAM NOTES

entered the standard repertoire for the his position as an officially sanctioned violin and became one of the most-often composer. Thus, the Symphony No. 5 was, performed concertos composed in the 20th in many ways, an attempt on the part of century. In its three movements, Barber Shostakovich to silence his critics (and navigates from a classically structured first Stalin’s establishment), who had seen movement, to a lyrical and melancholic in his music a departure from the ideals slow movement, to an almost breathless of socialism. It is a work imbued with finale. Leonard Bernstein’s recording of the patriotic fervor, even if the quality of this Violin Concerto with Isaac Stern and the sentiment may at times appear as a clever New York Philharmonic in 1964 became and well-contrived disguise. Shostakovich a classic in itself, marked by luscious was a master of irony, and in many of sonorities and exuberant romanticism. his works he was able to appease the political establishment by pretending to Symphony No. 5 in D minor, Op. 47 emulate the official mentality, while in fact perpetrating a kind of personal joke on the Dmitri Shostakovich censors. The Symphony No. 5, therefore, (born September 25, 1906 in Saint was Shostakovich’s reassurance to the Petersburg, Russia; died August 9, 1975 regime that he could bow to its demands, in Moscow, Russia) an act of artistic repentance following the fierce attacks on his opera Lady Macbeth Shostakovich was, in many ways, the of the Mtsensk District (1934), a work that official composer of the Soviet regime brought him to an unnerving confrontation and the spokesperson for the musical with the censors. The last movement propaganda of the Stalinist era. As one of the symphony, in particular, with its of the very few composers of merit who rousing nationalistic overtones, can be stayed in the Soviet Union throughout its seen as a summary of the symphony’s entire dictatorial state, he was watched overall ideology. Leonard Bernstein very closely by the official censors, conducted the Symphony No. 5 in Moscow and had to be extremely careful with in 1959, in the presence of Shostakovich the political and artistic ideals that he himself, who was reportedly very happy embodied in his music—which could be with Bernstein’s fiercely energetic finale, dangerously misinterpreted by Stalin’s which he performed much faster than bureaucrats. Shostakovich soon realized usual. This interpretation led to an iconic that it was through instrumental music recording of the symphony with the New that he could venture to be a little more York Philharmonic. The Symphony No. 5 genuine, because its abstract nature remains Shostakovich’s most popular never gave direct evidence of any political symphony. At its premiere on November allegiance or ideologies, as can easily be 21, 1937, many people in the audience the case with vocal music. The Symphony wept during the emotionally charged No. 5 reflects precisely this personal third movement. The symphony was an dimension of Shostakovich’s art. It was unqualified success, receiving an ovation composed in 1937, at the height of one of that reportedly lasted for more than half the most murderous regimes in the history an hour. of humankind, and at a moment when Shostakovich’s standing before the official @ James Melo, 2018 censors was a bit precarious on account of some controversial works. In the midst of Stalin’s deportation and outright murder of millions of Russian citizens, Shostakovich himself was trying to secure

14 NATIONAL PHILHARMONIC BERNSTEIN CHORAL CELEBRATION

SATURDAY, NOVEMBER 17, 2018, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor Stan Engebretson, Chorale Artistic Director

BERNSTEIN CHORAL CELEBRATION

Danielle Talamantes, soprano Brian Cheney, tenor Strathmore Children’s Chorus Michael Wu, director National Philharmonic Chorale Stan Engebretson, conductor

MASS: Leonard Bernstein (1918-1990) Concert selections for soloists and chorus Devotions Before Mass Second Introit Confession Gloria Credo The Lord’s Prayer INTERMISSION

Selections from West Side Story Leonard Bernstein Something’s Coming (arranged by Mac Huff) Tonight Maria One Hand, One Heart I Feel Pretty Cool America Somewhere

Selections from Candide Leonard Bernstein The Best of All Possible Worlds (arranged by Robert Page) Make Our Garden Grow

Support provided in part by Ann & Todd Eskelsen for the Chorale Music Fund.

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson

The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 15 ARTIST BIOGRAPHIES

Stan Engebretson, recent seasons he performed in workshops conductor presented by the Europa Cantat and AMJ (Arbeitskreis Musik in der Jugend) events, Stan Engebretson has plus others in Germany, Spain, France, Italy, served as the Artistic Russia, Lithuania, Iceland, Switzerland, Director of the National China, Korea, and Australia. Philharmonic Chorale since its inception. In addition Danielle Talamantes, Photo credit Fan Tjong Wong credit Fan Photo to leading the Chorale in soprano Masterworks ranging in size from Handel’s Messiah to Berlioz’ Requiem at The Music “It’s not often that a Center at Strathmore, Engebretson has fortunate operagoer appeared on concert stages throughout witnesses the birth of a the United States and in Europe, Asia, and star!,” noted of soprano Australia. He has studied with the great Danielle Talamantes’ recent Photo credit Cox Roy Photo masters of choral music, including Robert role debut as Violetta in Shaw, Gregg Smith, Richard Westenburg, La Traviata. This season, Talamantes returns Roger Wagner and Eric Ericson, Conductor to the Metropolitan Opera to reprise the role Emeritus of the world-renowned Swedish of Frasquita in Bizet’s Carmen. Additional Radio Choir in Stockholm, Sweden. performances include the role of Mimì in La Bohème with the Fairfax Symphony, A native of North Dakota, Engebretson grew Beethoven’s Symphony No. 9 and Choral up in a musical environment, receiving his Fantasy at Carnegie Hall, Handel’s Messiah early training singing in the Scandinavian with the La Jolla Symphony, Verdi’s Requiem choral tradition. He earned Bachelor’s and with the National Philharmonic and Fairfax Master’s degrees in Piano and Voice from the Symphony, and Mendelssohn’s Elijah University of North Dakota, and then went with Choralis. on for his Doctor of Musical Arts degree in Conducting from Stanford University. He has Other recent engagements include a return held faculty positions within the University to the Metropolitan Opera to sing the role of of Texas system and at the University of Beatriz in the US premier of Thomas Ades’ Minnesota. In addition, he served as the The Exterminating Angel and debut the role of Artistic Director of the Midland-Odessa Anna in Verdi’s Nabucco, Fiordiligi in Mozart’s Symphony Chorale and was the Associate Così fan tutte with the National Philharmonic, Conductor of the Minnesota Chorale. Marzelline in Beethoven’s Fidelio with the Princeton Festival Opera, Poulenc’s Gloria In Washington, DC since 1990, with the Arizona State Symphony Orchestra, Dr. Engebretson also is Professor of Music Haydn’s Creation with Cathedral Choral and Director of Choral Studies at George Society, Handel’s Messiah with the US Naval Mason University, and is the Director of Academy, Phoenix Symphony, and Austin Music at the historic New York Avenue Symphony, the title role in Floyd’s Susannah Presbyterian Church. From 1993-2003, he with Opera Roanoke, Violetta in La Traviata was the Artistic Director of the predecessor at Cedar Rapids Opera and Finger Lakes to the National Philharmonic Chorale, the Opera and Adina in L’elisir d’amore at Masterworks Chorus and Orchestra and their Gulfshore Opera. smaller ensemble, the National Chamber Singers. In 2009 he served as a Fulbright Talamantes recently released her debut Scholar to Iceland. Since 1992, Engebretson album, Canciones españolas, to critical has lectured for the Smithsonian Institution acclaim and her sophomore album, Heaven during summer tours including the Bach and Earth, A Duke Ellington Songbook is an Festival in Carmel, CA; the Aspen Music exciting crossover into jazz. Both albums can Festival in Aspen, CO; and the Spoleto- be found on the MSR Classics label. USA Festival in Charleston, SC. Abroad in

16 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Brian Cheney, terrific tenor sound: the power, richness, and tenor vocal color of a high baritone combined with ringing, awe-inspiring high notes” (Stage Hailed by KUSC and Cinema.) This season, Cheney sings Los Angeles as the “next Verdi’s Requiem with the Southern Illinois great tenor”, Brian Cheney Symphony, reprises his role as a soloist in has gained international Attila Glatz Concert Production’s New Year’s acclaim for his portrayal Concert Salute to Vienna, and sings Luigi in Photo credit Leslie HasslerPhoto of characters such as Il Tabarro with Mobile Opera. Mario Cavaradossi in Tosca. “It is tenor Brian Cheney as the brave painter Cavaradossi who really blew me away. Cheney has that

NATIONAL PHILHARMONIC 17 PROGRAM NOTES

Leonard Bernstein on the composer. As with the other works in (born August 25, 1918 in Lawrence, MA; this program, Mass fully displays Bernstein’s died October 14, 1990 in New York City, NY) unfailing instinct for musical drama and theatricality. On many occasions, Leonard Bernstein commented on the inherently theatrical West Side Story (1957) quality of his music, irrespective of the genres and media for which it was written. At the same time that he was grappling His remarks could as well apply to his with the many transformations of Candide, persona as a conductor, since for him the Leonard Bernstein was also working on a activities of composing and conducting new musical based on Shakespeare’s Romeo were informed by the same views about and Juliet, set in a blue collar Upper West the power of music to embody and convey Side neighborhood of New York City that emotion and drama. The selections in was eventually cleared to make way for the tonight’s program, drawn from three of Lincoln Center for the Performing Arts. The his most famous vocal-dramatic works, appropriately titled West Side Story, with offer a vivid testimony of his views and are libretto by Arthur Laurents, lyrics by Stephen a clear demonstration of Bernstein’s flair for Sondheim, and choreography by Jerome theatrical utterances in and through music. Robbins, transplanted the struggle between two noble families in Renaissance Italy, as Mass (1971) depicted by Shakespeare, to a feud between two street gangs in New York City, the Jets Mass, which was commissioned by and the Sharks. From its beginning the work Jacqueline Kennedy as part of the inaugural was fashioned as a musical and never had concert of the John F. Kennedy Center for any of the issues that attended Candide the Performing Arts in Washington, D.C., in its compositional history. Furthermore, is a work that blends sacred and secular because the cast of collaborators never elements into a highly theatrical composition. changed throughout the gestation of the The full title (Mass: A Theatre Piece for work, one may conjecture that West Side Singers, Players, and Dancers) makes clear Story represents a more organic integration that it has no pretensions as a liturgical of Bernstein’s musical and dramatic views work, even though some of its sections than was the case with Candide. Arthur are drawn from the traditional Latin Mass Laurents’ libretto, to begin with, is an of the Catholic Church. Mass incorporates ingenious re-telling of Shakespeare’s plot, a variety of musical languages and devices, and the fact that there was no direct verbal ranging from traditional functional tonality to borrowings from the play lent West Side Story serialism, jazz, blues, rock, gospel, folk music, a contemporary flavor that was perfectly hymns, Middle Eastern dances, and an array suited to Bernstein’s eclectic and highly of compositional techniques. At its premiere, nuanced musical language. From the very with choreography by Alvin Ailey, the beginning of the compositional process, diversity of its techniques was in full display. Bernstein was intent on avoiding any It was fully staged, with 200 participants, suggestion of operatic techniques in West but the response was understandably Side Story, one of the immediate results being mixed. Several critics deplored the blend that the vocal writing acquired a naturalness of genres and styles, but the audience was of delivery that had little to do with the generally enthralled by a feeling of communal particular techniques of opera. Despite this experience. Interestingly, the FBI became preoccupation, however, West Side Story concerned with the possibility that the Latin deploys a musical style that goes beyond the portions of the work could embody anti-war normal expectations for a Broadway musical, messages, which added to its growing file and in many ways it created the framework

18 NATIONAL PHILHARMONIC PROGRAM NOTES

for the career of Stephen Sondheim (this in the first place, was motivated by what work was his Broadway debut). Since then, she perceived to be a disturbing parallel Sondheim continued to explore and refine between Voltaire’s original satire of the the musical and dramatic possibilities that Inquisition-led persecution epitomized in the were unveiled to him by Bernstein’s musical infamous auto da fé (act of faith), and the treatment of the story. Bernstein’s musical anti-communist hysteria embodied in the language makes prominent use of dissonant Un-American Activities Committee of the intervals to underlie the violence that colors House of Representatives in contemporary even the most sublime moments of hope. America. This overtly political association Prominent among them is the tritone (three in the genesis of the work proved to be whole-steps), an interval that has had a strong problematic for its reception and acceptance symbolic association with pain and suffering in the canon of American music. Its in Western music since the Middle Ages. premiere was greeted with mixed reviews The original Broadway production of West and ambivalent responses on the part of Side Story was a resounding success. It was critics and audiences, and some of the most performed 732 times and was nominated for controversial sections (such as a scene six Tony Awards, including Best Musical. directly satirizing the House Un-American Activities Committee) made everyone Candide (1956) involved in the production quite nervous. Several productions followed in the U.S. and The operetta Candide, which premiered on abroad, and it seemed that, with each new Broadway as a musical on December 1, 1956, performance, Candide acquired a new face. has one of the most complex textual histories It became an operetta, divested of Lilian of all of Bernstein’s works. Its original Hellman’s original libretto and, under the incarnation as a work of musical theater, musical direction of John Mauceri in 1973, based on the 1759 novella by Voltaire, was it achieved its first unqualified success. In primarily the result of the collaboration 1982, the New York City Opera presented between Lillian Hellman as librettist and Candide in its first incarnation as an opera, Bernstein as composer, but in subsequent with new scenes adapted from Voltaire’s versions the text (and its dramatic import) novella. Candide soon secured its position as was significantly changed through the one of Bernstein’s most popular works and is ever-growing collaboration of a varied particularly beloved among professional and and mixed team of librettists and lyricists, amateur singers for the verve, humor, and wit including Hugh Wheeler, Richard Wilbur, of its arias and songs. The naïve optimism of Dorothy Parker, John Latouche, Stephen Voltaire’s protagonist, who seems never to Sondheim, John Mauceri, John Wells, and be deterred by the horrors and tragedies he Bernstein himself. This convoluted textual encounters in his journey across the world history went hand-in-hand with substantial and its cultures, is transmuted by Bernstein musical changes, both in the nature and style into a musical work of consummate charm of the work and in the constant addition or in which its sparkling surface nevertheless suppression of numbers, arias, choral parts, intimates the underlying irony and satire. and other musical material. Lilian Hellman, who proposed the project to Bernstein @ James Melo, 2018

NATIONAL PHILHARMONIC 19 20 NATIONAL PHILHARMONIC HANDEL’S MESSIAH

SATURDAY, DECEMBER 22, 2018, 8pm SUNDAY, DECEMBER 23, 2018, 3pm

The National Philharmonic Piotr Gajewski, Music Director and Conductor Stan Engebretson, Chorale Artistic Director

Handel’s Messiah

Suzanne Karpov, soprano Magdalena Wór, mezzo-soprano Matthew Smith, tenor Trevor Scheunemann, bass National Philharmonic Chorale Stan Engebretson, conductor

Messiah George Frideric Handel (1685-1759)

PART I

Sinfonia Recitative (tenor) Comfort ye, my people, saith your God Aria (tenor) Every valley shall be exalted Chorus And the glory of the Lord shall be revealed Recitative (bass) Thus saith the Lord of Hosts Aria (alto) But who may abide the day of His coming? Chorus And He shall purify the sons of Levi Recitative (alto) Behold, a virgin shall conceive Aria (alto) O thou that tellest good tidings to Zion Chorus O thou that tellest good tidings to Zion, arise Recitative (bass) For behold, darkness shall cover the earth Aria (bass) The people that walked in darkness Chorus For unto us a child is born Pastoral Symphony Recitative (soprano) There were shepherds abiding in the field Recitative (soprano) And lo, the angel of the Lord came upon them Recitative (soprano) And the angel said unto them: Fear not, for behold Chorus Glory to God in the highest Aria (soprano) Rejoice greatly, O daughter of Zion Recitative (soprano) Then shall the eyes of the blind be opened Aria (alto and soprano) He shall feed His flock like a shepherd Chorus His yoke is easy, and His burthen is light

INTERMISSION

NATIONAL PHILHARMONIC 21 HANDEL’S MESSIAH

PART II

Chorus Behold the lamb of God Aria (alto) He was despised and rejected of men Chorus Surely He hath borne our griefs Chorus All we like sheep have gone astray Recitative (tenor) All they that see Him laugh Him to scorn Chorus He trusted in God that He would deliver Him Recitative (tenor) Thy rebuke hath broken His heart Aria (tenor) Behold and see if there be any sorrow Recitative (tenor) He was cut off out of the land of the living Aria (tenor) But Thou didst not leave His soul in hell Aria (bass) Why do the nations so furiously rage together Chorus Let us break their bonds asunder Recitative (tenor) He that dwelleth in heaven shall laugh them to scorn Aria (tenor) Thou shalt break them with a rod of iron Chorus Hallelujah!

PART III

Aria (soprano) I know that my redeemer liveth Chorus Since by man came death Recitative (bass) Behold, I tell you a mystery Aria (bass) The trumpet shall sound Chorus Worthy is the Lamb that was slain Chorus Amen

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All Kids, All Free, All the Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson

The Music Center at Strathmore Marriott Concert Stage

22 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Stan Engebretson, role debut of Suzuki with Virginia Opera. conductor This season holds Magdalena’s debut performance with Seattle Symphony as (For Stan Engebretson’s soloist for their performances of Messiah. biography, please see She sings Maddalena in Opera Birmingham’s page 16.) Rigoletto and Bach B Minor Mass and Messiah with the National Philharmonic. This past season Magdalena sang Alexander Photo credit DonPhoto Lassell Nevsky and Messiah with National Philharmonic Orchestra and Suzuki in Opera Suzanne Karpov, Birmingham’s Madama Butterfly. In 2011-2012, soprano Magdalena sang Carmen for Lyric Opera of Virgina, Messiah with Atlanta Symphony Hailed by the San Francisco Orchestra and Alabama Symphony Chronicle for her “elegant” Orchestra, was soloist for Janáček’s Glagolitic soprano, both “incisive and Mass with Cathedral Chorale Society of the tender,” Suzanne Karpov Washington National Cathedral and for Bach is quickly distinguishing Magnificat with National Philharmonic, and herself as one of the gave recitals at the Polish and Hungarian country’s leading young sopranos. Ms. Embassies in Washington, D.C. Magdalena Karpov recently made her Carnegie Hall Wór is a First Place Winner of the Heinz debut as the soprano soloist in Poulenc’s Rehfuss Vocal Competition, a Metropolitan Gloria with DCINY. Past season oratorio Opera Competition National Finalist, an highlights as soprano soloist include alumna of the San Francisco Opera’s Merola performances of Handel’s Messiah with the Summer Opera Program and Domingo- Washington Bach Consort, the American Cafritz Young Artist Program at the Bach Soloists, Richmond Symphony Washington National Opera. Magdalena is Orchestra, and the Washington Opera originally from Poland and has lived in the Orchestra at the Kennedy Center, as well United States since 1991. as soprano soloist in Haydn’s The Creation with the UC-Davis Symphony Orchestra. Matthew Loyal Smith, Operatic highlights include performances tenor with Washington National Opera, Boston Early Music Festival, and the New Hampshire Matthew Loyal Smith is Music Festival. In competition, Ms. Karpov an accomplished tenor has won numerous awards, including 1st soloist, having performed place at the national NATS Competition in with many prestigious Chicago, and 1st place in the 2018 Handel ensembles including Aria Competition, and an Encouragement the Washington Bach Award from the Metropolitan Opera National Consort, the Cathedral Choral Society, the Council Auditions. Ms. Karpov is a graduate Washington Concert Opera, the Niagara of the Maryland Opera Studio (University Symphony Orchestra, the Pennsylvania of Maryland, College Park), and earned her Chamber Orchestra, and the Mendelssohn Bachelor’s degree from Boston University. Club of Philadelphia. Matthew received the Carmel Bach Festival’s Adams Fellowship for Magdalena Wór, performance and study of the music of Bach mezzo-soprano in 2008. A finalist in the 2002 San Francisco Opera Center auditions and a semifinalist “...and Magdalena Wór in the 2005 Montreal International Musical almost stole the show as a Competition, his operetta and operatic well-defined and well-sung roles have included Frederic in Pirates of Suzuki.” proclaimed Anne Penzance, Baron Zsupàn in Countess Maritza, Midgette of The Washington The Prologue in The Turn of the Screw, Post following Magdalena’s NATIONAL PHILHARMONIC 23 ARTIST BIOGRAPHIES

Kaspar in Amahl and the Night Visitors, the Trevor Scheunemann, Mayor in Albert Herring, and Torquemada in bass L’heure Espagnol. He was a resident artist with the Pine Mountain Music Festival in Praised by Opera News 2003, where he covered the role of Nemorino for his “lovely timbre”, and in L’elisir d’amore. Matthew has studied “dramatic timing”, as well voice with Beverley Rinaldi and Christine as the Washington Post Anderson while earning a B.M. in Voice from for his “rich and gleaming” the Cleveland Institute of Music and a M.M. voice, baritone Trevor in Opera from Temple University. Matthew Scheunemann has quickly established currently serves with the Air Force Singing himself as one of opera’s leading baritones. Sergeants in Washington, DC. With them, Scheunemann is in demand at revered he performs at the White House, with the houses around the world for his thoughtful, National Symphony Orchestra, for nationally original portrayals of opera’s leading televised events including the funeral of baritones. Highlights of his resume include former Presidents Ronald Reagan performances as Sharpless in Madama and Gerald Ford, and on tours across Butterfly with Théâtre du Capitol de the United States. Toulouse and Teatro Municipal Santiago; Count Almaviva in Le nozze di Figaro with San Francisco Opera, Washington National Opera, and Opéra National de Bordeaux; Guglielmo in Cosí fan tutte with Oper Frankfurt and Washington National Opera; the title role in Don Giovanni with Opéra de Monte-Carlo; Escamillo in Carmen with Ópera de Puerto Rico; and Marcello in La bohème at Atlanta Opera and Washington National Opera.

The National Philharmonic Chamber Players 2018-19 Season at Potter Violins Lenny’s Legacy Inspired by Bernstein’s iconic Young People’s Concerts, our three innovative chamber music concerts (for all ages!) expand upon the concepts he explored, intertwining actual footage of Bernstein with extraordinary live music!

Episode 1: What is a Melody? Sunday, October 21, 2018 Music of Beethoven, Caroline Shaw and Alfred Schnittke. Episode 2: The Road to Paris Sunday, February 3, 2019 Music of Mozart, Nadia Boulanger, Piazzolla and Georges Enescu. Episode 3: Musical Atoms – A Study of Intervals Sunday, April 28, 2019 Music of Henry Purcell, J.S. Bach, Brahms, Sofia Gubaidulina and Zoltán Kodaly. Potter Violins, John Kendall Recital Hall, 7711 Eastern Ave, Takoma Park, MD For tickets and more information, visit nationalphilharmonic.org.

24 NATIONAL PHILHARMONIC PROGRAM NOTES

Messiah of his personality, however, was balanced by his open-hearted generosity to charities, George Frideric Handel orphans, retired musicians, and the ill. (born February 23, 1685 in Halle, Germany; died April 14, 1759 in London, England) At the time of the composition of Messiah, Handel was in the midst of a major career On April 10, 1742, the following note appeared change. For most of his life, he had been in the Dublin News-Letter: “Yesterday known primarily as an outstanding composer morning, at the Musick Hall, there was a of Italian operas, which he produced at a public rehearsal of the Messiah, Mr. Handel’s seemingly unstoppable rate. He was also new sacred oratorio, which in the opinion a savvy businessman, well attuned to the of the best judges, far surpasses anything expectations of his audience and his patrons. of that nature, which has been performed The opera season of 1740-41, however, was in this or any other Kingdom. The elegant extremely disappointing, well below the kind entertainment was conducted in the most of economic and artistic success with which regular manner, and to the entire satisfaction Handel had grown accustomed. The failure of the most crowded and polite assembly.” of that particular opera season was not an isolated event, but an indication that his The announcement, coming immediately many years of undiminished success as an after a highly successful concert season that opera composer and producer were drawing Handel had just completed in Dublin, raised to a close. It was then that he turned to the high expectations for the premiere of the new composition of English oratorios, which had oratorio, which took place on April 13, 1742. the advantage of not requiring elaborate Advertisements went out requesting that sets, costumes, or international opera stars. gentlemen attended without their swords, Among Handel’s closest friends was the and ladies without hoops in their dresses, in Shakespearean scholar Charles Jennens order to maximize the capacity of the concert (1700-1773), who had been a devoted hall, so that at the premiere 700 people champion of Handel’s music since 1725. At crowded in the Musick Hall. The performance the time of the disappointing opera season was a resounding success. Handel not only of 1740-41, Handel had already produced a directed from the keyboard, but also played few successful English oratorios, and these a selection of his own concertos for organ early ventures may have given Jennens the between the different sections of Messiah. impetus to propose a new subject. In a July, The Dublin Journal summarized its review of 1741 letter to his friend Edward Holdsworth, the performance by stating that “the sublime, Jennens commented that he hoped to the grand, and the tender, adapted to the persuade Handel to “set another Scripture most elevated, majestic and moving words, collection” that he had made for him, and conspired to transport and charm the he predicted that, if Handel lavished all his ravished heart and ear.” skills upon this new project, it would surpass everything he had done before, because the The man who composed the Messiah was, subject itself excelled all the others. This was by all accounts, a very difficult person. the libretto for Messiah. Handel was subject to violent outbursts and often engaged in quite unreasonable Jennens’s libretto is rather unusual, behaviors. In one such tantrum, during consisting of references and allusions to the rehearsals with the renowned soprano figure of Jesus Christ culled from several Francesca Cuzzoni, Handel lost patience sections of the Bible (only one of which was because she refused to follow his taken directly from the Gospels), and from instructions and, in a fit of rage, grabbed the version of the Psalms in the Book of her by the waist and threatened to throw Common Prayer. This approach produced her out of the window. This explosive side a libretto in which there is no particular

NATIONAL PHILHARMONIC 25 PROGRAM NOTES

narrative center, as if everything were Messiah took place at Covent Garden on being told from an oblique and mediated March 23, 1743, almost a full year after the perspective. The unusual nature of the Dublin premiere. Legend has it that, during libretto inevitably influenced Handel’s the “Hallelujah” chorus, King George II was musical conception. Unlike most of Handel’s so moved that he stood up, even though oratorios, Messiah does not have there is no evidence that he was ever well-defined characters. A cursory glance present at that or any other performance at its many arias, recitatives, choruses, of the oratorio. Since then, nevertheless, a and duets is enough to show that Handel tradition was established (mentioned for conceived the musical structure of Messiah the first time in 1756) of standing during this as an ongoing reflection on the story of the portion of the oratorio. Handel gave a total birth, death, and resurrection of Jesus Christ. of 36 performances of Messiah from 1742 In fact, direct characterization is consistently to 1759, the year of his death. His fondness avoided in Messiah. The singers do not for Messiah is also attested by the fact that, assume dramatic roles, as happens in most eight days before he died, frail and blind, he of Handel’s other oratorios. Also, the chorus insisted upon attending its performance at achieves an importance that remains unique the Theatre Royal in Covent Garden. among works of this genre. Handel wrote Messiah for modest vocal and instrumental Among the most extravagant performances forces (the choir for the premiere consisted of Messiah on record was the one at the of 26 boys and 5 men from the combined Crystal Palace in London in 1857 as part of choirs of St. Patrick’s and Christ Church a Handel festival, which included a chorus cathedrals), and the tradition of big Messiahs, of 2000 singers and an orchestra of 500 with large choirs and orchestras, is a late instrumentalists. Performances of Messiah development. Overall, the music of Messiah calling for large vocal and instrumental is characterized by a carefully balanced forces have continued to this day, as has the orchestration, in which Handel opted for tradition of performing Messiah as a staple restraint instead of rhetorical prowess. of the Christmas holidays. The version of He uses instruments judiciously, such as Messiah that Leonard Bernstein recorded in the beautifully delayed use of the trumpets 1956 with the New York Philharmonic and the to create a highly effective contrast as they Westminster Choir documents his extensive color the “Hallelujah” chorus and the final revision and rearrangement of the work, chorus, “Worthy is the Lamb.” an approach that was rather controversial (and remains so), but which fits within a long Handel composed Messiah at breakneck tradition of different “versions” of Messiah. speed, in 24 days between August 22 and The work has been re-orchestrated and re- September 14, 1741. Statistics have placed arranged several times by many composers the total number of notes in the oratorio at (including Mozart), and Bernstein’s rather approximately a quarter of a million, which personal version stems from that tradition. means that Handel would have to write an average of 15 notes per minute, for 10 hours @ James Melo, 2018 straight every day. The London premiere of

26 NATIONAL PHILHARMONIC SONG TEXTS

GEORGE FRIDERIC HANDEL’S MESSIAH TEXT

PART ONE

OVERTURE

Recitative (Tenor) Chorus Comfort ye, comfort ye my people, And he shall purify the sons of Levi, that saith your God. Speak ye comfortably they may offer unto the Lord an offering to Jerusalem, and cry unto her, that her in righteousness. warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the Recitative (Mezzo-soprano) wilderness, Prepare ye the way of the Lord, Behold, a virgin shall conceive, and bear a make straight in the desert a highway for son, and shall call his name Immanuel, our God. “God-with-us.”

Air (Tenor) Air (Mezzo-soprano) and Chorus Every valley shall be exalted, and every O thou that tellest good tidings to Zion, get mountain and hill made low: the crooked thee up into the high mountain; O thou that straight, and the rough places plain. tellest good tidings to Jerusalem, lift up they voice with strength; lift it up, be not afraid; Chorus say unto the cities of Judah, Behold your And the glory of the Lord shall be revealed, God! Arise, shine; for thy light is come, and and all flesh shall see it together: for the the glory of the Lord is risen upon thee. mouth of the Lord hath spoken it. Recitative (Bass) Recitative (Bass) For, behold, darkness shall cover the earth, Thus saith the Lord of hosts; Yet once, a and gross darkness the people: but the Lord little while, and I will shake the heavens, and shall arise upon thee, and His glory shall be the earth, the sea, and the dry land; And I seen upon thee. And the Gentiles shall come will shake all nations, and the desire of all to thy light, and kings to the brightness of nations shall come: The Lord whom ye seek, thy rising. shall suddenly come to his temple, even the messenger of the covenant, whom ye Air (Bass) delight in: behold, he shall come, saith the The people that walked in darkness have Lord of hosts. seen a great light: and they that dwell in the land of the shadow of death, upon them hath Air (Bass) the light shined. But who may abide the day of his coming? And who shall stand when he appeareth? Chorus For He is like a refiner’s fire. For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder: and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.

NATIONAL PHILHARMONIC 27 SONG TEXTS

PIFA (“PASTORAL SYMPHONY”)

Recitative (Soprano) Air (Soprano) There were shepherds abiding in the field, Rejoice greatly, O daughter of Zion; shout, keeping watch over their flock at night. O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Arioso (Soprano) Saviour. And he shall speak peace unto And, lo, the angel of the Lord came upon the heathen. them, and the glory of the Lord shone round about them: and they were sore afraid. Recitative (Mezzo-soprano) Then shall the eyes of the blind be opened, Recitative (Soprano) and the ears of the deaf unstopped. Then And the angel said unto them, Fear not: for, shall the lame man leap as an hart, and the behold, I bring you good tidings of great joy, tongue of the dumb shall sing. which shall be to all people. For unto you is born this day in the city of David a Saviour, Air (Mezzo-soprano and Soprano) which is Christ the Lord. He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and Arioso (Soprano) carry them in his bosom, and gently lead And suddenly there was with the angel a those that are with young. Come unto Him, multitude of the heavenly host praising God, all ye that labour and are heavy laden, and and saying, He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and Chorus lowly of heart: and ye shall find rest unto Glory to God in the highest, and peace on your souls. earth, good will towards men. Chorus His yoke is easy, and His burthen is light.

INTERMISSION

PART TWO Chorus Chorus Behold the Lamb of God, that taketh away And with His stripes we are healed. the sin of the world. Chorus Air (Mezzo-soprano) All we like sheep have gone astray. We have He was despised and rejected of men, a man turned everyone to his own way. And the of sorrows, and acquainted with grief. He Lord hath laid on Him the iniquity of us all. gave his back to the smiters, and His cheeks to them that plucked off the hair. He hid not Recitative (Tenor) His face from shame and spitting. All they that see Him laugh Him to scorn. They shoot out their lips, and shake their Chorus heads, saying: Surely, He hath borne our griefs and carried our sorrows; He was wounded for our Chorus transgressions, He was bruised for our He trusted in God that He would deliver Him, iniquities; the chastisement of our peace let Him deliver Him, if He delight in Him. was upon Him.

28 NATIONAL PHILHARMONIC SONG TEXTS

Recitative (Tenor) Chorus Thy rebuke hath broken His heart; He is full Let us break their bonds asunder and cast of heaviness. He looked for some to have away their yokes from us. pity on Him, but there was no man, neither found He any to comfort Him. Recitative (Tenor) He that dwelleth in heaven shall laugh Air (Tenor) them to scorn; the Lord shall have them Behold, and see if there be any sorrow like in derision. unto His sorrow! Air (Tenor) Recitative (Tenor) Thou shalt break them with a rod of iron; He was cut off out of the land of the living; thou shalt dash them in pieces like a for the transgressions of Thy people was potter’s vessel. He stricken. Chorus Air (Tenor) Hallelujah! For the Lord God Omnipotent But Thou didst not leave His soul in hell; reigneth. Hallelujah! The Kingdom of this nor didst Thou suffer Thy Holy One to world is become the Kingdom of our Lord see corruption. and of his Christ, and He shall reign forever and ever. King of Kings and Lord of Lords. Air (Bass) Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed.

PART THREE

Air (Soprano) Recitative (Bass) I know that my Redeemer liveth and that He Behold, I tell you a mystery; we shall not shall stand at the latter day upon the earth. all sleep, but we shall all be chang’d in a And tho’ worms destroy this body, yet in my moment, in the twinkling of an eye at the flesh shall I see God. For now is Christ risen last trumpet. from the dead, the first fruits of them that sleep. Air (Bass) The trumpet shall sound and the dead shall Chorus be raised, incorruptible. Since by man came death, by man came also the resurrection of the dead. For as in Chorus Adam all die, even so in Christ shall all be Worthy is the Lamb that was slain, and made alive. hath redeemed us to God by His blood, to receive power and riches and wisdom and strength and honour and glory and blessing. Blessing, and honour, glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever. Amen.

NATIONAL PHILHARMONIC 29 INFAMOUS BRAHMS

SATURDAY, JANUARY, 26, 2019, 8 PM SUNDAY, JANUARY, 27, 2019, 3 PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor INFAMOUS BRAHMS

Haochen Zhang, piano Piotr Gajewski, conductor

Piano Concerto No. 1 in D minor, Op. 15 Johannes Brahms (1833-1897) Maestoso Adagio Rondo: Allegro non troppo

INTERMISSION

Symphony No. 5 in E minor, Op. 64 Pyotr Ilyich Tchaikovsky (1840-1893) Andante—Allegro con anima—Molto più tranquillo Andante cantabile—Non allegro—Andante maestoso Valse. Allegro moderato Finale. Andante maestoso—Allegro vivace—Molto vivace—Moderato assai e molto maestoso—Presto

Weekend Sponsor: Ameriprise Financial

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson

The Music Center at Strathmore Marriott Concert Stage

30 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, Concert Hall 10th Anniversary Gala with Lang conductor Lang. This season, he makes his debut with the Tokyo Metropolitan Symphony Orchestra. (For Piotr Gajewski’s biography, please see In February 2017, Haochen’s latest recital page 6.) CD was released by BIS, including works by Schumann, Brahms, Janáček, and Liszt. In past seasons, Haochen has Photo credit Jay Mallin credit Jay Photo performed with the Philadelphia Orchestra, San Francisco Symphony, LA Philharmonic, Haochen Zhang, Israel Philharmonic, London Symphony, piano among others. In recital, he has performed at La Jolla Music Society, Celebrity Series of Since his gold medal win Boston, CU Artist Series, Cliburn Concerts at the 13th Van Cliburn and Wolf Trap Discovery Series, among International Piano others. International tours have taken him Competition in 2009, to cities including Beijing, Hong Kong, 28-year-old Chinese Tokyo, Tel Aviv, Berlin, Munich, Paris, Photo credit B Ealovega Photo pianist Haochen Zhang has Dresden, Rome, Tivoli, Verbier, Montpellier, captivated audiences in the United States, Helsingborg, Bogota, and Belgrade. Europe, and Asia with a unique combination of deep musical sensitivity, fearless Haochen is also an avid chamber musician, imagination and spectacular virtuosity. collaborating with colleagues such as the In 2017, Haochen received the prestigious Shanghai String Quartet and Benjamin Avery Fisher Career Grant, which recognizes Beilman and is frequently invited by chamber the potential for a major career in music. music festivals in the United States including the Santa Fe Chamber Music Festival and A popular guest soloist for many orchestras La Jolla Summerfest. in his native China, Haochen made his debut in Munich with the Munich Philharmonic and Haochen’s performances at the Cliburn the late maestro Lorin Maazel in April 2013, Competition were released to critical acclaim preceding their sold out tour. Haochen by Harmonia Mundi in 2009. He is also has also toured in China with the Sydney featured in Peter Rosen’s award-winning Symphony and David Robertson, in Tokyo; documentary chronicling the 2009 Cliburn and following a performance in December Competition, A Surprise in Texas. 2014, with Valery Gergiev and the Mariinsky Orchestra in Beijing, Mo. Haochen is a graduate of the Curtis Institute of Music in Philadelphia where he studied Highlights of his 17/18 season included under Gary Graffman. He previously trained his debut solo recital at Carnegie Hall, at the Shanghai Conservatory of Music and performances with the China Philharmonic the Shenzhen Arts School, where he was and Taiwan Philharmonic, along with admitted in 2001 at the age of 11 to study with performances with the China NCPA Professor Dan Zhaoyi. Orchestra at their Carnegie Hall debut and New Year concert in Beijing; the Shenzhen

NATIONAL PHILHARMONIC 31 PROGRAM NOTES

Piano Concerto No. 1 in D minor, The premiere took place on January 22, Op. 15 1859 in Hanover, with Brahms himself as the soloist. The work was not well received, Johannes Brahms and the same lack of enthusiasm greeted (Born May 7, 1833 in Hamburg, Germany; its second performance in Leipzig five days died April 3, 1897 in Vienna, Austria) later. It was only with the third performance, on March 24, 1959 in Hamburg, that the Brahms’ Piano Concerto No. 1 in D minor, Piano Concerto in D minor began to achieve a Op. 15 is one of the composer’s most measure of success. Brahms still made some ambitious orchestral works, and one of revisions following that performance, and in the earliest that he ever attempted in the November 1865, when Brahms performed orchestral genre. Considering the scope, the concerto in Karlsruhe, he could proudly compositional mettle, and artistic loftiness of proclaim that the performance was so this concerto, one is tempted to agree with successful that he was called again onstage Robert Schumann’s assessment when he for more applause. Today, Brahms’ proclaimed that Brahms, “like the goddess Piano Concerto in D minor occupies a Athena, had sprung fully formed from the secure place in the pantheon of the pianist’s head of Zeus.” The Piano Concerto Op. 15 is repertoire. There are few works in this genre a work of surprising maturity and emotional that can boast so much beauty clothed in depth—the kind that one associates with a patina of emotional seriousness, while at psychological and artistic refinement. the same time evincing such command of It began its life in 1854 as a sonata for two musical structure. The virtuoso demands for pianos, a genre to which Brahms turned at the instrument are formidable, as Brahms other moments of his career as a way to try himself was a consummate pianist and out new material. In July of that year, the seems to have delighted in honoring his work had already metamorphosed into a instrument. It is not a vapid kind of virtuosity, symphony in four movements. In this version, however, but rather a broad conception Brahms sought the advice of his friend Julius of the piano that is fully orchestral in its Otto Grimm and of the renowned violinist, scope. The expansive sonata form of the Joseph Joachim, both of whom commended first movement is divided into five sections, Brahms on his orchestration skills. Brahms, including a traditional cadenza following however, was not satisfied. He had always the classical models of Beethoven. In the been his most severe critic (we know that slow movement, written in a ternary song he destroyed an enormous amount of form, Brahms experiments with exquisite work with which he was not happy) and orchestral sonorities that are modeled on continued to work on the composition. chamber music, while the rondo finale owes In January 1855, Brahms orchestrated the much of its structure to that of Beethoven’s second and third movements for piano and third piano concerto. orchestra, and shortly thereafter he decided to turn the composition into a full-fledged Brahms’ Piano Concerto in D minor concerto for piano and orchestra. He settled occasioned a rather peculiar situation into this format in 1855-56, and once again in Leonard Bernstein’s career. When sought advice from Joachim regarding the he conducted the work in New York on orchestration and other technical matters. April 6, 1962, with the idiosyncratic pianist In February 1858, Joachim returned the Glenn Gould as a soloist, Bernstein took manuscript of the concerto to Brahms, now the unprecedented step of addressing “completely revised.” the audience and offering a disclaimer

32 NATIONAL PHILHARMONIC PROGRAM NOTES

about the interpretation, in essence The Symphony No. 5 in E minor, Op. 64, is distancing himself from Glenn Gould’s one such work. It was completed in 1888, ten exceedingly slow choices. At approximately years after the previous fourth symphony, 45-50 minutes in performance, Brahms at a time when Tchaikovsky was clearly Piano Concerto in D minor remains one of undergoing an artistic soul search. Contrary the longest works in this genre, even without to its predecessors, the Symphony No. 5 Glenn Gould’s broodingly elastic tempos. does not have a literary or visual program, but it may have an emotional program of Symphony No. 5 in E minor, Op. 64 sorts. In one of his notebooks, Tchaikovsky sketched an outline for the first movement Pyotr Ilyich Tchaikovsky in which he commented that it contained (born May 7, 1840 in Votkinsk, Russia; “a complete resignation before fate, which is died November 6, 1893 in the same as the inscrutable predestination St. Petersburg, Russia) of fate.” As with many of Tchaikovsky’s private remarks, it is difficult to pinpoint Tchaikovsky was one of the most overtly to what extent he embodied such feelings emotional composers in the history of music, in the work, but there is no doubt that an to the point that some of his works can be emotional aura recalling this motto pervades heard as semi-autobiographical utterances. the Symphony No. 5. Its four movements are On the other hand, he always composes integrated through a cyclical treatment of from an unfailingly professional perspective. the thematic material, as if Tchaikovsky were The financial support of his patroness depicting in music the shifting shades of an Nadezhda von Meck, with whom he had a emotion as it is experienced in time. Thus we purely epistolary relationship that lasted 14 go from the distinctly tragic character of years during which they never met face-to- the first movement, through a tentative face, allowed him to devote all his energies appeasement in the slow movement that still to composing. It was thanks to von Meck’s retains some memory of those tragic feelings, patronage that Tchaikovsky was able to before launching into a lilting waltz in the produce most of the masterpieces for which third movement. This leads to a finale in he is known today. She was also privy to which the many changes of character seem some of his most intense personal dramas, to provide a summary and recapitulation of perhaps even aware of his homosexuality the symphony as a whole. and the agonies it caused him. There has been a theory that he may have committed The emotional intensity of Tchaikovsky’s suicide precisely because of such agonies, Symphony No. 5 elicited a memorable when he drank a cup of unboiled water in performance by Leonard Bernstein in a St. Petersburg restaurant in the midst New York in August, 1988. Reviewing that of a cholera epidemic, against the urgent performance, The New York Times critic pleas of his friends not do so. The issue of John Rockwell noted: “The very point whether Tchaikovsky’s death was intentional of this music is that it is breast-beating or an accident continues to be debated to Romanticism, and nobody beats breasts this day, but there is no question that his better than Mr. Bernstein. The music emotional upheavals have contributed in sounded soulful, weepy and impassioned by large measure to the particular tone and turns, and the ovation at the end was more intensity of some of his works. than justified.”

@ James Melo, 2018

NATIONAL PHILHARMONIC 33 BRIAN GANZ PLAYS CHOPIN

SATURDAY, FEBRUARY 2, 2019, 8 PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor Brian Ganz Plays Chopin Recollections of Home

Brian Ganz, piano Magdalena Wór, mezzo-soprano Three Mazurkas, Op. 56 Frédéric Chopin (1810-1849) No. 1 in B major—Allegro non tanto No. 2 in C major—Vivace No. 3 in C minor—Moderato

Songs for Voice and Piano Wiosna, Op. 74, No. 2 Melodia, Op. 74, No. 9 Gdzie Lubi, Op. 74, No. 5 Mazur: Jakież kwiaty, jakie wianki, Op. Posth. Niema Czego Trzeba, Op. 74, No. 13 Wojak, Op. 74, No. 10 Leci Liście z Drzewa, Op. 74, No. 17 Czary, Op. Posth. Narzeczony, Op. 74, No. 15 Dumka, Op. Posth.

INTERMISSION

Four Mazurkas, Op. 41 No. 1 in E minor—Andantino No. 2 in B major—Animato No. 3 in A-flat major—Allegretto No. 4 in C-sharp minor—Maestoso

Polonaise in B-flat minor, Op. Posth. (“Adieu”) Polonaise in E-flat minor, Op. 26, No. 2

Etude in E major, Op. 10, No. 3

Allegro de Concert, Op. 46

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson The Music Center at Strathmore Marriott Concert Stage

34 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Brian Ganz, piano In January of 2011 Mr. Ganz began a multi- year project in partnership with the National Brian Ganz is widely Philharmonic in which he will perform the regarded as one of the complete works of Frédéric Chopin at the leading pianists of Music Center at Strathmore. After the inaugural his generation. recital, The Washington Post wrote: “Brian Ganz was masterly in his first installment of A laureate of the Marguerite the complete works [of Chopin].” Long Jacques Thibaud Photo credit Ventura Michael Photo and the Queen Elisabeth Mr. Ganz is on the piano faculty of St. Mary’s of Belgium International Piano Competitions, College of Maryland, where he is artist-in- Mr. Ganz has appeared as soloist with such residence, and is also a member of the piano orchestras as the St. Louis Symphony, the faculty of the Peabody Conservatory. He is St. Petersburg Philharmonic, the Baltimore the artist-editor of the Schirmer Performance Symphony, the National Philharmonic, the Edition of Chopin’s Preludes (2005). Recent National Symphony and the City of London performance highlights include Chopin’s Piano Sinfonia, and has performed with such Concerto No. 2 at the Alba Music Festival in conductors as Leonard Slatkin, Marin Alsop, Italy and with the National Philharmonic at Mstislav Rostropovich, Piotr Gajewski and Strathmore, Mozart’s Piano Concerto K. 466 Yoel Levi. with the Virginia Chamber Orchestra, and a solo recital for the Distinguished Artists Series The Washington Post has written: “One comes of Santa Cruz, California. away from a recital by pianist Brian Ganz not only exhilarated by the power of the performance but also moved by his search Magdalena Wór, for artistic truth.” For many years Mr. Ganz mezzo-soprano has made it his mission to join vivid music making with warmth and intimacy onstage to (For Magdalena Wór’s produce a new kind of listening experience, in biography, please see which great works come to life with authentic page 23.) emotional power. As one of Belgium’s leading newspapers, La Libre Belgique, put it, “We don’t have the words to speak of this fabulous musician who lives music with a generous urgency and brings his public into a state of intense joy.”

NATIONAL PHILHARMONIC 35 PROGRAM NOTES

Frédéric Chopin central section, with its chordal texture, evokes (born 1 March 1810 in Żelazowa Wola, Poland; a patriotic feeling that clearly reminds the died 17 October 1849 in Paris, France) listener of the Polish origins of the genre. The mazurka concludes with a harmonically exotic Frédéric Chopin lived almost his entire adult coda of extraordinary emotional impact. life in exile in Paris. When he was only 21 years old, while he was on a concert tour in Austria Chopin composed a total of 19 Songs for voice and Germany, his native Poland was invaded and piano, all of which are set to original Polish and assimilated by the Russians, and Chopin poetry, with a single exception that sets a found himself without a country to return to. As Polish translation of a Lithuanian song. These he settled in Paris among a growing community songs were written throughout his entire of Polish emigres, he developed a successful creative life, and none were published during career as teacher, composer, and performer his lifetime. Seventeen of the songs were at the fashionable Parisian salons, but he gathered as a single collection by Chopin’s never forgot his homeland, to which he never friend Julian Fontana and published as Op. returned. The works in tonight’s program evoke 74 in 1857; two more were published in 1910. Chopin’s connections with his native Poland, Included on tonight’s program is a little known and represent a very personal statement of his work for unaccompanied voice that the 19- nationalistic feelings and his lingering nostalgia year old Chopin dashed off upon meeting the for his homeland. These include works based on respected Czech philologist Václav Hanka while the two most famous Polish dances—mazurka passing through Prague in the summer of 1829. and polonaise—as well as works directly related A traveling companion, Ignacy Maciejowski, to Chopin’s life in Poland and his memories of quickly composed the poem and together poet his country while living in Paris. and composer presented their delighted host with the musical tribute. Chopin never added The three Mazurkas Op. 56, composed in 1843- piano accompaniment to the song, which was 44, display a wide range of contrasts that is first published in 1879. exemplary of the genre. The first one, in B major, is unusually structured as a five-part Chopin approached the composition of the rondo in which the refrain and the episodes songs in a way that was far more informal have markedly contrasting characters, from and casual than his works for piano solo. He joyful to intimate and tender. The different reacted to poems that reflected his feelings sections are harmonically related through a at the moment, and this was the primary cycle of intervals of thirds, a typically Romantic motivation for the composition of the songs. procedure that came to be favored over the Many of them were never completed or copied more classical relations by intervals of fifths. The down, and it is estimated that almost half have second mazurka, in C major, is the one closest been lost. Chopin’s songs brought to European to the model of the Polish folk dance. It has a Romanticism a distinctly Polish voice, one that driving and angular rhythm characterized by combines first-hand folk inspiration with a irregular accents and a rustic feel with incisive highly refined mode of expression. grace notes. It is a mark of Chopin’s genius that, even within this relatively straightforward The four Mazurkas Op. 41 were composed in structure, he was able to infuse the work with a 1839-40, and the published set was dedicated sophisticated chromatic texture that highlights to Chopin’s friend Stefan Witwicki, a Polish the raised 4th, or Lydian mode, often heard in poet that provided the texts for ten of Chopin’s Polish folk music. The third mazurka, in C minor, songs. The first mazurka, in E minor, is a is cast as a large-scale A-B-A form with an kind of chiaroscuro with the darker moments unusually rich and varied B section. The entire characterized by the flattened second of the piece is suffused with a mysterious character, Phrygian mode. The second, in B major, lightens in part due to the ambiguous rhythmic accents the mood, alternating between cheerful chords on the second and third beats. The contrasting and a playful melody full of delightful turns and

36 NATIONAL PHILHARMONIC PROGRAM NOTES

harmonic twists. The third mazurka, in A-flat piano paints a musical landscape marked major, could at times be mistaken for a waltz, by an ominous gloominess. Various so smooth are its elegant and flowing eighth commentators have considered this to be notes. But before long the sharper rhythms of the most beautiful and emotionally powerful of the mazurka are in evidence, and the ending, all of Chopin’s polonaises. which seems to come beguilingly mid-phrase, is typical of the experimental spirit Chopin The Etude in E major, Op. 10, No. 3 was brought to his mazurkas. The fourth mazurka, in composed in 1832 and published the following C sharp minor, returns to the Phrygian mode we year. It is a tour-de-force of piano texture, heard in the first, though Chopin uses the mode weaving a slow cantabile melody with densely more melodically and poignantly here. One of polyphonic accompaniment, and is a far cry Chopin’s finest works, this mazurka limns a from the brilliant virtuosity of the majority of the wide range of emotional states before reaching etudes, having instead many similarities with a climax of astonishing intensity, in which the Chopin’s nocturnes. Chopin himself considered opening melodic idea is heard in fortissimo its melody to be the most beautiful that he octaves, again featuring the exotic flattened ever composed, and it is reported that, on one second of the Phrygian mode before ending in occasion when his pupil Adolphe Gutmann the more traditional C-sharp minor. was studying this piece, Chopin lifted his arms, clasped his hands, and exclaimed, “O, my The Polonaise in B-flat minor, Op. Posth. fatherland!”. It is easy to see how this lovely (“Adieu”), was composed in 1826 as a tribute to piece might have called up in Chopin feelings a departing friend, Wilhelm Kolberg. In the “trio” of nostalgia for his homeland. The Etude has section Chopin explicitly quoted the aria “Au become one of the most popular works in the Revoir” from Rossini’s opera La Gazza Ladra and classical repertoire, and has been disseminated gave it a distinct polonaise rhythm, incorporated through a variety of arrangements. the vocal embellishments into the piano texture, and made the melody into a gesture of farewell Chopin originally referred to the Allegro de to his friend. The Polonaise in B-flat minor is Concert, Op. 46, as a “concerto”, and there is a surprisingly dark and melancholy work for evidence that he intended it to become his third someone who was only 16-years old at the piano concerto. Chopin began composing it in time of composition. Its minor-mode melody 1831, but after his arrival in Paris he seems to in intervals of thirds, the “dolente” (doleful) have lost the initial motivation. He returned to indication of tempo, and the overall emotional the work intermittently, but ultimately decided tone make this one of the most affecting of to publish only the first movement as an Allegro Chopin’s early polonaises. de Concert in 1841. Chopin intended to play it himself, “in my first concert upon returning The Polonaise in E-flat minor, Op. 26, No. 2, home in the free city of Warsaw.” Although was composed in 1835 and published in 1836. this wish never materialized, the “Maestoso” Much of Chopin’s minor mode music has character of the piece evokes deep and noble justly been described as “melancholic,” but the feelings that were certainly present in Chopin’s polonaise has a dramatic intensity that goes mind as he longed for his homeland. well beyond that description. It is cast in the model of a rondo, and includes a very affecting @ James Melo, 2018 section in the distant key of B major. An air of mystery emanates from the work, and Chopin’s exploration of the various registers of the

NATIONAL PHILHARMONIC 37 NATIONAL PHILHARMONIC ORCHESTRA

VIOLIN 1: CELLOS: CONTRABASSOON: Colin Sorgi*, Lori Barnet*, Nicholas Cohen Concertmaster ** Principal (1 Year Leave of Absence) Todd Theil * FRENCH HORNS: Jody Gatwood, Kerry van Laanen * Michael Hall*, Concertmaster Emeritus Barbara Brown + Principal Karen Johnston Johnson, April Chisholm-Studney + Mark Wakefield* Interim Concertmaster Jihea Choi + Justin Drew Olga Yanovich* Sean Neidlinger + Evan Geiger Leslie Silverfine* Kathryn Hufnagle + Shona Goldberg-Leopold Lysiane Gravel-Lacombe* Catherine Mikelson + Amy Horn Sara Matayoshi* Fiona Thompson + Hanbing Jia* Lauren Weaver + TRUMPETS: Brenda Anna + Chris Gekker*, Eva Cappelletti-Chao + BASSES: Principal Claudia Chudacoff + Robert Kurz*, Robert Birch, Doug Dube + Principal Robert and Margaret Laura Knutsen + Kelly Ali + Hazen Chair Jennifer Rickard + Brent Edmonston + Carlton Rowe Matthew Richardson + Alec Hiller + Christian Tremblay + Yoshi Horiguchi + TROMBONES: Laura Ruas + David Sciannella*, VIOLIN 2: Mark Stephenson + Principal Linda Leanza*, Greg Watkins + James Armstrong Acting Principal Jeffrey Cortazzo, Arminè Graham* FLUTES: Bass Trombone Kay Budner* David Whiteside*, Jennifer Shannon* Principal TUBA: Cathy Stewart* Nicolette Oppelt* Willie Clark Elise Blake + David LaVorgna Lisa Cridge + TIMPANI & PERCUSSION: Anne Donaldson + PICCOLO: Tom Maloy*, Alexandra Mikhlin + David LaVorgna Principal Laura Miller + Aubrey Adams Joanna Owen + OBOES: Tony Asero Ning Ma Shi + Mark Hill*, Curt Duer Principal Robert Jenkins VIOLAS: Katherine Ceasar-Spall * Gerald Novak Julius Wirth*, Fatma Daglar Bill Richards Principal Leonora Karasina* ENGLISH HORN: HARP: Mark Pfannschmidt* Fatma Daglar Rebecca Smith, Judy Silverman,* Principal + Associate Principal CLARINETS: Astrid Walschot-Stapp + Viola Emeritus Cheryl Hill*, Catherine Amoury + Principal KEYBOARD: Jaclyn Dorr + Carolyn Alvarez-Agria* William Neil Phyllis Freeman + Suzanne Gekker Jeffrey Watson Jim Kelly + Personnel Manager Theodore Guerrant, Stephanie Knutsen + BASS CLARINET: Theodore M. Guerrant Chair Margaret Lang + Carolyn Alvarez-Agria Jennifer Rende + *=Core Orchestra Tiffany Richardson + BASSOONS: +=Regularly engaged musician; Derek Smith + Erich Hecksher*, Rotated roster Elizabeth O’Hara Stahr + Principal Rebecca Watson

The musicians employed in this production are members of and represented by Washington, D.C. Federation of Musicians, Local 161-710 of the American Federation of Musicians.

38 NATIONAL PHILHARMONIC NATIONAL PHILHARMONIC CHORALE

SOPRANO Sandra L. Daughton Duncan McHale Juliana Baioni Leah Lynn Favia Wayne Meyer* Rosalind Breslow Deirdre Feehan Tom Nessinger Anne P. Claysmith Francesca Frey-Kim Steve Nguyen Nancy A. Coleman Mandy Fried Jason Saffell Lisa Edgley Maria A. Friedman Dennis Vander Tuig Meg Flanagan Julia C. Friend Sarah B. Forman Elizabeth Bishop Gemoets BASS Caitlin A. Garry** Sarah Gilchrist Ronald Cappelletti Stefanie Gray Lois J. Goodstein Pete Chang Carole L. Haas Jacque Grenning Richard Chitty Denise R. Harding Glenda Grogan Mark H. Cobb Roma Hart Stacey A. Henning Stephen Cook Lisa Wickman Harter Jean Hochron Bopper Deyton Kathleen Henry Sara Michael Josey* Charles G. Edmonds Jessica Holden Marilyn Katz Ronald P. Frezzo Joanna Lam Irene M. Kirkpatrick J. William Gadzuk Laurie Lane Martha Jacoby Krieger** Robert Gerard Carolyn Rodda Lincoln Laurie Lee Tom Hart Laila Linden Melissa J. Lieberman* Filbert Hong Amanda Liverpool-Cummins Eleanor Lynch John Iobst Sharon Majchrzak-Hong Meg McCormick Sean Jeffers Malina Markova Lee Mitchell William W. Josey** Kathryn McKinley Misato Miyamasu Allan K. Kirkpatrick Sara W. Moses Susan E. Murray Jack Legler Katherine Nelson-Tracey* Sharon Neubauer Larry Maloney Gloria Nutzhorn Martha Newman Ian Matthews Juliana S. O’Neill Patricia Pillsbury Kent Mikkelsen* Leila Rao Ann E. Ramsey-Moor John Milberg** Lisa Romano Sallie K. Roberts Oliver Moles Theresa Roys Lisa Rovin Leif Neve Katherine Schnorrenberg Nicole Shyong Alec Petkoff Clara Seo Deborah F. Silberman Joe Prendergast Carolyn J. Sullivan Carol A. Stern Anthony Radich Cathlin Tully* Virginia Van Brunt Harry Ransom, Jr. Ellen van Valkenburgh Sarah Wagoner Moore Edward Rejuney* Gillian Vander Tuig Wendy J. Weinberg Frank Roys Susanne Villemarette Charles Serpan Cindy Williams TENOR Scott Simon Kenneth Bailes Jason James Smoker ALTO J.I. Canizares Yale Sosin Helen R. Altman Colin Church Donald A. Trayer Mary Bentley Gary R. Correll Weeun Wang Pascale Brady Ruth W. Faison Jim Williams Carol Bruno Jane Lyle Paul Zoccola Ellen L. Carleton Jeff McCasland Carolyn Chuhta Michael McClellan * section leader Janet Crossen Chantal McHale ** assistant section leader

NATIONAL PHILHARMONIC 39 NATIONAL PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORS Pete Ryan BOARD OF ADVISORS Carol Evans* Lori Sommerfield Joel Alper Ruth Faison* Sally Sternbach Albert Lampert* Joan Fidler Charles Toner M.D. Chuck Lyons Dr. Bill Gadzuk Elzbieta Vande Sande Roger Titus Dieneke Johnson* Ms. Katya Vert-Wong* Jerry D. Weast Albert Lampert*, Carla Wheeler* Chair Emeritus *Executive Committee Marie Lee BOARD OFFICERS *Chair Emeritus Dr. Wayne Meyer Todd Eskelsen*, Chair Dr. Roscoe M. Moore, Jr. Ken Hurwitz*, Vice Chair Matt Riddle Paul Dudek*, Secretary Jane Riddle William Lascelle*, Treasurer SUPPORTERS OF THE NATIONAL PHILHARMONIC

As of July 1, 2018 The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals that have made the Philharmonic’s ambitious plans possible through their generous contributions. Maestro Circle $10,000+ Sustainer Circle $1,000 to $2,499 Concertmaster Circle $7,500 to $9,999 Patron $500 to $999 Principal Circle $5,000 to $7,499 Contributor $250 to $499 Benefactor Circle $2,500 to $4,999 Fellow $125 to $249 ORGANIZATIONS Polish & Slavic Credit Union MAESTRO CIRCLE The Dallas Morse Coors Foundation Arts & Humanities Council of for the Performing Arts Montgomery County United Way of National Capital Area Clark-Winchcole Foundation Eskelsen Law Group, LLC SUSTAINER CIRCLE Gloria Miner Charitable Music Fund Polish Cultural Institute Ingleside At King Farm Metro Washington DC Federation of Musicians Lockheed Martin Corporation Potter Violins Maryland State Arts Council Polish American Arts Association of Montgomery County, MD Washington DC Montgomery County Public Schools Southwest Community Foundation Paul M. Angell Foundation Thursday Dinner Society The Morris and Gwendolyn Cafritz Foundation PATRON CONCERTMASTER CIRCLE ASTA MD/DC Chapter Embassy of the Republic of Poland Bethesda Violins Brobst Violin Shop PRINCIPAL CIRCLE Charles and Margaret Levin Family Foundation Ameriprise Financial Gailes’ Violin Shop, Inc. Executive’s Ball Lashof Violins Kolar Charitable Foundation of BuckleySandler PGNiG CONTRIBUTOR Music & Arts BENEFACTOR CIRCLE Violin House of Weaver Capital Bank Dimick Foundation FELLOW Henry B. & Jessie W. Keiser Foundation, Inc. Creative European Cooking Jim and Carol Trawick Foundation, Inc. Gary Frisch Violins

40 NATIONAL PHILHARMONIC INDIVIDUALS BENEFACTOR CIRCLE NAMED GIFTS Mrs. Ruth B. Berman Anne Claysmith* for the Chorale Chair - Dr. Ronald Cappelletti* Soprano II Fund Mr. Steven C. Decker & Ms. Deborah W. Davis Jean & Paul Dudek for the Pre-Concert J. William & Anita Gadzuk* Lecture Series Fund Dr. Robert Gerard & Ms. Carol Goldberg* Ann & Todd Eskelsen for the Dr. Joseph E. Gootenberg & Chorale Music Fund Dr. Susan Leibenhaut Dieneke Johnson for the All Kids Free Fund Mr. & Mrs. Richard F. Larkin Mrs. Patricia Haywood Moore & Dr. Roscoe M. Dr. Wayne Meyer* Moore, Jr. for the All Kids Free Fund David & Lottie Mosher Tanya & Al Lampert for the Guest Artist Fund Mr. & Mrs. William E. Pairo Misbin Family Student Performance Fund Michael & Janet Rowan Dr. Charles B. Toner & Dr. Cecile M. Toner GIFTS OF $50,000+ Dr. Theodora D. Vanderzalm Mrs. Margaret Makris Ms. Katya Vert-Wong

GIFTS OF $25,000+ SUSTAINER CIRCLE Robert & Margaret Hazen Anonymous Dr. Robert Misbin Fred & Helen R. Altman* Dr. Roscoe M. Moore & Mrs. Elizabeth Cahan Mrs. Patricia Haywood Moore Mr. William Catherwood & Ms. Jean Sperling Mr. & Mrs. Gary R. Correll* GIFTS OF $15,000+ Mr. & Mrs. Erik Cudd Dale Collinson Family Ms. Mary Desjardins Edward Grossman & Rochelle Stanfield Dr. Lawrence Deyton & Dr. Jeff Levi* Dr. Stan Engebretson MAESTRO CIRCLE Ms. Marietta Ethier Ms. Anne Claysmith* Mr. & Mrs. Voytek Fizyta Mr. & Mrs. Paul Dudek Dr. Maria A. Friedman* Kenneth Hurwitz & Susan Weiss Mr. & Mrs. Joseph Gatwood Mrs. Joan M. Levenson Darren & Elizabeth Gemoets* Mr. & Mrs. Bruce Gilchrist* CONCERTMASTER CIRCLE Dr. Stacey Henning* Dr. & Mrs. John V. Evans Ms. Sue Henry Mr. & Mrs. Albert Lampert Mr. & Ms. Gerald Hoefler Mr. Jeffrey P. Naimon & Ms. Carla Wheeler Mrs. Tanjam Jacobson Mr. & Mrs. Matthew Riddle William W. & Sara M. Josey* Ms. Kathleen Knepper PRINCIPAL CIRCLE Mr. Jim Kelly Mr. Edward Brinker & Ms. Jane Liu Ms. Martha Jacoby Krieger* Mr. Robert Dollison, in memory of Mr. and Mrs. John R. Larue Krystyna Dollison Mr. and Mrs. Eliot Lieberman* Mr. & Mrs. Todd R. Eskelsen Mr. Larry Maloney* Mr. & Mrs. Richard Fidler Mr. Winton E. Matthews, Jr. John & Julie Hamre Mr. & Mrs. Kent Mikkelsen* Mr. & Mrs. David Hofstad Ms. Cecilia Munoz & Mr. Amit Pandya Ms. Dieneke Johnson Mr. Thomas Nessinger* Mr. William A. Lascelle & Ms. Blanche Johnson Ms. Martha Newman* Ms. Marie Lee Mrs. Jeanne Noel Ms. Florentina Mehta Dr. & Mrs. Goetz Oertel Ms. Lori J. Sommerfield* Ms. Julie Pangelinan Mrs. Elzbieta Vande Sande, in memory of Ms. Grace Shen George Vande Sande, Esq. Mrs. Janice H. Schiavone* Mrs. Sandra Zachariasiewicz Mr. & Mrs. James Shin

NATIONAL PHILHARMONIC 41 Mr. & Mrs. Steven Seelig Mr. & Mrs. Steve K. Cook* Ms. Kathryn Senn Dr. & Mrs. Gordon M. Cragg Ms. Deborah Silberman* Mr. & Mrs. J.R. Crout Dr. Hanna Siwiec & Mr. Spencer Meyer Mr. & Mrs. J. Steed Edwards Carol A. Stern* Ms. Mary Ann Evan Sternbach Family Foundation Dr. & Mrs. Joseph Fainberg Mrs. Fran Usher Ms. Julia Friend* Ms. Ellen van Valkenburgh* Ms. Katherine Gekker Mr. & Ms. Robert Vocke* Mrs. Denise R. Harding* Mr. & Mrs. Royce Watson Ms. Jill Hartman Drs. Jack & Susan Yanovski Mr. Kenneth L. Hill Mr. & Mrs. Bernard J. Young Mr. & Mrs. Waldemar Izdebski Mr. & Mrs. Douglas Jacobson PATRON Dr. Laura Kafka Anonymous Mr. & Mrs. Gerald Kaiz Ms. Olivia Adler Ms. Irena Karpinski, Esq. Ms. Ann E. Albertson Mr. Thomas Kierul Drs. John E. & Shirley Bennett Mrs. Elizabeth King Mr. and Mrs. Normand A. Bernache Mr. & Mrs. Allan Kirkpatrick* Ms. Eileen Binns Mr. & Mrs. Joseph Kolar Larry and Antoinette Delaney Mr. & Mrs. Don Koller Mr. John Eklund Ms. Kornelia Koppany Leanne & Joe Ferfolia Mr. & Mrs. Herbert J. Lerner Ms. Ruth Faison* Dr. Marcia D. Litwack Ms. Anna Freska Mr. & Mrs. Kevin MacKenzie Dr. Renata Greenspan Mr. & Mrs. Bruce MacLaury Larry and Antoinette Delaney Mrs. Dorothy MacPherson Mr. Rolf Grafwallner Mr. & Mrs. Jerald C. Maddox Dr. and Mrs. John Helmsen Mr. David E. Malloy & Mr. John P. Crockett* Mr. and Mrs. William and Donna L. Hickman Mr. & Mrs. Forbes Maner Mr. and Mrs. Hochron* Mr. & Mrs. James Mason Mr. & Mrs. Donald Jansky Mrs. Nancy C. May Mr. David E. Kleiner & Ms. Mary Bentley Mr. & Mrs. Robert McGuire Mr. David Lambert Dr. Bozena Michniak Ms. Jane Lyle* Mr. Jason Mumford Dr. Elizabeth Marchut-Michalski Dr. Stamatios Mylonakis & Mr. and Mrs. David McGoff* Ms. Maureen O’Connor Dr. Maria Miller Dr. Ruth S. Newhouse Mr. Thaddeus Mirecki, in memory of Mrs. Margy Nurik Irene Mirecki Ms. Sima Osdoby & Mr. Arthur Katz Mrs. M. Elizabeth Moore & Mr. Wayne L. Porter Ms. Dolores Patrizio Mr. & Mrs. Raymond Mountain Evelyn & Pete Philipps Susan & Jim Murray* Dr. and Mrs. Joram Piatigorsky Ms. Katherine Nelson-Tracey* Mr. Kazimierz Pukownik Mr. W. Larz Pearson and Mr. Rick Trevino Mr. & Mrs. James M. Render Dr. and Mrs. Manuel Porres Mrs. Izabela Rutkowska Dr. Charlie Park Mr. Robert D. Shaw Mrs. Dorothy Prats Dr. & Mrs. Paul Silverman Dr. Michael Sapko and Ms. Kari Wallace Mr. & Ms. Robert Smith Ms. Krystyna Wasserman Ms. Jolanta Stefanska The Stempler Family Foundation CONTRIBUTOR Ms. Susan Sterling Anonymous Mr. & Mrs. John R. Stoner Mr. & Mrs. Joel Alper Dr. Maria M. Tomaszewski Mike & Cecilia Ballentine Mr. & Mrs. Dennis Torchia Mr. Paul Bennett & Ms. Carol Herndon Mr. and Mrs. Carl Tretter Mr. & Mrs. Roger Berliner Ms. Mary E. Walsh Mr. John Cahill Ms. Joan E. Wikstrom Ms. Nancy Chesser & Mr. J. Michael Rowe Dr. Mark Cinnamon & Ms. Doreen Kelly

42 NATIONAL PHILHARMONIC FELLOW Mr. Dan Krieger Anonymous Ms. Laurie Lane* Mr. & Mrs. Dan Abbott Mr. and Mrs. Allan Laufer Mr. Jose Apud Ms. Elisabeth Lejman-Jaworski, M.D. Ms. Elisabeth Bahl Ms. Carolyn Lincoln Mr. & Mrs. Stephen Baldwin Mr. Rett Ludwikowski Mr. Robert Barash Mr. & Mrs. Michael Madden Mr. & Mrs. Edward E. Barr Dr. Gail E. Makinen Mr. & Mrs. Richard Bender Mr. and Mrs. Warren Manison Mr. Richard Allen Bock Mrs. Nancy C. May Ms. Maja Bresslauer Dr. and Mrs. Steven Mazer Mr. & Mrs. Frederick Brown Ms. Barbara Mazurkiewicz Ms. Bozenna Buda Mr. & Mrs. Michael McClellan* Mr. Michael Casassa & Mrs. Joan Schmader Mr. & Mrs. James F. McDermott Ms. Reena Chakraborty Mr. & Mrs. Curtis Menyuk Mr. & Mrs. Edwin Chen Mr. and Mrs. Michael Merchlinsky Ms. Carolyn Chuhta* Ms. Kristi K. Merritt* Dr. F. Lawrence Clare Mr. & Mrs. James Mielke Ms. Sheila Cohen Mr. & Mrs. Edward Mills Ms. Ellie Collinson Dr. Oliver Moles Jr.* Mr. Alan T. Crane Mr. William J. Moore Ms. Janet S. Crossen Ms. Stephanie Murphy Mr. Dean Culler Dr. Wanda O’Brien-Trefil Dr. and Mrs. James B. D’Albora Dr. Richard Z. Okreglak & Dr. Edwarda M. Buda Mr. William D’Antonio Bozena Kucewicz Pait Ms. Margretta Diemer Ms. Agnieszka Panek Mr. & Mrs. Tom Dunlap Mr. and Mrs. Edward Parr Sandy and Norton Elson Ms. Victoria J. Perkins Mrs. Nancy A. English Mr. and Mrs. Robert B. Pirie Ms. Emilia Eriksson Mr. Luke Popovich Ms. Dianne Favre Mr. Laurence Posorske & Mr. Harold Freeman Dr. Lynette H. Posorske Mrs. Francesca F. Frey-Kim Mr. Mark Price, in memory of Dale Collinson Ms. Else H. Froberg Ms. Jean Provine Mr. and Mrs. William Garry James K. Queen & Katherine Budner Ms. Livia N. Gatti Ms. Leila Rao* Ms. Rafal Golebiowski Dr. James Rhyne Mr. William Gordon & Ms. Linda Currie Mr. Keith Roberts Mr. Bernard Gelb Ms. Barbara Ronis Mr. & Mrs. Philip Grimley Mr. & Mrs. Jeff Rosenberg Drs. William and Marlene Haffner Miss Audrey A. Ross Mrs. Janice Hamer Mr. & Mrs. Charles Rothwell Lisa W. Harter* Dr. Walter Schimmerling Mrs. Jacqueline Havener Mr. & Mrs. Sydney Schneider Mr. & Mrs. Rue B. Helsel Ms. Katherine Schnorrenberg Mr. Myron Hoffmann Ms. Virginia Schultz Ms. Mary Hopkins Mr. & Mrs. Charles L. Short, Jr. Beth & Andy Jewell Mr. Brian Thiel Mrs. Marilyn Katz* Dr. Timothy Thompson Mr. & Mrs. David Keaton Mr. and Mrs. Gerald Vogel Dr. and Mrs. Meir Kende Ms. Debra Weingarten Ms. Rae King Mr. Jonathan Weiss Mr. James Kleiler Ms. Kate Westra Dr. Mark Knepper & Dr. Cathy D. Knepper Ms. Hanna Wolfinger Mr. Edward Knox Dr. and Mrs. Kevin Woods* Mr. & Mrs. Don Koller Mrs. Doris E. Wright Mr. & Mrs. William Kominers Mr. & Mrs. Brad Yoder Mr. Robert Kopp Mr. & Mrs. Steven Krasnow

NATIONAL PHILHARMONIC 43 NATIONAL PHILHARMONIC ENDOWMENT

Ms. Ann Albertson Mr. William Lascelle & Ms. Blanche Johnson Fred & Helen Altman Mr. Greg Lawson & Mr. Sai Cheung Robert B. Anderson* Mrs. Joan M. Levenson Mrs. Ruth Berman Dr. Lawrence Deyton & Dr. Jeff Levi Rabbi Leonard Cahan Mr. & Mrs. Kent Mikkelsen Dr. Ron Cappelletti Mr. Thaddeus Mirecki, in memory of Dale Collinson Family Irene Mirecki Jean & Paul Dudek Dr. Kenneth P. Moritsugu & Ann & Todd Eskelsen Ms. Lisa R. Kory Dr. & Mrs. John V. Evans Susan & Jim Murray Ms. Ruth Faison Robin & Paul Perito Piotr & Tisha Gajewski and Mr. Charles Serpan Hania Gajewska, Dr. & Mrs. Paul Silverman in memory of Ryszard Gajewski Dr. Hanna Siwiec & Mr. Spencer Meyer Dr. Robert Gerard & Ms. Carol Goldberg Sternbach Family Fund Dr. & Mrs. Val G. Hemming Dr. Theodora Vanderzalm, in honor of Mr. and Mrs. Ken Hurwitz Dieneke Johnson Dieneke Johnson *Deceased Mr. & Mrs. Al Lampert HERITAGE SOCIETY

Mr. Dan Abbott Mr. & Mrs. Albert Lampert Mr. David Abraham* Mrs. Margaret Makris Mrs. Rachael Abraham Dr. Robert Misbin Mr. Joel Alper Mr. Kenneth Oldham, Jr. Ms. Ruth Berman Mr. W. Larz Pearson Ms. Anne Claysmith Ms. Lori Sommerfield & Mr. Todd Eskelsen Mr. Dennis Dullinger* Ms. Christine Feinthal Ms. Carol A. Stern Ms. Wendy Hoffman, in honor of Ms. Elzbieta Vande Sande Leslie Silverfine Mr. Mark Williams Ms. Dieneke Johnson *Deceased Ms. Joanna Lam

NATIONAL PHILHARMONIC STAFF

Piotr Gajewski, Music Director & Conductor Isabel Carpio, Institutional Relations Manager Stan Engebretson, Choral Artistic Director Kyle Schick, Operations and Victoria Gau, Associate Conductor Production Manager Leanne Ferfolia, President Matthew Dannan, Orchestra Librarian Katie Tukey, Director of Development Jim Kelly, Orchestra Personnel Manager Deborah Birnbaum, Director of Marketing & PR

44 NATIONAL PHILHARMONIC